Country Fried Rock 1217: Lincoln Durham Embraced the Quiet to Find His Voice
Summary
From 2012: Lincoln Durham joined the crew on Country Fried Rock to chat about his musical journey, diving deep into the creative process that fuels his unique sound. He kicked things off by sharing how his early days playing the fiddle, thanks to his family, laid the groundwork for his evolution as an artist. The conversation took a turn as he revealed his transition from a shy kid behind the fiddle to a bold singer-songwriter, influenced by legends like Bob Dylan and Jimi Hendrix. They also touched on his recent album, The Shovel Versus The Howling Bones, discussing how his solitude during the writing process shaped his music, leading to a raw and captivating live performance style. As they wrapped up, Lincoln reflected on the Austin music scene and his plans for future projects, leaving listeners eager to hear what’s next from this dynamic artist.
Links
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- Lincoln Durham
- You may also enjoy this conversation from 2015 with Mason Lankford of Folk Family Revival
Show Notes
"The Art of Creation with Lincoln Durham"
In this episode, we dive deep into the world of musical creativity with Lincoln Durham, a dynamic force in the country music scene. From his childhood beginnings to his evolution as an artist, Lincoln shares his incredible journey through life and music. With an open heart and a touch of humor, he reflects on the twists and turns that led him to embrace his voice and his craft.
Episode Highlights:
- Early Beginnings:
- Lincoln recounts picking up the fiddle at just four years old, encouraged by his father and grandfather.
- He shares his experience with the Suzuki method and how it laid the foundation for his musical growth.
- Despite his early struggles with reading music, Lincoln was driven by a deep love for the art form.
- The Osceola Opry & Finding His Voice:
- Lincoln’s childhood performances at the Osceola Opry were pivotal in his artistic development.
- Initially a shy fiddler, he reveals how the stage helped him transition into a passionate vocalist.
- A glimpse into his adolescent journey of searching for his artistic identity.
- The Moment of Self-Discovery:
- The turning point came when Lincoln embraced songwriting in his late teens, marking the beginning of his transformation as a true artist.
- He reflects on the vulnerability and self-reflection involved in developing his voice.
- Creative Process & Solitude:
- Lincoln discusses his year of "cocooning," a time spent in solitude and introspection that helped him hone his songwriting skills.
- He talks about the delicate balance between creating lyrics with depth and crafting melodies that captivate.
- Rock icons like Bob Dylan and Jimi Hendrix played a significant role in shaping his approach to songwriting.
- From Writer to Performer:
- Lincoln shares how his evolution from a solitary writer to an engaging performer unfolded over time.
- The challenge of balancing personal introspection with the energy of public performance.
- Collaborations & the Power of Community:
- He opens up about his recent collaborations with fellow musicians and how they’ve enriched his sound.
- The influence of the Austin music scene and the sense of community that drives creativity.
- Inspirations Beyond Music:
- Lincoln’s love for classic literature has a strong influence on his songwriting.
- He talks about his affinity for dark themes in literature, and how that translates into his unique blend of introspective lyrics and melodies.
- A Journey of Embracing Vulnerability:
- Lincoln reflects on his journey through the artistic landscape, learning to embrace vulnerability and navigate life's challenges.
- His advice for fellow artists: Embrace your path, no matter how unpredictable, and find beauty in both the light and the darkness.
- The importance of finding and embracing your artistic voice, even when it’s difficult.
- The role of introspection in refining creative work.
- How collaborations and community can elevate your sound and inspire new ideas.
- The power of literature, vulnerability, and personal experience in shaping meaningful art.
Listen now for an inspiring conversation with one of country music's most compelling voices, Lincoln Durham.
Chapters
- 00:09 - Introducing Lincoln Durham
- 02:00 - The Journey to Songwriting
- 12:49 - The Evolution of a One-Man Show: Collaborations and Influences
- 22:31 - Evolving Soundscapes: The Journey of a Musician
- 26:54 - The Creative Process: Finding Inspiration
- 32:21 - Austin's Music Scene and Personal Experiences
Takeaways
- Lincoln Durham's journey into music began at the tender age of four, sparked by his father's encouragement to play the fiddle, which laid the foundation for his lifelong passion.
- He reflects on the importance of creative solitude, emphasizing how a year spent in isolation allowed him to hone his songwriting skills and discover his true musical identity.
- Durham's approach to live performances has evolved, focusing on making each song uniquely compelling, ensuring that every moment captivates the audience's attention.
- Collaboration played a crucial role in his latest album, where he worked alongside seasoned musicians like Ray Wylie Hubbard, which enriched the overall sound and depth of his music.
- His songwriting process is deeply influenced by literature, particularly the darker themes found in classic authors like Edgar Allan Poe, which he embraces as part of his artistic expression.
- Lincoln acknowledges that he enjoys the darker, impending doom themes in his music, realizing that it's simply part of who he is as an artist, rather than trying to conform to lighter themes.
Mentioned in this Episode
- Lincoln Durham
- Ray Wiley Hubbard
- George Reif
- Band of Heathens
- Jacob Dylan
- Chris Robinson
- Courtyard Hounds
- Dixie Chicks
- Cowboy and Indian
- Tom Waits
- Black Keys
- Jack White
- The White Stripes
- H.G. Wells
- Cormac McCarthy
- James McMurtry
- Full Tones
- Steve Stto
- Twisted Hearts
Recommended If You Like
Country Fried Rock, Lincoln Durham interview, musician creativity, songwriting inspiration, fiddle Suzuki method, Americana music, live performance tips, music production process, dark lyrical themes, Texas music scene, independent music release, singer-songwriter journey, collaboration in music, evolution of sound, acoustic performances, Tom Waits influence, Bob Dylan songwriting, unique musical style, emotional songwriting, music industry insights
Transcript
Speaker A
Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity. Country Fried Rock music uncovered. My guest this morning on Country Fried Rock is Lincoln Durham.
A record that I got in the mail and was waiting for and haven't taken it out of the CD player in my car yet. Good morning, Lincoln. Thanks for being with us on Country Fried Rock.
Speaker B
Well, thank you guys for having me.
Speaker A
We're glad to. How'd you get into music originally?
Speaker B
Well, originally my dad got me into playing the fiddle when I was four years old. Yeah, I started playing the fiddle, you know, little tiny toy looking fiddle. It was my dad, my grandpa, actually.
And it just kind of started from there and snowballed for 20 years or so.
Speaker A
So were you playing like Suzuki method or was this family taught?
Speaker B
You know, it's funny that, you know, that it is. It was actually the Suzuki method. Yeah, they. I, in fact, I even forget that that's what it was. But that, yeah, that is, it was this little.
I can't read music. Unfortunately. The Suzuki method, for those that don't know, is basically like. It'll say like an A over A1.
What it is is it means you play the A string with your first finger, you know, and that's how I learned how to play.
Speaker A
But you stuck with it.
Speaker B
I did. You know, I was the type where I'd stuck with the fiddle for a long time, but I never really latched onto it.
