"I think there is an audience for Soul and Blues music today because people are starved for music that's real and music that is played by real musicians. Most music today has the same cookie cutter formula with the same beats and a lot of that stuff sounds the same."

Scott Ward: The Knight of Muscle Shoals

Bassist and session artist Scott Ward has long revered the history of Muscle Shoals, Alabama, its musicians and the iconic "Muscle Shoals Sound." Over the years, Ward has worked with and learned from the world class musicians and engineers of the region, many of whom knew Wilson Pickett, wrote with him or played on his biggest records, thus inspiring this record. Alabama based musician Scott Ward released an 12-tracks album titled "I Believe I'll Run On - A Tribute To Wilson Pickett” (2024, Nola Blue Records) with many special guests (Steve Cropper, Jimmy Hall, Paul Thorn, Christine Ohlman, Skinny Molly and others). The musical legacy of Wilson Pickett is celebrated with this collection of tunes recorded primarily at Wishbone Recording Studio in Muscle Shoals, Alabama. Previous project of Scott, The Scott Ward Band was formed in North Alabama in 2010. It's members were Scott Ward on bass and lead vocals, Jeff Ford on guitar, and Ken Beasley on drums. Scott and Ken had been in Gadsden State's Showband, led by legendary Alabama Band Director Rip Reagan, together. Scott and Jeff had been playing music together since the late '80s also. In 2011 they recorded an album at 48 West Studios in Cullman, Al called "Muscle Shoals Down Through Decatur" which featured their friend, Rock and Roll Hall of Famer Spooner Oldham on keyboards. The CD was basically a tribute to the session musicians of Muscle Shoals- Spooner, Dan Penn, Walt Aldridge, Earl "Peanutt" Montgomery, Johnny Wyker, Patterson Hood, and others. Tommy York played a lot of guitars and several different instruments on the project, and after release, it received critical acclaim, and considerable airplay, especially among college radio stations.             (Photo: Scott Ward has long revered the history of Muscle Shoals, AL)

The CD was distributed to FYE music stores in the Southeast and gave Scott the opportunity to produce the compilation, "A Heaping Helping- Songs For the Breast Cancer Research Foundation of Alabama" that featured songs by Spooner and other Muscle Shoals legends such as Donnie Fritts, Mark Narmore, David Hood and The Decoys, Johnny Wyker and Sailcat, as well as Christine Ohlman of the Saturday Night Live Band, Shelby Lynne, Bekka Bramlett, Greg Martin of the Kentucky Headhunters, The Oak Ridge Boys and many other great artists. Scott's mother is a breast cancer survivor. Scott's band also had the good fortune of backing Alabama Soul/R&B legend Ralph "Soul" Jackson at several shows. In 2013 with the help of Tonya and Kelvin Holly at Cypress Moon Studios, engineer and guitarist Grant Walden, and Hall of Fame country songwriter Mark Narmore, Scott started recording a new album which features Grant, Kelvin, and Mark on guitars, Spooner on keys, "Swamper" David Hood on bass, Chad Gamble of Jason Isbell and the 400 Unit and legendary Muscle Shoals drummer Jim "Bebop" Evans on guitar.

Interview by Michael Limnios                       Archive: Scott Ward, 2014 interview

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process? Where does your creative drive come from?

Hopefully, I have learned a lot since the first demos that I recorded in 2005, and with the albums I've done in the past. I've been fortunate to work with some of the best musicians and engineers in the world- Spooner, David Hood, Steve Cropper, Gene Chrisman, Jimmy Hall, Clayton Ivey, Travis Wammack, Billy Lawson, Mark Narmore, and others. I've seen Billy and Jimmy Nutt do some amazing things behind the board, and Mark has been my songwriting mentor. I've always tried to make the process of making music fun and to show great respect for the great session players and artists. I've always tried to make my latest project better than the one before. I've always loved music, even before I picked up the guitar and it has been a big part of my life. There's something inside me that is always burning- trying to do something bigger and better and when I'm not listening to music or playing it, I'm trying to think of ideas for the future or to try and see what group of musicians I can get together.

What moment changed your music life the most? What´s been the highlights in your life and career so far?

Back in 1990, my college band opened for the Desert Rose Band in Panama City, and I was able to meet John Jorgenson, Chris Hillman of the Byrds, and the rest of the band. Those guys were my heroes, and I was awestruck. I knew I had to try and find a way to work in the music business. I also started to take a deep dive into The Byrds and Flying Burrito Brothers and it led me to Muscle Shoals- Dan Penn, Spooner Oldham, and Chips Moman. Chris told me Gram Parsons brought "Dark End Of The Street" and "Do Right Man/Do Right Woman to the FBBs to record. Since that time in 1990, John Jorgenson has always been a great help to me and did a fantastic cut of "Danger Zone" for the tribute album.

"The most important lesson I have learned is to savor every minute you have in the studio with all the legendary musicians I have mentioned because it may never happen again. A lot of times you are so focused on the music, and everything involved with a recording session, you don't really have time to relax and enjoy the experience." (Photo: Scott Ward & Eddie Floyd)

How has the Blues/Soul and R&B music influenced your views of the world and the journeys you’ve taken?

