A Quote by Michael Ball
Musicals allow a depth of emotion that you don't get in another form of acting, the chord changes, the lyrics really affect people, so that in two hours, you've forgotten about things.
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When we do reggae, it's normally a one-chord or a two-chord, or whatever it is. With Sting, there'll be chord changes, key changes.
Weight issues, race issues will always be there and if you allow them to get to you and you allow them to affect you then yes they affect you. But my thing is I have so many other things to worry about I can't worry about other people's perception of me.
I loved Jimmy Reed, the chord changes, the lyrics.
I think musicals are a lowbrow, populist art form. And I don't mean lowbrow in a condescending way at all - they are designed to create delight, wonder, joy, surprise. And what becomes really interesting is when innovative or challenging or smart people take it and use the easy runway that the form allows to take people to another planet, or another place. Or subvert it in some way.
I'm kind of a geek when it comes to talking about chord structures or melody, so I always loved in-depth conversations with musicians about things. I also enjoy when a fan can just put something on, and they really know nothing about music other than they like it and it touches them in some way.
Bird's mind and fingers work with incredible speed. He can imply four chord changes in a melodic pattern where another musician would have trouble inserting two.
I'm a method writer. In order to write about the emotion, I have to experience it. I get physically tired and exhausted, devoting hours and hours and hours to it.
As the chord changes go by, I don't so much think about a static chord voicing changing. I just see the notes on the neck change.
The first thing that inspires any song is a chord progression. When I have one I really like, I get into the lyrics even more.
Another part of the challenge was to bring back things that you've forgotten about and maybe some things you haven't forgotten about, recontextualize them and have the series make sense.
Before the show, there's about two or two and a half hours of meet and greets with radio stations, promoters, people who I need to see and thank and talk to to make sure they remember me. And then, I get - out of all that day of talking and smiling and shaking hands and getting photos, I get to sing for two hours.
Lyrics can't do what they do - or should do - when you're creating a musical with rock lyrics. There's plenty of room for rock musicals, just not all rock musicals.
They're odd beasts, musicals, but what I like about them is the way they allow windows into people's lives. When people sing, you get an opportunity to see a vulnerability, a glimpse of a life in a messed-up head.
When we talk about emotion, we really talk about a collection of behaviors that are produced by the brain. You can look at a person in the throes of an emotion and observe changes in the face, in the body posture, in the coloration of the skin and so on.
Depth on different levels is so important to me. You look at a band like The Beatles, all their material has so much depth to it. And I want people to be able to run away with my melodies and get lost in them and take the lyrics and be able to relate to them.
I see writing and acting as different parts of the same continuum. Writing is better for intense emotion. If you're very angry about something, you shouldn't present it as strongly when you're acting. But if you're really angry and writing about it, that's the best way to get it out and across.
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