I did play it for goodness, probably 15 years or so. You know, it was one of those things where I was four years old. It was kind of selected for me. And so I never really.
It wasn't later in life, you know, almost recently, that I actually really embraced. It's the same thing, you know, with kids that are put on piano when they're.
When they're young, you know, and then once they get 30 years old, they really wish they would have kept playing the piano. You know, that's kind of the way I am with the fiddle.
I wish I would have taken it more serious now because I brought it back into the live sets and it's a lot of fun, but I would be a lot better if I had kept it up. But yeah, it was just kind of the thing where it was chosen for me, so.
But I did do that for a while, but that kind of gatewayed me into the next musical segments of my life.
Speaker A
What was the first thing that you chose to do?
Speaker B
Well, a lot of people, in fact, I used to forget and think, you know, I went from that to Guitar. But actually I didn't. I started wanting to sing first. So when I was playing the fiddle, we had this little opry band.
And what it was was every third Saturday, I think of the month, there was this little place called Osceola Opry. And it was in a town called Osceola.
And it was this old, like a school house from, you know, like the turn of the century out in the middle of nowhere, this old schoolhouse. And every third Saturday we would play for all the, you know, kind of country people who would come out and listen.
And it was usually a packed house, you know, just folded chairs and things like that. And so that's what I played a fiddle at for about, for A while, for 10 years or so when I was pretty, probably eight to about 15.
And it was in that period that over time I started. I was really a shy kid and just kind of sat over there and played the fiddle. Didn't even look at the audience, kind of stood sideways and it was.
But it was during that time that I started, as I got to be more of a teenager, I started wanting to sing. And so that was the first thing I did was I started singing.
So I would play the fiddle, you know, and we were doing a lot of, like, I was playing a lot of Bob Wills and we did a lot of Hank Williams Senior and things like that. So I would still do all that.
But then when it came my time to sing, I would, I would just, you know, kind of put the fiddle under my shoulder and sing a song. And that's where the next chapter, I guess, kind of started.
Speaker A
Ah, so in this ocl opry, were you choosing to sing some original stuff? When did that come around?
Speaker B
Oh, no, that didn't come around until. I would say that came around until. Didn't come around until I was probably 8, 18 or 20. I did a lot of. Back then it was just covers. That's all we did.
I don't think anybody in the band, all the other guys were grown and I was, you know, like I said, I started when I was eight there. And they're all, you know, 50 year old men, you know, they were doing, you know, they were doing classic country covers.
I don't think any of them ever had an aspiration to write a song. Maybe they did, but I don't, I don't recall doing any, any originals.
And then when I, when I first started singing, you know, I was into the real standard kind of country thing back then. And so that, that's the kind of stuff I did. It was, yeah, around 18 that I started, I guess maybe I wrote my first song, which was.
Which was pretty terrible, if I remember.
Speaker A
What was leading to you to want to actually write your own song, though?
Speaker B
Well, I got into, you know, from those stages, from singing. You know, I picked up the guitar, really got obsessed with the guitar. And that's kind of what led me on the track, I guess, that I am now.
And I was listening to a lot of, you know, the 60s rock. I was listening to a lot of Zeppelin and a lot of Hendrix and then a lot of Bob Dylan.
And I think listening to a lot of Bob Dylan and a lot of Jimi Hendrix got me into. Even though. Well, Dylan, you definitely think of, you know, as a songwriter. Hendrix, you know, not so much.
I don't think people usually classify him as someone who writes songs, but those were the two that kind of inspired me to start writing. And so that's. That's when I started to write. And the first songs, you know, were very kind of inspired by that.
So they were kind of 60s feeling, you know, kind of psychedelic sounding, you know. Those were the first tunes that I wrote that, like I said, were not very good, I don't think.
But that was the first delve I had into or delving I had into songwriting. And I kind of didn't really take it seriously for a long while. I'd write one song a year, probably.
And then just all of a sudden, after other influences, I just started, you know, writing every day.
Speaker A
Because you wanted to or because you had to?
Speaker B
Because I had to, yeah. It was a thing where, you know, just. Just thing things in life and, you know, tend to kind of dictate other things. And I just.
I started writing kind of as an outlet for, you know, feelings and for emotions and things like that. And once I started doing that, I couldn't stop.
Speaker A
And so when you were writing these, were you performing on them or were you simply for yourself?
Speaker B
I wasn't performing yet. I went through this little phase of kind of a cocooning kind of a thing where for about a year I didn't. I lived by myself. And I really.
I look back at that and those days, and that was where I kind of, I think, really became, you know, my own. Became what I was going to be. And, you know, just. I mean, I would barely, rarely see anybody. You know. I mean, I was just. I have a tendency. I can be.
I'm married now, but I could be a recluse very easily. I was a recluse then. I would literally go Maybe two weeks without. I would talk to the person making my food or something, and that was about it.
And I just did a lot of writing, and the intent was to perform it eventually. It wasn't really just to write, just to get it out. That was a portion of it, too. But it was also with the intent of.
I just kind of woodsheded for the year and just really practiced my guitar, wrote a lot of songs, you know, tried to come back out a lot more fierce and a lot, I guess, different from what I was doing.
Speaker A
So it was an intentional focus on finding where you wanted to be.
Speaker B
It was. It was. It was definitely, you know, just. Just kind of revamping, resetting, you know, with my whole outlook on everything.
And that really is what set me on the course that I'm on now. I attribute that little cocooning process.
I mean, I don't think I would be at all, or to be doing at all what I'm doing now if it hadn't been for that. So I'm very grateful for that.
Speaker A
What helped you in that process?
Speaker B
I think just the solitude, you know, being alone with my own thoughts for the first time in 20 some odd years was, I think, the perfect thing, because I was the person who went through life, you know, pacifying my mind with TV and with just noise of any kind. If. If I'm sitting. If I was sitting at the house doing something, no matter what it was, I would.
Would have a TV going, noise, anything, you know, never read. And now, you know me, I read an insane amount. You know, I'm reading constantly. I don't own a tv, anything like that.
And it was mostly because of that. Going through the Year of Solitude. Like, literally there was no noise, you know, in the house, There was no tv. And I just.
I would read books, I would write. And that's still what I do now. You know, not quite so so much as when I was alone, but that's what I do now. And so I think that's.
I think it was the solitude of the whole thing and just being forced to be, you know, faced with whatever I had, you know, is what kind of made the turn for me.
Speaker A
What do you like to read?
Speaker B
You know, I'm a bit. Well, I love classics, so I usually always revert to that. You know, I'm a big. My writing style is very kind of dark and all that stuff. So I love.
I read a lot of, you know, Poe, so I'm always going back to that. I've got a giant book of Poe that I Just.
I revert back to, like, once a year and I just start reading, you know, And I've never made it through it all because it's. It's the size of three Bibles, it seems. But I just. That's exactly. That's what I'm reading now. You know that stuff. And read a lot of, you know, H.G.
wells. I like that. You know, I was a big Lord of the Rings guy. Newer stuff is, you know, I like Cormac McCarthy a lot.