I grew up listening to Rock and Roll for the most part- the first records I bought were by Ricky Nelson, The Beach Boys, The Beatles, Cheap Trick, Billy Joel, and ELO. Movies such as "The Big Chill", "American Graffiti", "The Hollywood Knights", and "The Blues Brothers" introduced me to a whole new world, musically speaking- songs such as "In The Midnight Hour", "When A Man Loves A Woman" and "Green Onions" specifically. I never dreamed I would have the opportunity to work with musicians and songwriters from that great era of music- Spooner Oldham, David Hood, Steve Cropper, Jimmy Johnson, and others. In the scene from "The Blues Brothers" where they have to play The Theme from "Rawhide" to try and satisfy the patrons of Bob's Country Bunker's desire for Country and Western music- Steve Cropper appears with his Telecaster and plays a guitar solo that was new and different to me. I knew I had to somehow try and learn the guitar. I was able to relate that story to Steve when I was in the studio with him 35 years later. I learned to play guitar in '86 and after being offered a scholarship for Gadsden State's (Alabama) Showband, if I could learn to play bass, I was able to get a full scholarship. I was always drawn to guitar parts in the lower register anyway, I became immersed in the bass guitar work of James Jamerson, David Hood, Duck Dunn, and although I did not know who he was at the time, Tommy Cogbill, who played on "Son Of A Preacher Man" "Respect" "Mustang Sally" "Memphis Soul Stew" and others.

About 15 years later, David Hood invited me to come to Muscle Shoals to hear his band The Decoys- those guys have always been my heroes- and I met Spooner Oldham, Donnie Fritts, and Earl "Peanutt" Montgomery, who wrote songs with Arthur Alexander, and has bad songs recorded by Bob Dylan, Elvis Costello, Gram Parsons and Emmylou Harris and 73 songs with George Jones. I really loved the atmosphere of Muscle Shoals- it was really laid back and this certain feeling in the air that I can still feel today. When I visited FAME Studios, the thing that was I was most in awe of was the Gold Record for Wilson Pickett's "Mustang Sally' that also listed the musicians. I wanted to learn all I could about all of the great records that were recorded there.

From the musical and feeling point of view is there any difference between an old cat great (Blues/Soul/R&B) musician and young generation artists?

I believe there is. I've always heard you have to live the blues to play it. I think there are a lot of great young artists and musicians coming along, but when you get in a studio with Steve Cropper, Spooner Oldham, David Hood, Jimmy Hall and some of the others, there's something magical in the air. I really like Candice Ivory and Cedric Burnside as far as new artists. I hope I have the chance to work with them at some point.

"I've always tried to make the process of making music fun and to show great respect for the great session players and artists. I've always tried to make my latest project better than the one before. I've always loved music, even before I picked up the guitar and it has been a big part of my life. There's something inside me that is always burning- trying to do something bigger and better and when I'm not listening to music or playing it, I'm trying to think of ideas for the future or to try and see what group of musicians I can get together." (Photo: Scott Ward with the daughter of Wilson Pickett, Veda in studio)

Currently you’ve one release tribute to Wilson Picket’s music legacy. How did your relationship with Wilson Picket’s music come about?

Sadly, I never got to meet Wilson. However, I did have the opportunity to produce some tracks for his daughter Veda at FAME Studios in 2016. The first studio I visited when I first went to Muscle Shoals over twenty years ago was FAME and I saw all the Gold Records of Wilson's records- "Mustang Sally", "Land Of 1,000 Dances" and the others and I was amazed that Spooner Oldham, Jimmy Johnson, Travis Wammack and others played on those. I really loved the bass, keyboards, and horns on those records, and I started to listen to more and more of Wilson's music and Muscle Shoals in general.

What are you doing to keep Wilson Picket’s music relevant today, to develop it and present it to the new generation?

I guess the biggest thing is the tribute album- promoting it and talking with people who may not be familiar with Wilson's music or any of the rich history of Muscle Shoals.

If you had a question you would like to ask Wilson Picket, what would it be? What is your favourite Wilson Picket’s tune? 

I would ask him how he was able to scream like he did. Jimmy Johnson of the Muscle Shoals Rhythm Section referred to him as a professional screamer. It's tough to pick just one favorite but I guess I would pick "Land Of 1000 Dances" because of the bass, the horns, and the high energy of the song.

Do you have any interesting stories about the making of the new album “I Believe I'll Run On - A Tribute To Wilson Pickett?

I've been fortunate to work on this project with many musicians and producers who knew Wilson and wrote songs with him and who also played on his biggest records. Spooner Oldham told me that when he was playing the organ part for the original recording of "Mustang Sally" he was trying to emulate the sound of a motorcycle speeding through the studio. He also told the story of he and Wilson being in a soundbooth and Wilson didn't know the mic was live before unleashing a string of expletives giving everyone in the studio an "earful"-haha. Steve Cropper also told me that he and Wilson wrote "99 And A Half Won't Do" and "634-5789" on the same day... I also had the opportunity to produce some tracks with Wilson's daughter Veda (Pickett Neal) at FAME in 2016. About two weeks after that I had a bad car accident that sidelined me for about a year.

