Every top pipe band needs a composer and, ideally, it has two. I’ve been reading Lennon: The Man, the Myth, the Music-The Definitive Life by Tim Riley. My mother was a big fan of The Beatles, and some of my first musical memories are (along with my dad’s fondness for Jimmy Shand records) listening repeatedly to Rubber Soul and Revolver on our green wool living room rug. One of the first movies I saw in an actual theater was Yellow Submarine. I would have been five.
I know my Beatles, but Riley’s book opened my eyes wider to the Lennon-McCartney composing dynamic. The two were supreme collaborators and, more importantly, they were big-time rivals. Outdoing one another with musical originality was implicit.
Lennon showed McCartney his trippy “Strawberry Fields Forever,” and McCartney answered back within days with his nostalgic Liverpool memory with “Penny Lane.” McCartney’s maudlin 4/4 “Michelle” received a quick caustic 6/8 comeback from Lennon in “Norwegian Wood.”
At least until Magical Mystery Tour, they injected themselves into each other’s compositions. But from then on they drifted apart musically and emotionally. Almost all of the songs were still fantastic, but they lacked that certain Beatles brilliance when they worked collaboratively – for example, compare the collaborative “A Day in the Life” with the Lennon-only “Revolution.” (Incidentally, apparently McCartney’s “Fixing a Hole” is about him solving the gap in Lennon’s “A Day in the Life,” with the “woke up, fell out of bed” section.)
You can see a similar dynamic with other great composing partnerships in their heydays: Jagger & Richards; Simon & Garfunkel; Page & Plant. When they worked well together, they challenged one another with different thinking, and made otherwise predictable songs incredibly distinctive compositions. Their compositional styles pretty much mirror their very different personalities. The competitive and personal friction between them paid off.
Bands in the top grades are under pressure to be original. Just about every band with a distinct musical identity has a composer/arranger either in the ranks or on the outside funneling pieces to them. Bands that have two or more composers and arrangers who collaboratively debate, prod and critique each other’s works I would think have an advantage.
But that sort of constructive collaboration is usually stoked by a rivalry and competitive spirit. Goodness knows, pipers and drummers are driven by competition. But rivals often eventually fall out. They stop collaborating. They stop caring what the other thinks. They go their separate musical ways.
But as long as competitive composers can appreciate each other’s input, they and their bands should make the most of it. Great things happen when opposites attract.