Speaker A
00:09:10.600 -...
Transcript
Welcome to Country Fried Rock where we talk with musicians to find out what inspires their creativity.
Speaker A:Country Fried Rock music uncovered.
Speaker A:My guest this morning on Country Fried Rock is Lincoln Durham.
Speaker A:A record that I got in the mail and was waiting for and haven't taken it out of the CD player in my car yet.
Speaker A:Good morning, Lincoln.
Speaker A:Thanks for being with us on Country Fried Rock.
Speaker B:Well, thank you guys for having me.
Speaker A:We're glad to.
Speaker A:How'd you get into music originally?
Speaker B:Well, originally my dad got me into playing the fiddle when I was four years old.
Speaker B:Yeah, I started playing the fiddle, you know, little tiny toy looking fiddle.
Speaker B:It was my dad, my grandpa, actually.
Speaker B:And it just kind of started from there and snowballed for 20 years or so.
Speaker A:So were you playing like Suzuki method or was this family taught?
Speaker B:You know, it's funny that, you know, that it is.
Speaker B:It was actually the Suzuki method.
Speaker B:Yeah, they.
Speaker B:I, in fact, I even forget that that's what it was.
Speaker B:But that, yeah, that is, it was this little.
Speaker B:I can't read music.
Speaker B:Unfortunately.
Speaker B:The Suzuki method, for those that don't know, is basically like.
Speaker B:It'll say like an A over A1.
Speaker B:What it is is it means you play the A string with your first finger, you know, and that's how I learned how to play.
Speaker A:But you stuck with it.
Speaker B:I did.
Speaker B:You know, I was the type where I'd stuck with the fiddle for a long time, but I never really latched onto it.
Speaker B:I did play it for goodness, probably 15 years or so.
Speaker B:You know, it was one of those things where I was four years old.
Speaker B:It was kind of selected for me.
Speaker B:And so I never really.
Speaker B:It wasn't later in life, you know, almost recently, that I actually really embraced.
Speaker B:It's the same thing, you know, with kids that are put on piano when they're.
Speaker B:When they're young, you know, and then once they get 30 years old, they really wish they would have kept playing the piano.
Speaker B:You know, that's kind of the way I am with the fiddle.
Speaker B:I wish I would have taken it more serious now because I brought it back into the live sets and it's a lot of fun, but I would be a lot better if I had kept it up.
Speaker B:But yeah, it was just kind of the thing where it was chosen for me, so.
Speaker B:But I did do that for a while, but that kind of gatewayed me into the next musical segments of my life.
Speaker A:What was the first thing that you chose to do?
Speaker B:Well, a lot of people, in fact, I used to forget and think, you know, I went from that to Guitar.
Speaker B:But actually I didn't.
Speaker B:I started wanting to sing first.
Speaker B:So when I was playing the fiddle, we had this little opry band.
Speaker B:And what it was was every third Saturday, I think of the month, there was this little place called Osceola Opry.
Speaker B:And it was in a town called Osceola.
Speaker B:And it was this old, like a school house from, you know, like the turn of the century out in the middle of nowhere, this old schoolhouse.
Speaker B:And every third Saturday we would play for all the, you know, kind of country people who would come out and listen.
Speaker B:And it was usually a packed house, you know, just folded chairs and things like that.
Speaker B:And so that's what I played a fiddle at for about, for A while, for 10 years or so when I was pretty, probably eight to about 15.
Speaker B:And it was in that period that over time I started.
Speaker B:I was really a shy kid and just kind of sat over there and played the fiddle.
Speaker B:Didn't even look at the audience, kind of stood sideways and it was.
Speaker B:But it was during that time that I started, as I got to be more of a teenager, I started wanting to sing.
Speaker B:And so that was the first thing I did was I started singing.
Speaker B:So I would play the fiddle, you know, and we were doing a lot of, like, I was playing a lot of Bob Wills and we did a lot of Hank Williams Senior and things like that.
Speaker B:So I would still do all that.
Speaker B:But then when it came my time to sing, I would, I would just, you know, kind of put the fiddle under my shoulder and sing a song.
Speaker B:And that's where the next chapter, I guess, kind of started.
Speaker A:Ah, so in this ocl opry, were you choosing to sing some original stuff?
Speaker A:When did that come around?
Speaker B:Oh, no, that didn't come around until.
Speaker B:I would say that came around until.
Speaker B:Didn't come around until I was probably 8, 18 or 20.
Speaker B:I did a lot of.
Speaker B:Back then it was just covers.
Speaker B:That's all we did.
Speaker B:I don't think anybody in the band, all the other guys were grown and I was, you know, like I said, I started when I was eight there.
Speaker B:And they're all, you know, 50 year old men, you know, they were doing, you know, they were doing classic country covers.
Speaker B:I don't think any of them ever had an aspiration to write a song.
Speaker B:Maybe they did, but I don't, I don't recall doing any, any originals.
Speaker B:And then when I, when I first started singing, you know, I was into the real standard kind of country thing back then.
Speaker B:And so that, that's the kind of stuff I did.
Speaker B:It was, yeah, around 18 that I started, I guess maybe I wrote my first song, which was.
Speaker B:Which was pretty terrible, if I remember.
Speaker A:What was leading to you to want to actually write your own song, though?
Speaker B:Well, I got into, you know, from those stages, from singing.
Speaker B:You know, I picked up the guitar, really got obsessed with the guitar.
Speaker B:And that's kind of what led me on the track, I guess, that I am now.
Speaker B:And I was listening to a lot of, you know, the 60s rock.
Speaker B:I was listening to a lot of Zeppelin and a lot of Hendrix and then a lot of Bob Dylan.
Speaker B:And I think listening to a lot of Bob Dylan and a lot of Jimi Hendrix got me into.
Speaker B:Even though.
Speaker B:Well, Dylan, you definitely think of, you know, as a songwriter.
Speaker B:Hendrix, you know, not so much.
Speaker B:I don't think people usually classify him as someone who writes songs, but those were the two that kind of inspired me to start writing.
Speaker B:And so that's.
Speaker B:That's when I started to write.
Speaker B:And the first songs, you know, were very kind of inspired by that.
Speaker B:So they were kind of 60s feeling, you know, kind of psychedelic sounding, you know.
Speaker B:Those were the first tunes that I wrote that, like I said, were not very good, I don't think.
Speaker B:But that was the first delve I had into or delving I had into songwriting.
Speaker B:And I kind of didn't really take it seriously for a long while.
Speaker B:I'd write one song a year, probably.
Speaker B:And then just all of a sudden, after other influences, I just started, you know, writing every day.
Speaker A:Because you wanted to or because you had to?
Speaker B:Because I had to, yeah.
Speaker B:It was a thing where, you know, just.
Speaker B:Just thing things in life and, you know, tend to kind of dictate other things.
