QUICK AND EASY BOYS IN-STORE FRIDAY

13.6.28 and 29 - QEB cd release Make it EasyQEB_highresThe Quick and Easy Boys will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6p.m. Friday, June 28. The band is performing a pair of release shows celebrating their new album Make It Easy on Friday, June 28 and Saturday, June 29 at Tom Grainey’s (10 p.m. both nights; $5 at the door; 21 and older). Buy the CD at the in-store ($9.99) and get free admission to one of the shows! As always, this Record Exchange in-store event is free and all ages!

ABOUT THE QUICK AND EASY BOYS

make it easyThe funky R&B, psychedelic rock, garage-pop of this Portland power-trio is representative of an emerging West Coast post-jam band sound, in which the 80s and 90s pop-rock-funk of L.A. has merged with an indie rock feel and an ability to extend the core rock songs through live improvisation.

The Quick & Easy Boys bring an element of honky-tonk into this mix and arrive at a sound akin to The Minutemen, My Morning Jacket, The Red Hot Chili Peppers and Funkadelic rolled into one. Formed in Eugene, Oregon, in 2005, the band moved to Portland and released their first recording—Bad Decisions With Good People—in between jaunts up-and-down the Pacific Coast, then headed out on their first national tour in 2009. By the end of 2011, they had toured the country two more times and released their second album, Red Light Rabbit (2010).

On the road, the band has opened for an eclectic array of talent, including Deer Tick, Blitzen Trapper, The Bridge, Iglu & Hartly, The Pimps of Joytime, Southern Culture On The Skids, Big Sam’s Funky Nation and many others, subjecting unsuspecting audiences to The Quick & Easy Boys’ interactive party—complete with thought provoking lyrics, quirky eclecticism and unexpected stage antics.

The trio of Jimmy Russell (guitar), Sean Badders (bass) and Michael Goetz (drums) has gained a reputation for moving a crowd all-night long, whether on a big festival stage or in the corner of a tiny watering hole, and for pouring out every ounce of their energy, leaving nothing behind. In appreciation, home town crowds scream out “Yeah Bud!” at every show, and it appears that this disturbing trend is spreading to other markets …

THEY MIGHT BE GIANTS IN-STORE AND MEET & GREET SUNDAY, JUNE 9 (3PM)

tmbgportraitbwThey Might Be Giants will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 3 p.m. Sunday, June 9. A meet and greet with the band will follow the performance. This free, all-ages Record Exchange in-store is sponsored in part by Boise Weekly. They Might Be Giants are performing at the Egyptian Theatre that evening and we have tickets for sale here at the store!

ABOUT THEY MIGHT BE GIANTS

They-Might-Be-Giants-Nanobots-608x608There aren’t a lot of bands who can open an album with the line “Hi, your head is on fire” and have it sound not only cool, but for the said lyric to be one of the album’s less ostentatious declarations. With NanobotsThey Might Be Giants’ 16th studio album—the band offers up a musical landscape of black ops, microscopic robots, insect hospitals, and karate chops—as well as a sprinkling of mini-ruminations clocking in at well under the one-minute mark. For a group that has made a career out of crafting unforgettable melodies while deftly illuminating the odd, Nanobots is a remarkable achievement—25 tracks that zig and zag in a myriad of new directions, including the very adult topics of melancholy and alienation, while showcasing the band’s expert musicianship and undeniable skill at crafting perfect pop productions.

Formed in 1982, They Might Be Giants are themselves giants of a sort in the pantheon of alternative-indie-college rock (or whatever you wanna call it). Emerging out of NYC’s East Village performance scene with a singular take on art-pop, the dynamic duo of John Flansburgh and John Linnell would break big at the dawn of the 1990s with their platinum LP Flood, one of the most beloved “alternative rock” albums of all time. In the following years, the band would go on to dip their creative toes in a variety of different pools—not only releasing a slew of excellent albums, but also making music for television and films, snagging a couple of Grammy awards, and serving as the subject for an acclaimed documentary about their career (Gigantic: A Tale of Two Johns). Over the course of three decades they’ve also managed to engender a coterie of intensely devoted (some might even say obsessive) fans who are prone to following the band around Grateful Dead style whenever They Might Be Giants hits the road. It’s certainly a great track record for any band…particularly for one more well-known for accordion heroics than guitars and whose most classic songs involve birdhouses and ancient cities.

