Pigeon Spins Featuring an Interview with Barry Muir

Barry Muir - Smoke Filled Room

Interview with Barry Muir

(º)> What inspired the title of your upcoming album, Canvas?

I have friends who are artists. I was recently thinking of how writing a song is a lot like painting a picture. We both use color, emotion, and dynamics, and we both try and create art that will outlive us for others to hopefully enjoy for years to come.

(º)> How does Canvas differ stylistically from your previous albums?

When I listen back to my earlier albums, I hear remnants of the music I was listening to at the time. With each album I've recorded, my musical tastes evolved, and also my ability as a musician/producer/singer improved, so I was able to naturally expand my horizons. Canvas is certainly inspired by the music I've been listening to recently, a lot of jazz and R&B, everything from Frank Sinatra, Tony Bennet,t to Leon Bridges and Teddy Swims.

(º)> What was the creative process behind “Smoke Filled Room”?

Smoke Filled Room is written by me, Joanne Stacey, and Lucy LeBlanc. The three of us have written so many songs together that it's pretty easy to bring an idea to the table and complete it in one sitting. In our case, the table is an hour-long Zoom meeting. Quite often, I'll start with a handful of guitar chords, a start to a melody, and a lyric hook that is always somewhat autobiographical. The first question Joanne asks is "Where do we see this going? What's the story? " Lucy will throw in a line or two to kick it off, and Joanne can always get us through a chorus. We've got a pretty solid batting average at never failing to complete a song right then and there. This is one song that the three of us all liked from the start.

 (º)> How did jazz and R&B influences shape this record?

There's a jazz club right around the corner from where I live in Toronto. I just really began to appreciate the harmonies and complexities of the music. Once you immerse yourself in jazz or R&B, it certainly gets in your blood. You begin to hear things differently.

(º)> After releasing an album per year for a decade, how do you keep your sound evolving?

You simply become better at what you do as you go along. It's really an eye-opener to go back to earlier recordings and see the progress you've made. There's some stuff I've released that I really wish I hadn't had.

(º)> Which track on Canvas pushed you out of your comfort zone the most?

Good question. I think the fourth song on the record is called, I Keep Falling. It's about a guy I worked for as a teenager who was like a father figure. He passed away a few years ago. The song is about trying to find that life again, but knowing it's too late. It wasn't really out of my comfort zone because it came to me so effortlessly, but the song holds a special meaning to me.

(º)> How do you approach songwriting differently now compared to earlier in your career?

 It's become a lot easier. Obviously, the more you do anything, the easier it gets. I basically use the same approach; I just have more tools in my toolbox than I had in earlier years.

(º)> What emotions or stories are you hoping listeners take from Canvas?

It's a fairly uplifting album. I just hope people enjoy listening to it enough to go back and discover my earlier albums as well.

(º)> How has your experience in bands like The Payola$, Barney Bentall and the Legendary Hearts, and Blue Shadows influenced this solo work?

We made some pretty good records with all three of those bands, so the bar is held very high. To me, I really strived to make as good of record as I made with any of those bands. What I learned from being in the studio with producers like Bob Rock, Danny Kortchmar, and David Tickle is key to me creating my own records.

(º)> What can fans expect from your live performances of these new songs?

 Me, a stool, and an acoustic guitar in small parts around Toronto to begin with.

(•)> That's all, Folks! Check out Barry Muir on the Pigeon Spins Playlist