JJ GREY DVD SCREENING TUESDAY, SEPT 13; FREE SIGNED MOVIE POSTER WITH DVD PURCHASE AT THE SCREENING!

A screening of the new JJ Grey and Mofro live documentary Brighter Days will be held at 6 p.m. Tuesday, Sept. 13, at The Record Exchange (1105 W. Idaho St., Downtown Boise). As always, this Record Exchange in-store event is free and all ages. The first 10 people to purchase the CD/DVD combo at the screening will receive a signed JJ Grey movie poster!

ABOUT BRIGHTER DAYS

“The key to success,” JJ Grey recently told Relix magazine, “is just telling a story—there’s nothing else to do.” Grey’s ability to tell his thought-provoking stories with a mixture of swamp rock, raw funk, blistering blues and deep soul has carried JJ Grey & Mofro from the backwoods of Florida to concert stages across the U.S., Canada, Europe, Japan and Australia. Singing with a passion and fervor directly influenced by his classic soul heroes, Grey’s deeply personal original songs are steeped in the rhythms of his native home outside Jacksonville, Florida. Grey comes from a long tradition of southern storytellers and, in that spirit, he fills his songs with details that are at once vivid, personal and universal.

Over the course of five studio albums and thousands of performances in the U.S. and abroad, JJ Grey & Mofro have become a “must-see” live band on the concert circuit. After over a decade of hard touring, Grey still spends eight months of the year on the road, bringing his music to his loyal, ever-growing, worldwide fan base, laying it all on the line with each and every performance. The New York Times praised JJ’s “balance of wildness and cool,” describing his music as “Southern swamp rock with undercurrents of Memphis soul…his songs chronicle ambiguous truths and unambiguous urges,” delivered by Grey’s “winningly uncontrived vocals.” Likewise, Billboard has praised Grey’s “world-beating blend of Southern rock, blues and Florida swamp soul.”

Fans of Grey’s devastating, fervent live performances have long been clamoring for a live DVD and CD. The wait is now over. The galvanizing power of a JJ Grey & Mofro concert has finally been captured on film and CD on Brighter Days. The 78-minute CD and 2-hour DVD were recorded at Atlanta’s Variety Playhouse in January 2011. The film, directed by filmmaker Spookie Daly, intersperses riveting live footage with band interviews and insightful commentary from Grey and others, recalling classic “rockumentaries” like The Last Waltz.

Shot in stunning HD and boasting 5.1 surround sound, Brighter Days finds JJ (vocals, guitar and harmonica) and his band — Andrew Trube on lap steel and electric guitar, Anthony Farrell on organ and piano, Art Edmaiston on saxophone, Dennis Marion on trumpet, Todd Smallie on bass and Anthony Cole on drums — swimming in and out of thick grooves and hot, funky riffs. JJ prowls the stage, ripping notes from his guitar, singing with preacher-like conviction, telling stories overflowing with organic truths, breaking down the wall between audience and performer. “I’ve always felt that music opens the door,” says Grey, “but we’ve got to walk through it together.”

Born into a family with generations-old roots in rural Florida, JJ Grey was raised with a combination of backwoods wisdom and old-school blue collar values. He heard music on neighbors’ front porches and in local juke joints, all the while developing a deep love and respect for the land and its people. Inspired by legendary musicians, including Southern rockers Lynyrd Skynyrd, soul greats Otis Redding and Toots Hibbert, country stars George Jones and Jerry Reed, as well as by the street preachers and tent show revivalists who crossed his path, Grey’s music touches on classic soul, gritty funk, sweaty rock ‘n’ roll and front porch blues. His songs blend home-spun realism with undeniable swamp beats and R&B rhythms. Whether it is a narrative passed down to him from his grandmother or the tribulations of a childhood friend, Grey’s ear for detail rings through in true storyteller fashion.

