I can honestly say that if I write a Chamber Rock piece clocking in at 15 or 17 minutes, I am not always open to suggestions from musicians who want to change the form or structure of it. If they present an idea or 2 that can reflect in a positive way..what I have written..then so be it. But that's not exactly turning my back on their efforts. If the project consists of team work, I usually shut up and listen to instructions. Sometimes critics and musicians confuse the process of a specific writer who has the music planned out and refuses to change it with a different musician/writer who becomes insulted over it and bingo! He/She ends up being the one with the overblown ego. Many musicians who have music pre-planned in it's entirety prior to recording it are serious about producing an idea. That shouldn't be confused with having an ego simply because another musician in the band (who apparently does not understand this composer's approach) , wants to change the music...and justify's the notion by accusing the composer of having a inflated ego. Street musicians often say..."If it's my baby then leave it alone" It's simply a matter of observing the situation before printing your own version of it in a magazine...which is my advice to rock journalists.
I don't know for sure if Genesis were on a mission to compete with Gabriel. Remember that Tony Banks was a fine writer anyway and perhaps it just appears that they may have been on a ego trip. Roger Waters stated in the past that if he had allowed Gilmour to change or re-arrange his work for Wish You Were Here, that the album would differ in musical style and possibly not be as appealing to the thousands of Floyd fans who know the songs and appreciate the end product. Of course the album would have sounded much different, but it's too late now and it would be like changing the composition on Sgt. Pepper 40 years later. The fans love what Waters contributed on W.Y.W.H. and any "what if' ..is not considered because so much time has exceeded. If fans were able to hear the album today with all the sections Gilmour had suggested over Waters ideas, they might dislike it. Or any Floyd album for that matter where Gilmour's ideas were taken over by Waters'. On another note...if Gilmour had been allowed to inject all his sincere ideas between 75' to 82' ...would anyone truly know the difference? It's catch 22 or just a big mystery with a lot of what if's. At any rate, The ego's clashed in that particular case.
When Fripp wrote the piece RED, Bruford didn't understand what to do with the piece and was not giving Fripp the musical balance he desired at that time. Even though the recording is appealing to members on P.A., Fripp truly didn't accomplish what he desired in the drum department until he recorded "Breathless". It's difficult to understand just how Fripp wanted RED to sound and evidently he settled for what we all hear on record, although he was personally disappointed in it.
Edited by TODDLER - September 19 2014 at 09:40
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Mind & Muse: The Ego and Creating Prog Music
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