Speaker B:And I just.
Speaker B:I started writing kind of as an outlet for, you know, feelings and for emotions and things like that.
Speaker B:And once I started doing that, I couldn't stop.
Speaker A:And so when you were writing these, were you performing on them or were you simply for yourself?
Speaker B:I wasn't performing yet.
Speaker B:I went through this little phase of kind of a cocooning kind of a thing where for about a year I didn't.
Speaker B:I lived by myself.
Speaker B:And I really.
Speaker B:I look back at that and those days, and that was where I kind of, I think, really became, you know, my own.
Speaker B:Became what I was going to be.
Speaker B:And, you know, just.
Speaker B:I mean, I would barely, rarely see anybody.
Speaker B:You know.
Speaker B:I mean, I was just.
Speaker B:I have a tendency.
Speaker B:I can be.
Speaker B:I'm married now, but I could be a recluse very easily.
Speaker B:I was a recluse then.
Speaker B:I would literally go Maybe two weeks without.
Speaker B:I would talk to the person making my food or something, and that was about it.
Speaker B:And I just did a lot of writing, and the intent was to perform it eventually.
Speaker B:It wasn't really just to write, just to get it out.
Speaker B:That was a portion of it, too.
Speaker B:But it was also with the intent of.
Speaker B:I just kind of woodsheded for the year and just really practiced my guitar, wrote a lot of songs, you know, tried to come back out a lot more fierce and a lot, I guess, different from what I was doing.
Speaker A:So it was an intentional focus on finding where you wanted to be.
Speaker B:It was.
Speaker B:It was.
Speaker B:It was definitely, you know, just.
Speaker B:Just kind of revamping, resetting, you know, with my whole outlook on everything.
Speaker B:And that really is what set me on the course that I'm on now.
Speaker B:I attribute that little cocooning process.
Speaker B:I mean, I don't think I would be at all, or to be doing at all what I'm doing now if it hadn't been for that.
Speaker B:So I'm very grateful for that.
Speaker A:What helped you in that process?
Speaker B:I think just the solitude, you know, being alone with my own thoughts for the first time in 20 some odd years was, I think, the perfect thing, because I was the person who went through life, you know, pacifying my mind with TV and with just noise of any kind.
Speaker B:If.
Speaker B:If I'm sitting.
Speaker B:If I was sitting at the house doing something, no matter what it was, I would.
Speaker B:Would have a TV going, noise, anything, you know, never read.
Speaker B:And now, you know me, I read an insane amount.
Speaker B:You know, I'm reading constantly.
Speaker B:I don't own a tv, anything like that.
Speaker B:And it was mostly because of that.
Speaker B:Going through the Year of Solitude.
Speaker B:Like, literally there was no noise, you know, in the house, There was no tv.
Speaker B:And I just.
Speaker B:I would read books, I would write.
Speaker B:And that's still what I do now.
Speaker B:You know, not quite so so much as when I was alone, but that's what I do now.
Speaker B:And so I think that's.
Speaker B:I think it was the solitude of the whole thing and just being forced to be, you know, faced with whatever I had, you know, is what kind of made the turn for me.
Speaker A:What do you like to read?
Speaker B:You know, I'm a bit.
Speaker B:Well, I love classics, so I usually always revert to that.
Speaker B:You know, I'm a big.
Speaker B:My writing style is very kind of dark and all that stuff.
Speaker B:So I love.
Speaker B:I read a lot of, you know, Poe, so I'm always going back to that.
Speaker B:I've got a giant book of Poe that I Just.
Speaker B:I revert back to, like, once a year and I just start reading, you know, And I've never made it through it all because it's.
Speaker B:It's the size of three Bibles, it seems.
Speaker B:But I just.
Speaker B:That's exactly.
Speaker B:That's what I'm reading now.
Speaker B:You know that stuff.
Speaker B:And read a lot of, you know, H.G.
Speaker B:wells.
Speaker B:I like that.
Speaker B:You know, I was a big Lord of the Rings guy.
Speaker B:Newer stuff is, you know, I like Cormac McCarthy a lot.
Speaker A:Right.
Speaker B:He's kind of got.
Speaker B:He's a newer guy, but he's got my.
Speaker B:I don't know, my style of.
Speaker B:I hear writing, you know.
Speaker B:Yeah, just kind of dark, decrepit, morbid characters.
Speaker B:But, you know, I'm the type, though.
Speaker B:I kind of revel in dark depression.
Speaker B:It's kind of technically, you know, with me, it is me being happy.
Speaker B:I just find my happiness in the dark.
Speaker B:That's.
Speaker B:As opposed to sunshine.
Speaker A:Well, and, you know, they say, like, for people who are obsessed with horror films, for example, it gives you an outlet for those feelings.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:It's just.
Speaker B:I don't know.
Speaker B:I just.
Speaker B:When.
Speaker B:When I'm reading, you know, these.
Speaker B:These, you know, I've always been, you know, just a depressive person, you know, but it's almost like sometimes, you know, there's like, the real depression, and I've been through that, and that's fun.
Speaker B:But then there's also the.
Speaker B:When you're, you know, I don't know, you're watching some, you know, depressing movie or something, you know, it's like I realize, wow, it's depressing.
Speaker B:But I like it.
Speaker B:You know, that's why I'm watching it.
Speaker B:That's where.
Speaker B:That's why I'm reading.
Speaker B:This is.
Speaker B:I'm giddy and, you know, in the.
Speaker B:When you walk outside and it's.
Speaker B:And it's rainy, overcast and gray, you know, my wife can't stand those days, and I just.
Speaker B:Man, I come alive when.
Speaker B:When it's that London kind of a, you know, day.
Speaker A:So you spent this woodshedding time writing and figuring out where you were.
Speaker A:What did you do with these songs once you were there?
Speaker B:Even after I did woodsheding, I still.
Speaker B:I don't think I was quite there yet.
Speaker B:And what I did is I started.
Speaker B:I started putting.
Speaker B:Performing them live.
Speaker B:I started, you know, going out to the little kind of coffee shops and things, you know, and playing the songs.
Speaker B:And it was still more kind of singer, songwriter, like.
Speaker B:I mean, the songs were still there.
Speaker B:The songs were you know, basically what they are now, but they were still.
Speaker B:What it's become now is this kind of very, you know, it's been termed real, like kind of hard edged.
Speaker B:And it's, you know, the live show is very eccentric and you know, it's gotten loud.
Speaker B:Not loud in a bad way, like a loud as in, oh, this hurts my ears.
Speaker B:But a loud.
Speaker B:And just, it's, it's a solo thing, but it's this big giant full sound, you know, you boom kind of a kick drum.
Speaker B:And so it's, you know, a lot of people say Jack White, Black Keys kind of a thing, you know.
Speaker B:And it was only until really recently I think that it became that when I came out with, you know, after that wood shedding, it was, you know, I mean, almost kind of like a sit down acoustic guitar kind of a thing.