Debuting in 2001 with Blackwater, following up in 2004 with Lochloosa (both albums reissued by Alligator), Grey steadily built an intensely loyal following. In 2007 Grey released his Alligator debut, Country Ghetto followed by 2008’s Orange Blossoms, further growing his already large audience. With the release of 2010’s Georgia Warhorse, Grey stepped further into the mainstream, making an album Paste described as “understated elegance…soulful and funky.” The Philadelphia Inquirer said, “Georgia Warhorse is warm and organic, with blasts of hard-edged rock, Memphis soul and gutbucket blues.”

Grey, an avid outdoorsman, is a dedicated fisherman and surfer and holds an honorary position on the board of the Snook Foundation, dedicated to the protection of coastal fish and fish habitat. He has written passionately and articulately about his love for the untrammeled environment of his north Florida home.

JJ has brought his music to countless festivals, including Bonnaroo, Wakarusa, Austin City Limits Festival, Byron Bay Blues Festival (Australia), Montreal Jazz Festival and Fuji Rock (Japan). Over the course of his career, Grey has shared stages with the likes of B.B. King, The Allman Brothers Band, Widespread Panic, Galactic, The Black Crowes, Los Lobos, Jeff Beck, Ben Harper, Lenny Kravitz, Booker T. Jones, Mavis Staples and many others. In 2011 the band invaded the UK, leaving blissful fans and overwhelming praise in their wake. Also in 2011, Grey embarked on his first-ever solo tour, playing packed-to-capacity clubs, getting more personal and up close with his audience.

Grey’s songs have appeared in film and on network and cable television programs including House, Flashpoint, Crash, Friday Night Lights, The Deadliest Catch, and the film The Hoot. In November 2009, JJ wrote his first film score for the critically acclaimed, Emmy Award-winning documentary The Good Soldier that appeared in theatres and on Bill Moyers Journal on PBS. In 2010, Grey played piano, sang and contributed a song (The Wrong Side) to Buckwheat Zydeco’s Grammy-winning Alligator album Lay Your Burden Down.

Both as a film and a live concert CD, Brighter Days perfectly captures Grey’s power as a writer, his passion as a vocalist, his spontaneous, potent guitar and harmonica playing, and his mesmerizing stage presence. As old fans know well and new ones keep discovering, a JJ Grey & Mofro show is a joyous musical celebration shared between Grey and his audience, with each driving the other to greater heights. With Brighter Days and an overflowing tour schedule, the bond between Grey and his fans grows deeper as JJ Grey’s future looks brighter and brighter with each passing day.

VIVA VOCE RECORD EXCHANGE IN-STORE SATURDAY, SEPT. 10 (6 P.M.); ALL AGES!

Viva Voce will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6 p.m. Saturday, Sept. 10. As always, this Record Exchange in-store performance is free and all ages. Viva Voce is performing at Neurolux later that night (8 p.m.) and we have tickets for sale here at the store!

ABOUT VIVA VOCE

There are a handful of things about Viva Voce (vivavoce.com) that lend themselves to a just-the-facts presentation: This songwriting team —Kevin and Anita Robinson – met and married in rural Alabama over a decade ago and made their first four-track demo as Viva Voce in 1998. Since then, they have relocated to Portland, Oregon, released a number of critically acclaimed recordings and toured extensively, including stints with the Shins and Jimmy Eat World.

As for describing the music the Robinsons make—well, that’s a difficult proposition. Indie rock? Too polite. Psychedelia? Too old-school. Black-light soul with a heavy-metal heart? Um, is that even a thing? Says Anita, “Basically, with each record we’re just trying to find a way to create the music that’s been living in our heads since the last one.”

The Robinsons’ mental storage space was filled to capacity while creating The Future Will Destroy You, Viva Voce’s fifth full-length and the band’s debut for Vanguard Records. The 10-track set comes only two years after 2009’s acclaimed Rose City, about which Spin gushed, “It’s the songwriting, hooks and escalating thrum of a capable rock band that pull listeners from each twinkling vista to the next.” Yet during that period Kevin and Anita kept remarkably busy, recording and touring behind the first album by their country-tinged side project, Blue Giant (which occasionally features members of the Decemberists and the Corin Tucker Band).

