I often wonder if my songs are getting too complicated...too many changes...etc...anyone else experience this in their writing process?

When I begam writing, I was heavily into experimentation...trying to be 'unique'. The process was VERY educational and helped me to orchestrate things very well. Eventually, I was lucky enough to have played in a band with a really great and unique singer. My writing style became much simpler, with a focus on the guy's voice.

As a result, I have taken all the knowledge I have gained (and am constantly learning) and have put it to judicious use. I no longer write very complicated things, but the layering and texturing backing it all is what really keeps me in top form. So, while the song ideas are simpler and more direct, I can still use all that wacky stuff, just not so overtly.

What I really want to say is that you have to do what's right for the SONG, and not for your own ego, or anyone else's. Try to maintain focus, and get your complicated stuff to work TOWARD the song and not against it.

And we ALL go a bit overboard anyway, so hell, have fun with your crazy stuff! But don't forget that there's a REASON they call them 'chord PROGRESSIONS'-don't lose sight of that!

I think it depends on the type of music you're writing. If you write music that Steve Vai would play along to then you can throw a lot more variation in. If it's something that Stevie Ray vaughn would play to then you wouldn't need as much variation.
Since it's your own music though, just write as much as you want and change or eliminate things as you go along.
Home Unit's one of the best writers I know, and the thing that makes his stuff so unique I believe, isn't the amount of chords he puts into his music, it's the way he structures them, and the timing changes he uses. Try experimenting with different timings and see what you can come up with.
If you get a chance go over to www.freedrive.com (http://www.freedrive.com) and listen to some of his stuff if it's still on there.

I've written stuff with lots of chords before, and some of it sounded great. My bassist at the time thought that it was great BECAUSE it had loads of chords. That was the serious wrong idea.

As I started writing simpler & simpler songs, he assumed they must be bad just 'cos they didn't have loads of chords.

I still find myself drifting off into 9, 10 or more chord progressions, when I'm noodling around trying to get a chorus right. But ususally take some time away for a coffee, then go back and see which parts are best, and are actually GOING somewhere, then pare it down.

Maybe use the left over chords as the starting point for another song if they inspire me y'know?

One "rule" I always try to keep in mind with music is the "no rules" theory. This helps you to think outside the box and try different things. What it likely boils down to is if what you're playing flows and sounds right to form a cohesive song.

I think this was a problem with VH3. To me, "One I Want" is an example of a song being all over the place and more like a collection of different parts instead of a solid song. In this case, too much changes.

I'd say that the same idea can apply to solos. Sometimes you can say something with one note instead of a whole bunch. It just depends on how it all works with the song.

Spot on kpl. If it sounds good, it IS good, as they say.

Great advice gents...