The secret of creativty

This is very much suited to my forum, absolutely. I was just getting tired of guys asking me which budget GK amp is better than which ugly Markbass thing, etc. A hyperbolic example, but you get my point. How the hell would I know, basically?

Anyway: it's similar in concept to what I said before, sure.

When you think something sucks, you have to actually step back, listen intently, and find SOMETHING about it that you can get behind. That is, if the idea is not going to get vetoed. If it is something that no one is going to let go of, that's when you use your wits and figure out a way to "re-contextualize" the thing that you don't like, even if just in your mind. Find SOMETHING in there that has a hint of being appealing, and push that part of it to the fore with what you play. That sort of mental exercise (basically, it's one's ability to be flexible in their point of view - a very, very vitally important skill) will then give you an open door to add something yourself that complements.

This all may sound a bit airy-fairy, but it's the only way to ultimately survive in a band setting when there are conceptual disagreements.

A secret of creativity (not THE secret) is then, one could say, one's ability to change their viewpoint on the spot, and "re-adopt" something as one's own. Not easy. But necessary sometimes.

Let me be clear: this isn't about rolling over and submitting. This is about what you do after no compromise is achievable. The high road is the way. And you can still maintain your integrity. These things that one can bend on are never that big of a deal, ultimately. You need to keep your eyes on the prize - the big picture...the album, whatever. If you do that, even while others are squabbling about whether or not the second verse needs a pre-chorus, you will actually end up possibly being the only person who is looking at the long-range view of how the collection of songs or song is going to really turn out.

Best,
JMJ

 

great response, sir! i have a follow up question if you have the time...
you seem to have developed a reputation as a hired gun with an original voice on your instrument, getting into some fantastic full working/touring bands that have a single artist fronting (NIN & Beck). I realize that it isn't something that you can quantify, but how much conversation about parts takes place in that kind of band dynamic (if any)?

 

Parts are certainly discussed, but it depends on a song. Sometimes, I just do my thing and never hear a word about it...suggestion or otherwise. Completely left to my own devices. Sometimes, it can be meticulously copying something that was on a record. It's random.

To some artists, there are moments in songs that they find very important which you yourself might find trifling. And the opposite is true, where there's some key thing where they want the feel a certain way, and everybody in the room knows it's got to be just right.

It's all over the map, man. So I'm afraid my response is super general.

JMJ

 

Well, if you worked out 14 tracks, and you're saying "bloody amazing", then you should take a bow. You've achieved quite a lot with this batch of writing!

You're welcome, keep us all posted, ok?