THE WALLFLOWERS, SCHOOL OF FISH & MORE
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Ward on tour with Gogol Bordello, at Danforth Music Hall, Commodore Ballroom Photos © Alison Clarke |
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A Remembrance of Michael Ward
Interview by Pete Crigler
(June 2024)
I became friends with Michael Ward around 2014-2015. I was working on my third book of musician interviews that never came to pass. I wanted to interview someone from the Wallflowers and Michael was game. We had a good interview and then we became Facebook acquaintances. Always good for a joke particularly when I heard a Wallflowers song whether I was at the grocery store or KFC eating dinner. On April 1, 2024, Michael unfortunately and prematurely passed away after complications involving diabetes.
Michael had had his issues over the years that I've known him but I kept myself out of that. I never knew the extent and I didn't want to. Ironically, on April 2 around 12:30 in the afternoon, I was walking around a Walmart in Richmond, Virginia and on the radio came the Wallflowers' version of Bowie's classic "Heroes." Originally recorded for the 1998 Godzilla movie, I never hear the song anymore and while it isn't very memorable or anything, I messaged Michael to let him know, not knowing I wouldn't hear from him anymore. Our last message was in September of 2023 when I let him know my kindergarten class was learning about schools of fish.
I'm sad and stunned that I won't be able to chat with him anymore or do any further interviews with him. In 2023, he even reconnected with Jakob Dylan after years of estrangement and who knows what would've become of it. He's probably having a blast with all his friends and reconnecting with the late School of Fish singer/songwriter Josh Clayton-Felt all over again.
He was a really nice guy and I'm sad that I had to write all of this.
Michael Ward is a man of many bands. Getting his start in the alt-rock band School of Fish with Josh Clayton-Felt, the band petered out after two records and he found himself playing guitar alongside Jakob Dylan in the multi-platinum, Grammy award winning Wallflowers. After that job ended in 2001, he joined up with Ben Harper, played as a session guitarist and has also worked with Gogol Bordello, among others. Taking time out to answer some questions turned into quite the interesting interview.
PSF: When did you become interested in playing guitar?
MW: When I was ten years old, I was exposed to KISS. Blew my mind. When Peter Criss was my favorite member, I asked my parents for a drum set. When they wisely gave me a practice pad and a pair of drum sticks, my favorite guy became Ace Frehley. He is the sole reason I wanted to play guitar.
PSF: When did you meet Josh Clayton-Felt?
MW: After high school I moved to LA to attend GIT [Guitar Institute of Technology] , the guitar school. I started teaching and looking for gigs. Long story but I ended up in someone's kitchen, rehearsing with a bunch of drug addicts. The one guy who seemed a little more sane was Josh Clayton-Felt. I sheepishly asked him if he'd like to start a band with me. And to my great benefit, he agreed.
PSF: How did School of Fish get started and what was the scene in L.A. like?
MW: The scene in 1988 was of course very different to today. There were bands and artists everywhere. Josh and I didn't have a rhythm section so we played live with programmed bass and drum tracks. Which is why there's a lot of that on the first album.
PSF: How did the band get signed to Capitol and what was that like?
MW: To be honest, it wasn't that difficult to sign to a major label. There were several interested in us, and we chose Capitol.
We were doing gigs and some showcases for several labels. We had a manager named Sandy Tanaka helping us out. The Capitol experience was very enjoyable. It was a fun time. And I'd never stepped foot into a recording studio before.
PSF: What was success like with "3 Strange Days"?
MW: The whole "3 Strange Days" thing was incredible for me. Although we did end up as the dreaded "one hit wonder." We chose John Porter to produce. He's a great guy. The label actually liked the demo Josh and I did so much that they basically demanded the album version was note for note the same. If you'd ever heard the two, that's pretty much the way it was.
PSF: How did Dominic Nardini [bassist] and Michael Petrak [drummer] come to leave?
MW: We were young guys in a band, lots of egos, insecurities, musicianship shortcomings, and general inexperience (I'm talking about myself here!). There just came a time when we decided to make a change. By the way, I'm better friends with those two now than back in the day.
PSF: What ultimately caused the band to split?
MW: We made the second record, Human Cannonball [1993], with Matt Wallace producing. In my opinion, it's a far superior album. But the label changed heads of state, we didn't have another "hit," and I think Josh got a little disillusioned and wanted to do his own thing. I clearly remember sitting in a hotel room with him before a show in Detroit and really really asking him not to leave the band. But his mind was made up. I thought we made a really good songwriting partnership and I wanted to keep going.
PSF: What are your best memories of Josh?
MW: My favorite memories of Josh were just all the goofy shit we did as young 20-somethings. We actually disagreed and fought quite a bit. But-shortly before he passed from testicular cancer [2000], we worked on a couple new songs together and talked of reforming the band. He told me "I just need to finish this solo record first." But fate intervened. He earlier has asked me to play guitar on the song "Trumpet" from his first solo album [Inarticulate Nature Boy, 1996]. It's one of my favorite recorded solos of mine. We were cool with each other for sure.
