Photo: Seth Wonner
WEST SEATTLE, Washington, August 12, 2010 (WSFB) – On occasion, you hear music from outside the boundaries of your music collection that sparks interest and lends itself an inclination of further study. Many times, the investigation leads to a musical cold case. Not so when it comes to Lincoln Barr and Red Jacket Mine.
Lincoln’s lyrics are lucid without being pretentious. Brief, provocative scriptural overtones make ones ears perk up slightly as you listen to the musical homily. The tunes are melodic and sweet with an often ethereal tone seemingly designed to draw the listener into a dream-like state, where words cascade effortlessly through the soul.
We first met Lincoln back in April when his band Red Jacket Mine played a gig with Nathan Wade and the Dark Pioneers at A Terrible Beauty in Renton. These musical brothers-in-arms delivered a memorable performance, including an astounding cover of Pink Floyd’s Breathe.
The evening was not without ample injections of humor. Lincoln and Nathan passed around witty tidbits, with each feeding off the others innuendo. If memory serves, there were even a few exclamations of “bukkake!” slathered about the latter, post-cocktail consumption set. You can’t beat that with a damn stick.
Recently, Lincoln took some time to oblige the ol’ Funblog with answers to a few questions:
WSFB: Where do you draw your inspiration and motivation for songwriting?
LB: This may seem pathetic, but my sense of self-worth is tied pretty directly to songwriting. When the songs are really rolling, you feel like a golden goose…and when they temporarily dry up, it can leave you pretty low. But they always come back around when you need ‘em. In my clearest moments, I like to look at songwriting more like a trade, rather than a mystical thing – though it can certainly feel that way at its best. It’s more about putting in the time and making space for creativity.
It’s an endlessly fascinating exercise…since my songs don’t have a “message,” or even many stories to speak of, lyric writing seems to be more about fitting the puzzle pieces together and playing with language. I went to school for English, so I’m no stranger to syllable-counting and internal rhyme schemes. While I’ve got no desire to write a sestina ever again, it’s fun to make your own set of rules and set about breaking them.
Musically, I think I’m usually trying to suggest a mood with interesting harmonic choices…for instance, juxtaposing pop or soul/gospel melodies over dissonant chords. Having a band full of great musicians and working with wizards like Ken Stringfellow and Eyvind Kang certainly helps.
WSFB: That’s not pathetic at all. Our sense of self-worth is directly tied to funblogging. When did you first realize you wanted to pursue the musical path?
LB: I’m still not sure I have much musical talent, but I’m so good at the between-song banter, I’ve had to cultivate a bit of musicality to accent my comedy routines. I first picked up the guitar at 13, and started tinkering with writing my own songs in high scool. In college, I finally bought a four-track and started committing my heavily Guided By Voices-influenced pop creations to tape, and shortly thereafter, Red Jacket Mine was born.
WSFB: What holy scripture do you derive your lyrical ecumenical references?
LB: I grew up in what they call the ‘mid-South,’ splitting my time between the Missouri bootheel and northwest Mississippi, where religion is an undeniable part of mainstream culture. I was raised in the Pentecostal church, and while I’m by no means a religious (or even ’spiritual’) adult, I can’t deny the influence the language and imagery of the Bible has had on me. All fairytales and dogma notwithstanding, it’s a serious piece of literature.
That said, my personal holy texts are Robert Gordon’s It Came From Memphis and Big Star’s Third/Sister Lovers.
WSFB: Aha! So you spent a little time straddling the Manson / Nixon line. That’ll build character! What’s are your top 3 Seattle live music venues?
LB: The Crocodile, the Tractor Tavern, and for pure divey splendor and unflagging hospitality, the Sunset Tavern. Neumos is also quite nice.
WSFB: Ah yes, those places on the other side of the bridge. Good venues all! If you could light an instrument on fire at the end of a performance – other than a guitar – what instrument would that be?
LB: I’ve always wanted to see Clarence Clemons playing a flaming saxophone. I’d also love to torch the Dave Matthews Band guy’s fiddle…at the beginning of a performance.
Have a listen to Red Jacket Mine!
Don’t (Settle Your Debts On The Phone) from the album Hello, Old Cloud:
FUNBLOG BONUS! Free download of Red Jacket Mine’s Fascinated from the album Lovers Lookout – HERE.
Lincoln Barr performs solo this Saturday night at Shadowland in West Seattle (9:00PM, 21+ – FREE!).
Come enjoy some adult beverages, delicious food, soothing atmosphere, and a musical performance by this remarkable singer-songwriter.
Tell ‘em Funblog sent you and receive a blank stare.
info@westseattlefunblog.com
LB: This may seem pathetic, but my sense of self-worth is tied pretty directly to songwriting. When the songs are really rolling, you feel like a golden goose…and when they temporarily dry up, it can leave you pretty low. But they always come back around when you need ‘em. In my clearest moments, I like to look at songwriting more like a trade, rather than a mystical thing – though it can certainly feel that way at its best. It’s more about putting in the time and making space for creativity.
It’s an endlessly fascinating exercise…since my songs don’t have a “message,” or even many stories to speak of, lyric writing seems to be more about fitting the puzzle pieces together and playing with language. I went to school for English, so I’m no stranger to syllable-counting and internal rhyme schemes. While I’ve got no desire to write a sestina ever again, it’s fun to make your own set of rules and set about breaking them.
Musically, I think I’m usually trying to suggest a mood with interesting harmonic choices…for instance, juxtaposing pop or soul/gospel melodies over dissonant chords. Having a band full of great musicians and working with wizards like Ken Stringfellow and Eyvind Kang certainly helps.
WSFB: When did you first realize you had musical talent?
LB: I’m still not sure I have much musical talent, but I’m so good at the between-song banter, I’ve had to cultivate a bit of musicality to accent my comedy routines. I first picked up the guitar at 13, and started tinkering with writing my own songs in high scool. In college, I finally bought a four-track and started committing my heavily Guided By Voices-influenced pop creations to tape, and shortly thereafter, Red Jacket Mine was born.
WSFB: What holy scripture do you derive your lyrical ecumenical references?
LB: I grew up in what they call the ‘mid-South,’ splitting my time between the Missouri bootheel and northwest Mississippi, where religion is an undeniable part of mainstream culture. I was raised in the Pentecostal church, and while I’m by no means a religious (or even ’spiritual’) adult, I can’t deny the influence the language and imagery of the Bible has had on me. All fairytales and dogma notwithstanding, it’s a serious piece of literature.
That said, my personal holy texts are Robert Gordon’s It Came From Memphis and Big Star’s Third/Sister Lovers.
WSFB: What’s are your top 3 Seattle live music venues?
LB: The Crocodile, the Tractor Tavern, and for pure divey splendor and unflagging hospitality, the Sunset Tavern. Neumos is also quite nice.
WSFB: If you could light an instrument on fire at the end of a performance – other than a guitar – what instrument would that be?
LB: I’ve always wanted to see Clarence Clemons playing a flaming saxophone. I’d also love to torch the Dave Matthews Band guy’s fiddle…at the beginning of a performance.
