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Indeed, if you did the calculations, you swiftly realized that the band must concoct a tune every 6 minutes to maintain the desired pace, AND THEY MUST ADHERE TO THE PACE. That’s the challenge. You must ensure that they complete 10 songs within one hour.

Here’s how I approach it:

I divide the band into pairs. If they are a three-piece, I will step in and join the fray. Each pair receives a guitar, a modest amp, and a small PA system. I erect a wall of gobos (sound-deadening apparatus) between them, and then I kick things off while simultaneously recording the guitar amp and vocal microphone from each respective room. One individual is tasked with singing, while the other is assigned guitar duties. After each song is composed, they must swap roles.

While this methodology may seem eccentric, it is the most effective way to foster creative collaboration within a band. It dismantles numerous barriers, and it is not uncommon for roughly 10% of the resulting songs to exhibit true brilliance. I am fond of this approach because it resolves several issues. It compels the band to function as a cohesive unit.

One problem that the 10 songs in one hour challenge resolves is the notion that the singer alone must devise all the melodies. Why? Sure, a singer should possess vocal prowess, but in my view, the melody is the crux of the entire song. The difference between a magnificent composition and a lackluster one lies solely in the vocal melody, as far as I am concerned. So, let us involve the entire band in crafting the melodies. You might be astounded by the melodic ingenuity of your drummer.

Many individuals are reserved when it comes to assuming the role of vocalist. I have never encountered any Kansas-esque bands in which the entire group can sing. I consider myself fortunate if I come across a band with a single competent vocalist. Therefore, the fellow who is completely unfamiliar with singing must step up to the microphone and give it a shot. Even when an unskilled vocalist takes the reins, their intent is usually discernible. A polished singer would have no problem elevating your drummer’s melody. Thus, when you compel someone to sing, they often adapt to the situation.

It forces everyone to play the guitar or a similar instrument. This is marvelous. It compels the drummer to tackle an unfamiliar instrument. If they struggle with it, they must confront that challenge. It is an integral part of the process. They can play simple one-note lines if necessary. I simply desire a song. Proficiency on the instrument scarcely affects the quality of the song.

While there are definitely exceptions, a band that is unaccustomed to generating a multitude of songs will simply not produce many songs. By adapting to this lightning-fast method, the band comprehends that not every song must be exceptional. In fact, deliberately crafting a few abysmal songs is necessary to stimulate your brain to conceive something intriguing. Bands often play it safe. They believe that each song must be remarkable. In reality, it is quite the opposite. I observed this phenomenon particularly among 80s pop groups who had the luxury of not being dropped after their inaugural album like they often are nowadays. They would concoct some ludicrous, nonsensical songs at times. Give a listen to several tracks by the Human League. They achieved at least 3 top 10 hits, but then delve into “Black Hit of Space” or “Empire State Human”. It is evident that they were just messing around. Your greatest creations and your abominable ones emerge when you are truly being inventive and experimenting.

I am not asserting that the 10 songs in one hour method is the optimal approach for every band. I believe it is an exceptional methodology for bands that need to coalesce as a collective. It serves as a remarkable songwriting aid for any band that solely relies on the singer to compose tunes. There is no finger-pointing. Each band member bears the responsibility of crafting exceptional music in this scenario.

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Ihab Salloum