PSF: What do you hope the band's legacy will be?
MW: Honestly, I don't feel the band will have much of a legacy at all. If anything, you will see us on some 90s one hit wonder VH-1 program or something.
PSF: What was it like working with John Hiatt?
MW: The John Hiatt thing came about because Matt Wallace and I were hiking to the Hollywood sign after completing the second album. He told me he might be producing the next Hiatt album. And I remember stopping in my tracks and saying "I will do it for free." Me and Josh were big Hiatt fans. So, Matt had me come in and it worked out. It was my first ever session as a studio guy. I loved it. I was young and stupid and honored beyond belief.
PSF: How did you come to join the Wallflowers?
MW: After two Hiatt albums, second one was a live album, I started getting itchy and wanted to start my own band. I'm sure you've heard of Tiny Buddy? We changed music history. See the young and stupid reference above. Anyhow somehow, I got recommended to T Bone Burnett, who was producing some band called the Wallflowers. So, I went to the studio, slightly nervous but more experienced after the Hiatt stuff, and added guitar to the tracks. Mind you, there are many, many guitar players on that record. I never want to give the impression that all that stuff is me. Anyhow, after a week in the studio, Jakob Dylan asked me if I would join the band. But I told him I wasn't sure that I was ready to join a band. I told him I would love to play with them, record, I do live gigs, and help them find the perfect guitar player. I think he was a little put off by that, and it set the tone for the next several years of our relationship.
PSF: Was success quick or slow building with Bringing Down the Horse [1996]?
MW: Success with that album was like a tidal wave crashing over me. I had certainly never experienced anything like that. Nor did I expect it. There was never some certainty in my mind that we were going to sell 5 million records and tour a lot and make a lot of money and win a Grammy.
PSF: What was it like when "One Headlight" became a smash?
MW: The "One Headlight" thing was a total surprise to me. I liked "6th Avenue Heartache" better. And we had shot a never seen video for "One Headlight" and spent a TON of money on it. MTV hated and said "we love this song and this band but we will never play this. Shoot another video." So, we spent two rainy nights shooting the video under the Manhattan bridge. And it worked.
PSF: How did it feel to win Grammys?
MW: The Grammy was great. I mean, I don't really "believe" in awards, but it doesn't suck when you win one.
MW live with Gogol Bordello at Cabooza Plaza
Photo © Alison Clarke
PSF: What was the holdup recording (Breach) [1996]?
MW: The holdup on (Breach) was many, many things. We were out there working Horse and milking it for all we could. Our manager, one of the worst people I've ever worked with, wanted to produce the album but wouldn't admit it, so he hired another client of his to produce, so he could secretly call the shots (I like the guy whose name is on the record and I have nothing against him). We took a very long time in the studio, because the songs weren't there. At one point said manager insulted the living shit out of me and I walked out and didn't return. They called me on the final day of recording and I went in and did a couple guitar solos. It was a nightmare. And the album bombed. Because it sucks, and because our female teenage fans grew up and moved on.
PSF: Was there a lot of pressure making that record and did the band succumb to it?
MW: Yes. And yes.
PSF: What caused your departure from the band?
MW: I tried to quit and was talked into staying by clueless evil manager. So, we toured it for a year and they fired me.
PSF: Do you keep in touch with anyone from the band?
MW: I am great friends with Mario Calire, the former drummer. He is a great person and a world class drummer. I nicknamed him The Hammer. We are good friends to this day.
PSF: Any chance of playing with Jakob Dylan again?
MW: Next question.
PSF: How did you hook up with Ben Harper and what was that like?
MW: The first wives of Ben Harper and myself knew each before Ben and I did. We would hang out sometimes. Also, Ben opened a few shows for the Wallflowers. When Ben needed a new guitar player, he called me. At the time, I was playing with Shelby Lynne. But I was happy to hook up with Ben and the guys. I enjoyed my time with them immensely. A very creative environment.
PSF: What are you currently up to?
MW: Currently I'm doing some studio work, doing some soundtrack music for some videos and short films, teaching guitar, and staying off the road to raise my three-year-old son Odin.
PSF: How do you feel about the nostalgia for 90's alt rock?
MW: Well, '90's rock nostalgia is OK by me! Personally, I think the '70's are the best for rock music and the '80's the absolute worst. Production was awful. If I were ever lumped into some 90s nostalgia thing, my feelings would not be hurt.
PSF: What do you hope your legacy will be?
MW: 'Legacy.' It's a heavy word. I don't think I have the kind of ego that lets me believe I will leave behind a legacy. I'm not Jimmy Page. I would hope people would recognize that I've always really cared about songs, guitar sounds, quality performance, and kicking some ass. But more importantly my legacy will be my two children, the friendships I've made. People are much more important that Grammy awards (Knock knock knock. Oh shit! The Grammy committee are coming for my award!).
Photo © Alison Clarke