Speaker B:You know, it still had that edge to it, but I was very much more tame.
Speaker B:And as I got going, you know, the intent was always to get a band.
Speaker B:And as I kept woodshedding though, you know, because I started playing the songs live, not at the end of the year, but, you know, during the course of it.
Speaker B:So I was still living alone, still, you know, being a recluse.
Speaker B:But I would go out and play songs.
Speaker B:But then what I would do is I kept adding, you know, elements to it, you know, the harmonica or the porch board and all this.
Speaker B:And so eventually I got really influenced.
Speaker B:I was always a fan of, but really got obsessed about a couple years ago with Tom Waitt.
Speaker B:It was really in kind of getting obsessed with that and really, you know, everybody was talking about the Black Keys and you know, Jack White.
Speaker B:I was always a White Stripes fan.
Speaker B:Didn't really know who the Black Keys were at the time.
Speaker B:Even when they were big, I didn't know who they were.
Speaker B:But anyway, I started engrossing myself in that.
Speaker B:Started getting that kind of more, I don't know, flamboyancy going with the show to the point where then it.
Speaker B:And especially with Tom Waits, you know, and then it kind of became, I guess what it is now where it's, it's a lot more.
Speaker B:I don't know, I guess it's.
Speaker B:It's more entertaining to watch than just sitting on a bar stool playing a guitar.
Speaker B:Hey, this is Lincoln Durham on Country Fried Rock.
Speaker A:You've had some collaborators along the.
Speaker A:Along the way.
Speaker A:What led to wanting to bring other people into what you were doing.
Speaker B:You know, doing the record is where, you know, I got Ray Wiley Hubbard produced the record.
Speaker B:And as long as Co produced it with George Reif.
Speaker B:I had a relationship with them prior to it.
Speaker B:So I always.
Speaker B:In fact, Ray has always been, you know, he's kind of been my musical guidance.
Speaker B:You know, he took me under his wing and he's the one that taught me kind of how to finger pick the guitar and he's the one that influenced me.
Speaker B:And learning to be able to carry the whole song by yourself and then adding the people as it goes, that's kind of what accidentally became this kind of one man show thing that I'm doing is because I did that to the point where it got to where there was starting to be a buzz about this guy's all this noise by himself.
Speaker B:So I knew I wanted George and Ray involved in the record.
Speaker B:George Rief.
Speaker B:A lot of people don't know him like Ray, but George is a bass player and he produced the latest Band of Heathens record and has been a bass player of.
Speaker B:For Ray for years.
Speaker B:Or he did Jacob Dylan and then Chris Robinson had a band called the New Earth Mud and he was the bass player for that.
Speaker B:Right now he's playing with the Courtyard Hound.
Speaker B:So he's got a lot of.
Speaker B:Which is the Dixie Chick Sisters and so he's got a lot of.
Speaker B:Lot of Skins on the Wall and his ideas are just.
Speaker B:I could not do a record with without George and so I really wanted them to be a part of the record, the two of them.
Speaker B:And from there.
Speaker B:Oh well.
Speaker B:And then Rick, Rick Richards, the drummer.
Speaker B:He's Ray's drummer.
Speaker B:He's the drummer on almost every cool record you've ever heard.
Speaker B:And Rick is the.
Speaker B:I mean, yeah, he's the drummer of all drummers.
Speaker B:And between those three, that was the core of the people that I wanted to use.
Speaker B:And then from there, you know, through George's influence and Ray's influence, you know, we got as we would need, you know, like a little shininess to a song or something.
Speaker B:We would call in like Jeff Plankenhorn did the mandolin and we had Bucka Allen do some accordion piano and Igvan some background vocals and stuff like that.
Speaker B:So it was a fun collaboration.
Speaker B:I still just do the solo thing, you know, live, but it was fun, you know, getting to play with some.
Speaker B:Some real musicians.
Speaker B:That was very cool.
Speaker A:You'd been working on these songs quite a bit on your own during this period of solitude and then started playing them out in sort of a singer songwriter setting.
Speaker A:And then you knew you were going to move towards recording them.
Speaker A:What was that process between the gigging a Little bit with them and knowing you needed to have them recorded.
Speaker B:Well, that's an interesting story actually, that the album took probably about two years to make.
Speaker B:And what would happen is that we, you know, I knew Ray from before I started this wood shedding process and all that.
Speaker B:He believed, you know, what I was doing from an early, early start.
Speaker B:So as I got these new songs, you know, we decided to record them and what we would do is we went in, we recorded maybe two or three songs and you know, I funded the whole thing on my own just by saving money.
Speaker B:So what we do is we kind of run out of money and we'd pause and this was still, you know, during this woodsheding thing.
Speaker B:And so we would come back two or three or four months later and the sound and the show had changed drastically.
Speaker B:So then what we would do is they would think, they would say, oh well that's, that's much cooler, let's record that.
Speaker B:But it's the same songs, you know, but let's record it that way.
Speaker B:So then we would do it and then run out of money and then, you know, three or four months later come back and it had changed even again.
Speaker B:And we re recorded the same probably two or three songs, maybe three or four times before it finally, you know, we.
Speaker B:Well, finally we came into a bulk of money to just be able to go in like a regular person would and go in for a week and record.
Speaker B:And that was just recently, you know, we didn't.
Speaker B:We started, like I said, probably two years ago of starting and restarting.
Speaker B:And then we finally went in, you know, I guess maybe about a year because the album's out now.
Speaker B:It just came out January 31st.
Speaker B:So probably about a year ago we finally went in and we're like, you know, we've got a decent bulk of money now.
Speaker B:Let's just go in for a week and rerecord everything again.
Speaker B:And that's what we did and that's what we came up with.
Speaker B:But you know, it's still evolving for me.
Speaker B:Like I'm already.
Speaker B:I love, love the record, you know, and I hope people dig it and buy it and all that good stuff.
Speaker B:But I'm already, you know, like, oh yeah, but wait till you hear this.
Speaker B:It's.
Speaker B:It.
Speaker B:It is just the ever evolving thing, I think.
Speaker B:I think if you quit evolving, if you quit changing, you know, then.
Speaker B:Then you might be ready to stop.
Speaker A:So the record is out, but your live performance is changing with some of the songs.
Speaker A:What's leading you in new or different Directions with them.
Speaker B:Just kind of honing the craft, realizing that writing the song or writing what you consider good lyrics is still not the end of it.
Speaker B:I think doing the solo thing, it helps me to try to make sure that the song is always interesting.
Speaker B:And so it's things like switching up the choruses and the verses, or doing the chorus this way and the verse that way so that, you know, every, or you try at least every song, every 30 seconds is something new and interesting.
Speaker B:And it's that thing where, you know, so many people don't put a lot of emphasis on their words or on the, on the, you know, but then those that maybe do have these amazing words, you know, and that's, you know, I was getting to the point where I was focusing so much on the words and what I was saying that, you know, is the song step back and is the song actually interesting to hear?
