M. Ward Quotes
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I treat the act of making a record very much like working in a laboratory, experimenting with sounds and ideas... Whoever chooses to latch onto it, great; whoever doesn't, that's fine, too. The reaction always pales in comparison to the weight of the act of production.
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I have a very strong belief in God.
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I do watch 'American Idol' sometimes. It's not really that pleasurable... I take that back. It is the epitome of a guilty pleasure. Sometimes there's some good singers on that show.
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One of the great things about music is that it has the capability of time travel - you smell a certain smell in the room and it takes you back to your childhood. I feel like music is able to do that, and it happens to me all the time.
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I'm somebody who doesn't feel the need to be in the driver's seat all the time. I appreciate the perspective of being in the passenger's seat sometimes, and I feel fortunate for that because I've learned a lot from that perspective.
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I get annoyed with movies or books, songs or records that deliberately try to make you feel a certain way.
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There's a relationship between music and spirituality and inspiration and to a certain extent improvisation that draws me in, because I don't totally understand it. I know that those relationships have been telling me, since I started making records, where to go. What to write down.
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I believe in working with songs that have personal value for me.
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When I was about 15, I picked up the guitar and learned how to play by going through Beatles chords books. I got this Christmas gift with the entire Beatles catalog.
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When I first started making music, it was learning other people's songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
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I definitely don't see myself as much of a singer, because my upbringing is really based around the guitar, learning chord progressions and that sort of thing. So the singing aspect of what I do has been a secondary adventure.
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It's a hard thing to explain, but the more I arrange for strings, the more I realize the possibilities.
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I had the naive, simplistic idea that producers and writers and artists of the time helped in a minuscule way to change the mind-set of America.
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My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.
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I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.
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The way that I'm working now is basically the way I've been working since I was a kid: Find the greatest artist in whatever you do, and rip them off with respect. I think there's a big difference between ripping off with respect and ripping off in disrespect.
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If you think of the way Howlin' Wolf made records, you get the feeling there wasn't a production manager onsite, or a publicist having his say on how he should sing the songs. When you listen to his records, you feel like you're tapping into his voice.
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When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas. Eventually, that process of using my voice to bring ideas across became more complicated, and I felt I could use it more as an expressive tool.
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I went every Sunday to church when I was growing up, and I think that music had an affect on me before my memory can recall.
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From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.
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Try to take your vision and ego as far away from the song as possible. Give as much respect as you can to the song and the initial inspiration.
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I like using concrete imagery, but I don't feel that's what it's about. It's a combination of concrete and abstract to take the listener somewhere they know better than you. That's true for music, seeing a painting, watching a movie... it's all some kind of an escape.
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When I started to take literature and poetry classes, I just started to get inspired by these new incredible works of art that I had never seen or heard of before. I wrote a lot of bad high-school poetry, just like pretty much everyone did, I think, at some point. For me, the inspiration never really stopped.
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I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.