April 28th, 2005
Last night's practice was thrashing around more than ever before. I decided that I should start getting a workout at practice, so I jumped around everywhere and on everything possible. Everyone else got psyched too. Everything is becoming more and more promising, so I've got to build stamina for the shows. I was having fun jumping around, but they said I looked angry and they were afraid to get in my way!
This morning, I was wasted when I woke up. Physically. It's exciting to think of all the energy it takes to put on a crazy show. We chose 5 songs to focus on for our show in July, and we've been making great progress. To the extent that they are developed, the songs immediately come off as exciting and intense. However, I think we have reached a familiar point in my experiences with other rock musicians: facing the challenge of song structure. Chord progressions specifically. A lot of aspiring rock musicians are too concerned with sounding "hard". Lighting up the stage with an explosive sound is important, but the longevity and success of the music ultimately depends on the quality of the songwriting. The verse of one song consists of a riff played in an E minor. A verse needs to have some sense of movement, for instance, at least using a D chord along with the E minor would make the verse much more powerful. Joel is always pushing for progress and trying new things, but the other two complained that changing the song would be hard. They're used to playing it one way. I would understand if they were just tired, but in light of the skill and talent we'll be competing with the industry, I don't understand how they can limit themselves to what's "easy". I try at least three variations of vocals for each song until I feel they've been revised and polished enough to shine.
I'm going to show them this part of one of my songwriting books.
"Before demoing any song, be sure it's the best it can be. Usually the first draft of any song can use improvement. So before your ecstacy about finishing it compels you to spend your hard-earned cash on a demo, put your song away for a few days. Being able to look at the song more objectively may spare you the frustration of hearing a publisher or producer say, "This is really good, but the second verse needs a rewrite," and knowing you'll have to spend even more to re-record the vocal. Not that a rewrite is a guarantee that it won't happen anyway, but at least you'll know you gave it your best shot.
It's often said that writing successful songs is 10 percent writing and 90 percent rewriting."
"One of the differences between a pro and an amateur writer is that the pro usually recognizes from the beginning that he or she will probably be able to improve the song with rewrites. The amateur thinks that everything coming from the original, inspired state is wonderful and shouldn't be tampered with."
I recorded my first complete song in 1997 using a keyboard and a stereo, on tape. Actually, that's not true. I recorded other songs before that, but that was the first fully structured song I did. I used to overdub using two tapes and two tape decks to make backup vocals and three part harmonies! And now it's 2005, and I may not be the best, but I do have a lot of songwriting experience. Living today is grand because recording music is easier than ever before!! In fact, I think it's so easy to produce records now that the quality of music has suffered some. But it is sure is great to know that if you have good music, it's exceptionally easy to get it out there.
In any case, I think this is only a temporary setback. Without a shadow of a doubt (which, if you think about it, depends on whether there is a light source, because in the dark there can still be doubt, just no shadow of a doubt... anyway...) I can see no reason why this band will not become my career.