So, when you are already 15 albums deep into a career that spans over thirty years, what do you do next? If you are They Might Be Giants, you simply do what you’ve always done—you gather your friends in NYC (in this case producer Pat Dillett and regular TMBG cohorts Stan Harrison, Jon Graboff, Jedediah Parish, and Chris Thompson) and follow your creative impulses wherever they happen to lead you. In the case of Nanobots, the resulting album is a collection of skewed narratives that present a kind of through-line to the band’s earliest work—herky jerky pop songs sprinkled among a variety of truncated mini songs, all of them begging to be sung along to.

“There is a thread that runs along everything we’ve ever done,” says John Linnell. “We’re always trying to do new things—new styles, experimenting with things that are pretty/ugly or kind of atrocious sounding or purely weird—but we also love pop songs. Despite how we may try to change things up, I think we’re still trying to meet the same kinds of criteria ultimately. We are still, in the end, trying to make songs that we want to hear.”

“When you enter a studio to make your 16th record, you might assume the stakes couldn’t be any lower,” jokes John Flansburgh, “But we really approached this project with a level of intensity and focus that rivals anything else we’ve ever done. I think the sonics and musicality of what we’ve been doing for the past couple of years are actually quite evolved from where we started, but at the same time we really pared things back. We tried to come at this record with a lot of restraint, to see how minimal we could be with the song arrangements. That was really our challenge this time around. Some of the songs are crazy sparse. It’s kind of amazing to me that it took us sixteen albums to get around to trying some of these ideas. It’s also reassuring to know that you can make music for this long and still uncover these new ideas. There are definitely points in Nanobots that feel like a new direction for us.”

So, what then is a Nanobot? According to reliable Internet sources, a nanobot is “a hypothetical, very small, self-propelled machine, esp. one that has some degree of autonomy and can reproduce.” Given the microscopic nature of songs like “Tick” “Hive Mind” and “Didn’t Kill me”, it’s easy to see how the idea of the tiny creation with the capacity to accomplish big things might serve as a guiding principle for the entire record, so much of which is built upon a kind of purposeful brevity. That being said, the album still boasts a variety of three-minute pop gems—“Call You Mom,” “Nanobots,” “Lost My Mind”—that rank among TMBG’s most instantly catchy tunes.

“I like the idea of short songs,” says Linnell, “It’s just gonna dilute the power of the idea if we make it longer. There’s no need to force another verse and chorus if the song doesn’t need one. There isn’t necessarily a logical explanation to why Nanobots seemed like such an important title for the entire record, but I like the idea of these tiny things that are designed to do a very specific thing—they can replicate themselves in whatever way they might need to in order to do the required job. And I like the idea are self-replicating. Humans do that by having children. It’s not necessarily a logical process, it’s just something that happens. You unleash this force—a child or a microscopic robot—and then it goes out into the world and does its thing…in a way you can’t always control.”

“We came of age in the time of albums”, says Flansburgh, “So we were raised on the notion that songs—when collected together—serve to amplify and support each other when part of a well-considered collection. That’s the power of the album. With Nanobots we weren’t making a concept album, but it does have a certain power as a kind of song cycle. These short little tiny songs have a purpose and they make sense when surrounded by the longer songs. There’s a certain mania to this record, a certain energy you get when you include all these hard working miniatures.”

There are few bands currently operation that can boast a thirty year career, let alone boast a career that includes 16 studio albums—including four beloved albums for children—and a history of embracing emerging technologies (the band’s brilliantly curated iPhone app recalls their early “Dial-A-Song” days), but the genius of They Might Be Giants—and perhaps the secret to their success—is that they continue to operate within their own world. Three decades in, there is still no other band that sounds like them and—even more importantly—very few artists that approach songwriting with the kind of wide-eyed, natural curiosity as They Might Be Giants. Whether they are singing about tiny robots, broken hearts, combustible heads, or ticks, they do it in a vernacular that is uniquely their own.

PONDEROSA IN-STORE WEDNESDAY, APRIL 10 — ONLY SHOW IN TOWN!

ponderosa photoPonderosa will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6 p.m. Wednesday, April 10 — this is the band’s ONLY SHOW IN TOWN! This free, all-ages Record Exchange in-store is sponsored in part by Boise Weekly. RSVP HERE.

ABOUT PONDEROSA

ponderosa-widget-thumbIn the low light of the hut the old man sat quietly puffing on his mapacho. “You must disengage from your…continuity,” he said, referring I’m sure to my earbuds, which, with apologies, I cranked. As I tapped the last drop out of the clay cup and laid back on the ragged foam mat I saw that the old man’s face was no longer his, but a hawk’s. The spirit-world comes on like that.