"I've always tried to make the process of making music fun and to show great respect for the great session players and artists. I've always tried to make my latest project better than the one before. I've always loved music, even before I picked up the guitar and it has been a big part of my life." (Photos: Scott Ward & Spooner Oldham / 12-tracks album "I Believe I'll Run On - A Tribute To Wilson Pickett” by Nola Blue Records with many special guests; Steve Cropper, Jimmy Hall, Christine Ohlman, Skinny Molly and others)

Why do you think that Wilson Pickett music continues to generate such a devoted following?

I think Wilson's music is special because he generated so much energy and excitement and had a vocal style like no one else- Jimmy Johnson of The Muscle Shoals Rhythm Section referred to him as a "professional screamer". He also had some great musicians on his records such as The Muscle Shoals Rhythm Section, The Memphis Boys, and The Stax Rhythm Section. Travis Wammack also played on some of his records at FAME in the early '70s. Also, his songs have been featured in many commercials and movies- "Hello Sunshine" for Walmart, and "Barefootin" for Grey Goose Vodka, just to name a couple.

Do you think there is an audience for Soul/Blues music in its current state?

I think there is an audience for Soul and Blues music today because people are starved for music that's real and music that is played by real musicians. Most music today has the same cookie cutter formula with the same beats and a lot of that stuff sounds the same. From my observations, artists and bands such as Amy Winehouse, Adele, Alicia Keys, Brittany Howard-solo and as lead vocalists of Alabama Shakes, St Paul and The Broken Bones, The Tedeschi Trucks Band, and Marcus King have demonstrated this. in the last 10-15 years.

If you could change one thing in the musical world and it would become a reality, what would that be?

I actually wish the music business was the way it was before streaming and AI. I guess I came along a little too late.

Why did you think that the Muscle Shoals music continues to generate such a devoted following?

I think the main reason that Muscle Shoals music still remains relevant and still has a devoted following is because the music is real and the people are real- singers and writers like Patterson Hood, Mike Cooley, John Paul White, and Jason Isbell write about real people, places and real life experiences. They also dedicate themselves to being the best musicians they can- when you play a gig in Muscle Shoals you always have to be prepared- you never know what legendary musician might be listening- it might be Spooner Oldhmam, David Hood, Earl "Peanutt" Montgomery, of "Funky Donnie Fritts- you don't want to mess up in front of those guys.

"I never dreamed I would have the opportunity to work with musicians and songwriters from that great era of music- Spooner Oldham, David Hood, Steve Cropper, Jimmy Johnson, and others. In the scene from "The Blues Brothers" where they have to play The Theme from "Rawhide" to try and satisfy the patrons of Bob's Country Bunker's desire for Country and Western music- Steve Cropper appears with his Telecaster and plays a guitar solo that was new and different to me." (Photo: Scott Ward & David Hood)

What is the impact of music on the socio-cultural implications? How do you want the music to affect people?

With this album "I Believe I'll Run On - A Tribute To Wilson Pickett” (2023), I wanted listeners to know how great the music of Wilson Pickett was and still is and that he had so many more dimensions than "Mustang Sally" and his early records and how many legendary artists he influenced such as Bruce Springsteen, Sammy Hagar, Joe Walsh, and so many others.

What's the balance in music between technique and soul? Why is it important to we preserve and spread Muscle Shoals Music?

I think music and the musicians in Muscle Shoals who play it, play more by feel and groove than they do technique. Most of the musicians I've ever been around there use chord charts and make up their own parts while recording the tracks. It's important to show the world, and even people here in our own state, how many great records were made in Muscle Shoals by Wilson, Aretha Franklin, Bob Dylan, Bob Seger, The Rolling Stones, Greg Allman, Julian Lennon, and many others were made in Muscle Shoals over the past 60 plus years. The documentary, which was released 10 years ago did a great job in spreading that message. The restoration of Muscle Shoals Sound and it becoming a functioning studio once again has also helped with many of today's best young artists recording their albums there in the past few years.

What are some of the most important lessons you have learned from your experience in the music paths?

The most important lesson I have learned is to savor every minute you have in the studio with all the legendary musicians I have mentioned because it may never happen again. A lot of times you are so focused on the music, and everything involved with a recording session, you don't really have time to relax and enjoy the experience. So many have passed on in the last few years- Donnie Fritts, Jesse Boyce, Pete Carr, Jimmy Johnson, Roger Hawkins, Barry Beckett, Scott Boyer, Johnny Wyker, Rick Hall, and Jerry Masters to name a few. I also had the chance to work with Russell Smith of the Amazing Rhythm Aces before he died. I've been told that that was the last studio recording he ever did. I've also learned to listen to people and to enjoy their stories from the road and from the studio, and hope that the opportunities keep coming.

Scott Ward - Home

(Scott Ward / Photo by Andy Keenum)