Speaker B:You know, maybe interesting verbally, but is it interesting, you know, melodically?
Speaker B:It was a lot of that.
Speaker B:It was a lot of just getting more acquainted with.
Speaker B:With making the song consistently interesting.
Speaker B:And then, you know, then you'd run into the same problem, which I still, I think a lot of musicians probably do.
Speaker B:I definitely have the problem of, you know, coming up with songs that sound almost identical to another song that you've written earlier.
Speaker B:You kind of get into ruts or get into, you know, what, you know, and just learning to get out of that, you know, whether it's grab another guitar, change the tuning, things like that.
Speaker B:And then, like I said too, just.
Speaker B:I would watch a lot of YouTube videos of Tom Waits and Jack White and all these things, you know, and just figuring out cool, cool visual, entertaining things to see, you know, and incorporating that.
Speaker B:I did a show with a guy named Matt King from Nashville, and he's.
Speaker B:Matt's a really great musician and songwriter.
Speaker B:Yeah, check him out sometime.
Speaker A:I will.
Speaker B:He's great.
Speaker B:But he had this.
Speaker B:He had this mic.
Speaker B:I later found out that the Black Keys use it, but it's like this kind of AM radio sounding tin can mic.
Speaker A:Ooh, like a ribbon mic.
Speaker A:Sorta.
Speaker B:Yeah, yeah.
Speaker B:And it.
Speaker B:I, you know, he had it and I inquired about it and ended up getting me one.
Speaker B:And it was things like that, you know, like, you know, chanting phrases or preaching sound and stuff, you know, on this microphone in between or, you know, like in the middle of songs, you know, just things like that is where my mind started to go, you know, to try to.
Speaker B:Try to just make everything unique, you know.
Speaker B:My biggest thing was always to try to Cause I had a lot of songs that.
Speaker B:There's some songs that I really love, but there's some songs that I would play because I needed more time and I hated.
Speaker B:And so what I tried to do is I tried to.
Speaker B:From then on my whole set, I wanted some big shot or whatever, whoever you'd want to see or hear the music.
Speaker B:If they walked in at any point during the set, I would have been happy with the song that they heard, you know?
Speaker A:Right.
Speaker B:That was a good.
Speaker B:Without it sounding like the other songs, you know.
Speaker B:And so.
Speaker B:So that's basically what I try to do is just every song was unique and weird and representative of me enough to where if you just heard one song, any song out of the set, then I would be, you know, happy with.
Speaker B:You have her hearing that one song.
Speaker B:And so that's the kind of stuff that kind of caused me to or, you know, kept me growing, I guess.
Speaker A:Now that it's out and you're continuing to evolve, do you watch your own YouTube videos when people take stuff?
Speaker B:You know, I don't.
Speaker B:I love the record, but I don't like listening to myself.
Speaker B:It's.
Speaker B:I don't like listening to the record, and I don't.
Speaker B:I don't, like, listen or watching the YouTube videos.
Speaker B:I will watch for, you know, like, 30 seconds of it.
Speaker B:Just see.
Speaker B:What if it's.
Speaker B:If somebody else posted it, you know, or if I.
Speaker B:If I thought a song was.
Speaker B:If I played a show that I thought was terrible and then I see that there's video of it, I'll watch it just to see, like, what my.
Speaker B:What nightmare I thought was on stage, if it was actually out, right out in the audience, you know, just to see, okay, how realistic was this terrible show that I went through.
Speaker B:But other than that, no, I don't try.
Speaker B:I don't watch myself.
Speaker B:I don't like.
Speaker B:I just can't stand myself very much.
Speaker B:I don't watch too much.
Speaker A:I'm finding interesting things with some people who kind of obsessively watch fan videos of themselves and then tweak it based on that.
Speaker A:And others who are like, I've never listened to any of my own records once they're done.
Speaker B:Yeah, I listened to the record, you know, when I first got it, you know, for a few times, and it's in the itunes, you know, because of importing it and making sure everything worked and all that good stuff.
Speaker B:And if it pops up on the.
Speaker B:On the ipod, I can't.
Speaker B:I can't change it quick enough, you know, But I can understand those like on a YouTube video, on a live performance, I can understand those that watch it to tweak.
Speaker B:You know, that's a.
Speaker B:If I could manage to listen to a full show, then that would actually be probably really, really beneficial to do, but I just can't do it.
Speaker B:Hey, this is Lincoln Durham.
Speaker B:Check out my new record the shovel versus the howling bones@link durham.com.
Speaker A:So now that you've taken these on the road after the release, how is that impacting where you're headed now?
Speaker B:I think I'm embracing the.
Speaker B:You know, I hate calling it like a one man band kind of a thing, but, you know, as I go out and I play these songs, I realize it's very representative of what's on the record.
Speaker B:But at the same time, you know, it's still, for the most part, it's me and drums Rick Richards on.
Speaker B:On the record.
Speaker B:It's mostly me and him and then we, you know, added the mandolin here and there or the piano and stuff like that.
Speaker B:I think on the next one or maybe the next recordings, I still want it to be big and rocked up sounding, but I want it to be even more so representative of what I'm doing on stage.
Speaker B:Still using other people, but sounding less like a rock band and more, you know, again, kind of that Tom Waits influence.
Speaker B:More kind of junkyard, you know.
Speaker B:Like the beats maybe aren't even made with drums, they're made with pots and pans or something, you know what I mean?
Speaker B:Just something more primal, I guess, on the next one, you know, than as structured as what is what this one is.
Speaker A:I was reading recently, maybe other people know this, but I sure didn't.
Speaker A:Those very first Buddy Holly and the Crickets recordings, the drums were cardboard boxes.
Speaker B:I didn't know that.
Speaker B:We actually used cardboard box several times on the record.
Speaker A:It gives that kind of funk.
Speaker B:Yeah.
Speaker B:You would be amazed at, you know.
Speaker B:You know, those drum kits are thousands of dollars for a good one.
Speaker B:And you'd be amazed at how great a refrigerator box sounds or even a briefcase that Rick played a bird feeder on some of the songs.
Speaker B:Yeah, like turned a bird feeder upside down.
Speaker A:Cool.
Speaker B:And you know, that's the kind of stuff I want to experiment more with on the next record.
Speaker B:And just, you know, like I said, it still have that intensity just as much as this one, but not so full band expecting.
Speaker A:Who would you love to work with for that?
Speaker B:Oh, I would do the same people, definitely Rick, you know, for the.
Speaker B:For the percussion part, you know, I can't.
Speaker B:I Couldn't fathom anybody having that same groove that Rick can get.
Speaker B:And then, like I said, George is just an absolute genius in what he does.
Speaker B:And Ray, too.
Speaker B:You know, between the two of them, it's just, you know, I wouldn't want to work with anybody else.
Speaker B:I would love to.
Speaker B:To work with those guys again.
Speaker B:And I mean it.
Speaker B:You know, I just.