The music I came to see with my third eye, Ponderosa’s Pool Party, started with a voice, a silver highlonesome in a mist (or maybe the mist was the voice), an electric guitar that identified itself (verbally, and I’m translating here) as He-who-makes-things-sprout, then a convergence at something analogous to a rain dance, as if conducted (in lapis lazuli) by Keith Moon. Pianos and guitars and harmonies breathed into existence tetrahedrons, Spanish friars, bird-lions, machine elves, Quetzacotl, so forth, and landscapes, always the sweeping, rolling variety. No point going on about what the music looks like. To paraphrase the giant, blazing eye that cries honey, you must see for yourself.

Hearing Ponderosa’s previous album for the first time was a no less illuminating experience if a very different one, involving a trampoline, two bottles of rye, and a sack of possum. Another facet of Ponderosa, another method to ascertain its nature. That album, Moonlight Revival, belongs in the Southern rock canon as much as anything by the Crowes or Little Feat, but more crucial is that with it Ponderosa delivered the first successful fusion of straight Southern rock and Revolver-era Beatles, utterly seamless and genetically sound, not a Frankenstein. This is the musical equivalent of mapping the genome, drunk, using only a monocle. Impossible, yet Ponderosa demonstrated that “a thing that cannot be done can be accomplished by not-doing it.” And because that sounded more conclusively relevant when it was told to me by a stag with no mouth, let’s add that Ponderosa’s clear m.o. is following its bliss.

JONNY FRITZ (FORMERLY JONNY CORNDAWG) IN-STORE TUESDAY, APRIL 9

johnny fritzJonny Fritz (formerly Jonny Corndawg) will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6 p.m. Tuesday, April 9. This free, all-ages Record Exchange in-store is sponsored in part by Boise Weekly. Jonny Fritz is performing at Neurolux later that night as part of Radio Boise Tuesdays and we have tickets for sale at the store. Pre-order his new ATO Records release Dad Country (out April 16) at the in-store and get a signed CD booklet! RSVP HERE.

ABOUT JONNY FRITZ

DAD-COUNTRY_sml1Nashville songwriter Jonny Fritz’s work ethic and boldness have paid off in spades. It’s been a big year for Jonny with opening stints for Alabama Shakes, Deer Tick, Dawes, Shooter Jennings and rockabilly legend Wanda Jackson and kudos from CMT and Rolling Stone, among many others. His third full-length album, Dad Country, is set for release on April 16, 2013.

Produced by Jonny and Dawes’ Taylor Goldsmith, recorded at Jackson Browne’s Los Angeles studio and finished up in Music City, USA, this is a breakthrough album, balancing Fritz’s earthy trademark humor and unfiltered worldview with some of his darkest material to date. The album has a Nashville sound kept aloft on a sure Southern Californian wind, no doubt from the influence of his backing band: Taylor and Griffin Goldsmith, Tay Strathairn and Wylie Gelber of Dawes, Jackson Browne, and his Nashville band of Spencer Cullum Jr, Joshua Hedley, Taylor Zachry and Jerry Pentecost.

Dad Country is also his first release under his real name Fritz with Jonny ditching the “Corndawg” moniker he’d carried since his early teens. Now a music veteran with a decade of touring under his belt, he’s grown into an accomplished, mature voice in country music. Co-producer Goldsmith says, “Funny as they can be at moments, his songs access realities and experiences that we’re all familiar with but sometimes fail to consider the depths of. I was really honored to work on the record. We tracked for two days and arranged the songs on the spot. Everyone really responded to each other’s ideas and the whole experience was really inspiring and easy. I chalk it up to the quality of Jonny’s songs on this record.”

After nearly a decade spent on the road (since his late teens), it was well-earned luck that brought Jonny together with dream team that would bring Dad Country to life – including none other than Jackson Browne. Originally scheduled to record at another Los Angeles studio, Jonny and co-producer Taylor Goldsmith were left scrambling for a backup plan when their original producer flaked. As it happened, they were playing a show in Hollywood that week and Browne was in attendance. After the show, Browne approached Jonny and, learning of their troubles, generously offered up his studio. Just three weeks later, they were all holed up at Browne’s, recording the new album.

Fritz and Goldsmith had rehearsed most of the songs together, but the rest of the band had to learn them run-and-gun style in the studio, nailing many of the songs on the first time ever playing them together. In just four days, they pounded out 14 tracks in one long, inspired rush and this excitement pervades the results. “It was really spontaneous,” Fritz says.

