M.Ward's second solo enterprise verifies the artist as one of those few songwriters who stand between the cracks of time, where he spins a hallucinatory, new universe out of old-world roots. Indeed, there's a real down-home, unpolished luster to End of Amnesia, both in execution and in songwriting, that gives it a timeless, old-fashioned pallor. And yet there's also something just slightly off in the songs, a strange, disembodied quality that seems to come at least partly from an ulterior place, be it real or imagined. That attribute is precisely what gives the music such a singular, distinctive sound and vision. Ward comes off like a sort of one-man the Band with nothing but a beat-up guitar and his sepia croak of a voice.
M. Ward's latest is a rough-cut Americana diamond, one crafted not simply from folk and bluegrass but also 50s AM radio, the saloon cabaret of studio-era Hollywood, and good old-fashioned indie rock. It's artists like M. Ward who make me contemplate why I write about music. I get my skin tingling to the acoustic guitars and I'm just thinking "Jesus, is this what it's about?" I'm trying to put the feeling this music gives me into words in an attempt to understand it, to convey how great it is and why, and maybe convince you that it's worth your cash or your bandwidth, and it occurs to me that I'm unsure why I do it– why I need to do it– and that, in the end, it's because I'm enjoying this and I want you to enjoy it, too.
Ward One: Along the Way is the debut solo album from Black Sabbath drummer Bill Ward. Originally released January 10, 1990, and features a wide array of guest musicians, including then-former Black Sabbath band member Ozzy Osbourne.