Speaker B:I've thought about that before, like, because people like, for instance, the Heathens, you know, they use a different producer each record, I think, really cool to do because it gives you such a. I don't know, a variety.
Speaker B:It gives.
Speaker B:It keeps things fresh.
Speaker B:But at the same time, I've thought about that and I thought, man, I just.
Speaker B:I can't.
Speaker B:You know, I just would not want to venture away from what I love.
Speaker B:Definitely the three, you know, Rick, Ray and George.
Speaker A:It sounds like you're saying that not only do they speak your language for what you want to get, but they also kind of get you.
Speaker B:Yeah, they do.
Speaker B:And so that's a tough thing, you know, for.
Speaker B:To find the right marriage of someone that you don't have to explain anything.
Speaker B:You don't have to let them listen to other records, you know, to try to kind of get their head wrapped around it.
Speaker B:They just.
Speaker B:They're the type of people.
Speaker B:They're not a lot like a really good producer.
Speaker B:You might let them hear certain albums and they'll kind of get, okay, I know what you're.
Speaker B:But these guys actually are that vibe.
Speaker B:So they don't have to understand your vibe.
Speaker B:They just are that vibe.
Speaker B:So all they got to do is be themselves and they've.
Speaker B:You know, and they produce other people where they have to get their head wrapped around a different type of vibe.
Speaker B:But they are the vibe that I am.
Speaker A:You know, you're headed down the same road.
Speaker B:Yeah.
Speaker B:And in a lot of respects, you know, they come up with stuff that.
Speaker B:That I wouldn't have thought about either.
Speaker B:So it's almost like, you know, in some avenues of it, they're almost more in tune with what I'm trying to do than I am.
Speaker B:You know, like, they'll come up with ideas where, you know, like, for me, I'm not a. I don't have experience with drumming.
Speaker B:I'm not a drummer.
Speaker A:Right.
Speaker B:I've never been one, so I know nothing about drum.
Speaker B:And George, you know, would kind of sit with Rick and they come up with this really weird, cool stuff that you would never think would work for that particular song.
Speaker B:You know, it's those situations where, you know, they Know better what I'm looking for than I do when it comes to that.
Speaker B:Because I, you know, would not know what to do tell a drummer.
Speaker B:That's cool because not only do I not know how to play drums or understand drums, I don't even play with drums.
Speaker B:No clue as to what to tell you, you know.
Speaker B:And they'll come up with these just the coolest little kilter weird stuff that I would have never been able to think of.
Speaker B:It's that kind of comfort in that if I don't know the answer to something, they're going to figure out the answer to it.
Speaker A:So are you still writing?
Speaker B:I am still writing.
Speaker B:In fact, I. I went through a spell actually.
Speaker B:You know, you kind of.
Speaker B:It's that old thing of, you know, sometimes the river flows real hard, sometimes it's dammed up really good, you know.
Speaker B:And I went through a phase where I think kind of trying to do the.
Speaker B:We still do all our in house stuff.
Speaker B:So, you know, we're.
Speaker B:We released the record independently and so on.
Speaker B:So we're just engulfed in the business portion of the music, you know, thing for the last few months.
Speaker B:I think that really kind of put a damper on the whole creative avenue of it for a while.
Speaker B:But about, I don't know, three or four weeks ago, you know, it started to.
Speaker B:The river started to flow again.
Speaker B:So I'm back to writing.
Speaker B:You know, I'm not the guy kind of guy that can just sit or say, okay, I'm gonna write today.
Speaker B:You know, I just kind of go about my life and then.
Speaker B:And then inspirational hit and then I'll start writing for a few weeks, you know.
Speaker B:And I've learned to just kind of go along with it, not, not try to force it if it's not there and definitely not fight it when it is there, you know, just.
Speaker B:Just go with it.
Speaker B:So it came back and I've been writing, you know, I've probably got another album and a half ready to go.
Speaker B:Yeah.
Speaker B:So I'm looking forward to it.
Speaker B:I don't know when we'd actually ever, you know, we just released this one.
Speaker B:So yeah, I'm still writing and you know, that's a part of why I read so much and that's part of why I reverted back to the Poe book.
Speaker B:You know, I just wanted some more dark, depraved inspiration.
Speaker B:So that's.
Speaker B:Books are always what gets my creative juices.
Speaker A:I get the continuation of the dark and depraved.
Speaker A:But what direction do you think you're heading lyrically?
Speaker B:You know, the same I've always been.
Speaker B:I realized a while back I, you know, even Ray Ray's got some really dark lyrics and stuff.
Speaker B:But he also has these funny songs, you know, Hayes Carl is known.
Speaker B:Really funny songs that a lot of people really like or love songs.
Speaker B:You know, people have all these love songs and.
Speaker B:And for a while I really kind of battled with, man.
Speaker B:I don't have variety.
Speaker B:I don't have all minor death and destruction and impending doom.
Speaker B:And so I was trying to, you know, like, well, I want to write a lighthearted song or I want to write a love song.
Speaker B:And I realized I just can't flat out can't do it because I don't write, I don't know, systematically, I guess I don't write, you know, a lot of those guys, you know, that write for a living, you know, they, okay, I write a love song or whatever, so that's what they do.
Speaker B:But I write only when I'm moved to, for whatever reason.
Speaker B:So it's.
Speaker B:I don't know if my songs are good or not, but they're at least heartfelt because I write when I'm really experiencing a strong emotion.
Speaker B:But I've realized that I kind of only experienced the doom and gloom emotion.
Speaker B:So instead of fighting it, I decided, well, I guess that's just what I am.
Speaker B:If you're coming to.
Speaker B:If you're listening to me fall in love or to slow dance, you know, you just, you're.
Speaker B:You're in the wrong spot.
Speaker B:So I just decided to, you know, just kind of go with the whole.
Speaker B:James McMurtry is known for his, you know, kind of social commentary songs.
Speaker B:And maybe I'll be known for my depressing impending doom song.
Speaker A:You know, it's funny that you say that.
Speaker A:I just talked with James this week and I was engaging him on that topic of songs of social commentary, and he's like, I don't mean to do it.
Speaker B:Yeah, that's the thing you don't like.
Speaker B:I sat back one time and realized how many songs I've got about or crows or whatever.
Speaker B:It's mostly that.
Speaker B:And I realized how I tried to do something else and I just couldn't do it.
Speaker B:And I thought, well, then fine, that's not me.
Speaker B:You know, what you're getting when you come to my show.
Speaker B:Variety is not one of them, I guess.
Speaker B:But yeah, so lyrically they're very similar.
Speaker B:I think the next album or the next songs are getting, you know, kind of more hard edged, a little more.
Speaker B:I think maybe I don't know if eccentric is the word, but maybe a little more.
Speaker B:A little more.
Speaker B:You wouldn't listen to any of them, I think, and think, oh, that sounds Tom Waitsy or anything like that.
Speaker B:Definitely more influenced by that.
Speaker B:It's a little more off kilter at times, I guess, than just a consistent groove.