“We just pulled it out of our proverbial asses as we went along.” Fritz later re-recorded two of the songs that had evolved significantly on the road since the studio session – the Red Simpson-esque “Fever Dreams” and down-home lament “Ain’t It Your Birthday” – using his own band back in Nashville. With these, the record was ready and dead-on with Jonny’s vision of Dad Country.

Like his songwriting heroes Tom T. Hall, Michael Hurley, Roger Miller and Clint Black, Jonny can turn phrases ’til you’re dizzy, all while plucking your heartstrings or capturing a sharp, lonesome vulnerability that never seems lost or brooding. For Jonny Fritz is no tear-in-the-beer sap moaning over his lost love and troubles. He’d rather cry running marathons than sitting on a barstool. Rather than Outlaw Country, he prefers we think of him as “someone’s weird Dad” and a musician of his own bent. He writes his every song with that deep country-music impulse to turn real experience into lyrical form.

Born in Montana and raised in Virginia, Jonny grew up in the middle of mountains and weirdos of every allegiance, developing a blind man’s ear for the slightest turn in a tale or human voice. He dropped out of school and left home early, totally undaunted, and toured the country on his motorcycle, selling just enough music to keep his freedom and stay ahead of bitterness. “If I could sell three CDs a night, I would have enough for gas and to make it to the next town.”

Cramming six lifetimes into six years and collecting triumphs and heartaches every corner of the globe, he eventually wound his way toward Tennessee. “Not because I wanted to break in over on Music Row and ‘make it,’ because I knew I didn’t really belong there,” he says. “I wanted to learn the ways of country music … to get my education in this cool old world that exists only in Nashville.”

While immersing himself in the music world, Jonny began running marathons from Philadelphia to Barcelona and pounding out his signature leather works – the dog collars and guitar straps – seen all over Nashville and half the musical universe. He found himself in NYC for a year trying to save a relationship, and its slow, painful unraveling (and demise) inspired Dad Country’s bleakest, heartrending tracks, including “All We Do Is Complain” and “Have You Ever Wanted to Die.”

These days, life has never been better for Jonny Fritz. He’s back in Nashville again and putting down roots – and has even gone and bought himself a house. “It just keeps getting better. Now, the band is getting paid, I’m getting paid, everybody’s happy, and we’re packing ‘em in when we play.”

“This is the dream life. I couldn’t really ask for anything else.”

SECRET TREEFORT IN-STORE REVEAL: CAMPER VAN BEETHOVEN AT 4:30!

FuckYa-CamperVanBeethoven-ThrasherToday’s Record Exchange Secret Treefort In-store is …

Camper Van Beethoven!

Camper Van Beethoven (playing at the El Korah Shrine at 9 p.m. tonight) will perform at 4:30 p.m. TODAY at The Record Exchange, 1105 W. Idaho St. in Downtown Boise. As always, this Record Exchange in-store event is free and all ages — and you don’t need a Treefort pass to attend (but you should get one anyway and we have them for sale at the store).

ABOUT CAMPER VAN BEETHOVEN

Camper Van Beethoven is an American alternative rock group formed in Redlands, California, in 1983 and later located in Santa Cruz and San Francisco. Their eclectic and ever-evolving style mixes elements of pop, ska, punk rock, folk, alternative country, and various types of world music. The band initially polarized audiences within the hardcore punk scene of California’s Inland Empire before finding wider acceptance and, eventually, an international audience. Their strong iconoclasm and emphasis on do-it-yourself values proved influential to the burgeoning indie rock movement.

Released within an 18 month period, the band’s first three independent records enjoyed critical success, each placing in The Village Voice’s 1986 Pazz and Jop Top 100 Albums list. Their debut single, “Take the Skinheads Bowling”, remains a college rock radio staple. The group signed to Virgin Records in 1987, released two lauded albums and enjoyed chart success with their 1989 cover of Status Quo’s “Pictures of Matchstick Men”, a number one hit on Billboard Magazine’s Modern Rock Tracks. They disbanded the following year, however, due to internal tensions.

Individual members found greater commercial success thereafter, with lead singer David Lowery forming Cracker, multi-instrumentalist David Immerglück joining the Counting Crows, and several other members playing in Monks of Doom. Beginning in 1999, the former members resumed their collaboration, resulting in a full-fledged reunion and several new releases.