Speaker A:Do you get a chance to get out and hear other people play, you.
Speaker B:Know, a little bit?
Speaker B:Not.
Speaker B:Not as much as I'd like to.
Speaker B:Always find ourselves so.
Speaker B:So busy that we don't get to do it as much as we'd like to.
Speaker B:But there.
Speaker B:There are a few that if I know are playing close, I have to go out and, you know, see support.
Speaker B:I do.
Speaker B:I'm a big McMurtry fan.
Speaker B:I like to go see him, you know, and when Ray is local, if he's in the area that we are, I'll definitely go see Ray in Austin.
Speaker B:There's this band that I like a lot called Cowboy and Indian.
Speaker B:They're really cool.
Speaker B:I don't even know how to describe them.
Speaker B:They do some songs.
Speaker B:It's definitely different from what I do.
Speaker B:It's kind of more indie, I guess.
Speaker B:They'll post these raw videos on YouTube.
Speaker B:And I'm never.
Speaker B:I'm not a music elitist or anything like that, but I don't like a lot of stuff.
Speaker A:Sure.
Speaker B:And there's very rarely someone that I'll watch that just absolutely floors me as far as, you know, the harmonies or the song itself or whatever.
Speaker B:And they all watch their videos and they consistently, like, kind of kind of make my mouth open a little bit, you know, wow.
Speaker B:A jaw drop type of a deal.
Speaker B:And I'm a big fan of theirs.
Speaker B:I don't get to see them very often, but they are local here.
Speaker B:And they tour, I think, nationally.
Speaker B:But they're great.
Speaker B:Cowboy and Indian.
Speaker B:Check them out.
Speaker A:What has Austin brought to your music?
Speaker B:Well, you know, I mean, the wood shedding took place in Austin.
Speaker B:So just being around the environment, when I was going through that period, it was great.
Speaker B:I love it down here.
Speaker B:I, you know, recently.
Speaker B:Well, not recently, but moved down here about four or five years ago.
Speaker B:And it's such a community, you know, as far as.
Speaker B:Especially with the musicians.
Speaker B:It's a bigger town, but it still has that very, very small town feel.
Speaker B:So you see the same people, you know, every day just about, you know, if you frequent the same places, we're kind of the hippie kids.
Speaker B:We do the whole, you know, local places and the whole foods and stuff like that, you know, and you just.
Speaker B:You see the same people every day, which is cool.
Speaker B:You know, you're the musicians that you know and love.
Speaker B:You see any random day just walking down the street, including, you know, places, people that would sell out.
Speaker B:You know, 10,000 people in Dallas, you know, you'll just see walking down the street, you know, here, you know, you'll see Robert playing at your local little guitar shop, you know, and it's been really neat to be around and rub elbows with what I consider to be, you know, you know, true musicians.
Speaker B:You know, it's just, it's.
Speaker B:If anything, I guess living here is just helped to cultivate that idea of maybe I can be a musician.
Speaker A:Right, right.
Speaker B:Kind of a thing.
Speaker B:It helps you realize, you know, there is a community, they're here to help for the most part.
Speaker B:And it is possible to.
Speaker B:To make a career of music if you, if you play your cards right.
Speaker A:Austin is kind of known for these residencies.
Speaker A:Is that something that you have done or have down the pike?
Speaker B:I did a Saxon pub residency when I was going through my big cocooning process, which was great.
Speaker B:Saxon Pub is a cool place to play.
Speaker B:You know, it's.
Speaker B:It's.
Speaker B:It's one of those places, you know, it's on Lamar, South Lamar.
Speaker B:It's not in the touristy area.
Speaker B:You know, it's where all the cool kids hang out.
Speaker B:And it's just.
Speaker B:It's a great little, you know, listening venue, bar thing.
Speaker B:As far as residencies in Austin, that's about the.
Speaker B:I did a Green hall residency which is in the same scene and in the same, you know, within 40 minutes of here.
Speaker B:But yeah, residencies are a big thing here.
Speaker B:I haven't done that many of them.
Speaker A:Did any of those turn out to be pretty cool?
Speaker B:Yeah, a lot of them did.
Speaker B:I.
Speaker B:The most fun, I think, was the ones I did with some of the.
Speaker B:The band of Heathens.
Speaker B:I did some.
Speaker B:I kind of broke them up.
Speaker B:So I did one each.
Speaker B:Yeah, so it was one I did with Gordy Quist, guy named Clayton Colvin.
Speaker B:That was a fun gig.
Speaker B:That, that was an interesting gig because it was in the middle, I guess it was maybe last year.
Speaker B:It was during.
Speaker B:Where it got like down to into the 20s here.
Speaker A:Oh, wow.
Speaker B:And there was like snow flurries and they.
Speaker B:They only have these old wood burning stoves to warm the place at Green, so there's no ac.
Speaker B:They just open these giant.
Speaker B:The walls kind of pop up and there's screens in the summer and in the winter they just have like three wood burning stoves.
Speaker B:And that's it in the whole place.
Speaker B:I mean, we had our gloves on.
Speaker B:We had our coats completely on and you could literally see our breath as we're singing and we're.
Speaker B:Even though we're inside, but still the place was, you know, we were in, like the little front room in that one because it was just too cold to be in the other room because there's no wood burning stove.
Speaker A:Because gloves always make for excellent finger picking guitar.
Speaker B:Oh, yeah, yeah.
Speaker B:Well, unfortunately, we had the fingerless glove.
Speaker A:You'd have to.
Speaker B:It didn't make it any better.
Speaker B:It was actually fun, though.
Speaker B:It was one of those things where, you know, the terrible circumstances actually make for better memories.
Speaker B:And so that was fun.
Speaker B:The other one that I did with Colin, the other heathen, was a great show.
Speaker B:That was a blast.
Speaker B:Those are some of, I guess, the more noteworthy ones.
Speaker B:I had actually had one with Ed, but I had like the flu or something, so he did it but with some other people.
Speaker B:Those heathen ones were probably the best because I love their.
Speaker B:Love their stuff and love those great.
Speaker A:I really appreciate your time, Lincoln.
Speaker A:Thanks so much for being with us on country fried rock.
Speaker B:Well, thank you guys so much.
Speaker B:And I really appreciate all the support that you guys give.
Speaker B:I mean, you guys are the ones that get our music out to people that we wouldn't, you know, readily be able to reach.
Speaker B:And so you guys work as.
Speaker B:Much appreciated.
Speaker A:Thanks a ton.
Speaker A:Have a great weekend.
Speaker B:Thank you.
Speaker B:You too.
Speaker A:All right, bye.
Speaker B:Bye.
Speaker A:Country Fried Rock Find the full playlist from this episode on countryfriedrock.org check us out on itunes.
Speaker A:No music, just talk.
Speaker A:Our theme music is from the full tones.
Speaker A:Our country fried rock stinger is from Steve stto in the twisted hearts.
Speaker A:Country fried rock.
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