The result is the most expansive, vibrant collection of rock songs we’ve yet heard from Viva Voce. Written, performed, produced and mixed entirely by the duo at their Portland home studio, The Future Will Destroy You unquestionably serves as a showcase for Anita’s post-psychedelic guitar heroics—check out “Analog Woodland Song” and “The Wondering Soul” for some of the finest quiet-loud eruptions since the Pixies’ heyday. But the disc also emphasizes the Robinsons’ sense of songcraft like never before: You might not hear a ballad this year lovelier (or spookier) than “No Ship Coming In,” in which Anita’s vocals glide over a pool of shimmering space-roots atmospherics. And the apocalyptic title track? Let’s just say nobody’s ever made the end of civilization sound like such an appealing prospect.

Those are only a few of her star turns, too: Throughout Future, Anita’s singing plays a more prominent role than on previous Viva Voce records, where both members split vocal duties fairly equally. “We both still sing, but I think I’ve really come into the lead-singer role on this record,” Anita explains. “And I love that it happened in this natural, organic way.” As regards the other instruments, the Robinson-family division of labor typically saddles Anita with guitar and Kevin with drums. “Everything else,” says Anita, “we arm-wrestle over.”

You can hear that intimate interaction deep inside this music, which both members say reflects their joy in returning to a close two-person relationship following the experience with Blue Giant and with the four-piece band that toured behind Rose City. “This is Viva Voce getting back to what it is,” Anita says, adding that the lack of outsiders made it possible for her and Kevin (the self-described “knob-twiddler in the family”) to work quickly and with purpose; indeed, the entire process took place over a mere four weeks this past winter. “Although we treated the songs with love and care, we wanted the record to have a feeling of immediacy. That forced us to get into high gear and stay there. You have to make decisions and commit to them, and scrap something if it’s not cutting it.”

“The creative wheels were really greased,” Kevin offers. “The way we write and record just totally clicked on this record. I feel like it realizes the potential all of our previous albums hinted at.” Kevin calls Future a series of “miniature explosions,” which feels right. “It was definitely a labor of love.”

RECORD EXCHANGE TOP 20 SELLERS (WEEK ENDING AUGUST 28)

1. Remember, Trans Atlantic Crush
2. Queen of the Minor Key, Eilen Jewell
3. WTF?!, KMFDM
4. The Union, Elton John and Leon Russell
5. 21, Adele
6. Watch the Throne, Kanye West and Jay-Z
7. Rare Bird Alert, Steve Martin and the Steep Canyon Rangers
8. Torches, Foster the People
9. Dirty Jeans and Mudslide Hymns, John Hiatt
10. Dedicated, Steve Cropper
11. Mirror Traffic, Stephen Malkmus
12. Within and Without, Washed Out
13. Surtur Rising, Amon Amarth
14. Back to Black, Amy Winehouse
15. Live at Red Rocks, John Butler Trio
16. In the Mountain, In the Cloud, Portugal. The Man
17. Ukulele Songs, Eddie Vedder
18. The Muppets Green Album, Various Artists
19. Jersey Finger, Matt Hopper
20. Jeff Bridges, Jeff Bridges

EILEN JEWELL RECORD EXCHANGE IN-STORE SATURDAY, AUG. 27 (2 P.M.)

Eilen Jewell will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 2 p.m. Saturday, August 27. As always, this Record Exchange in-store performance is free and all ages. Jewell is performing at the Egyptian Theatre later that night (8 p.m.) and we have tickets for sale here at the store!

READ A REVIEW AND BUY HER NEW ALBUM QUEEN OF THE MINOR KEY HERE.

ABOUT EILEN JEWELL

It is the battered cassette jammed in the tape deck of the getaway car, the music Ida Lupino cues up on the roadhouse jukebox as she counts the till after close. This is Queen of the Minor Key by Eilen Jewell (eilenjewell.com), a smart cookie with a heart of burnished gold and enough stories to keep even the rowdiest crowd hanging on her every word. Though its long shadows and dark corners make her kingdom feel intimate, her sovereign domain stretches as far as the imagination. Its denizens seek refuge in padded rooms, abandoned automobiles … and strong spirits. They defend their territory by any means necessary: weird voodoo, sawed-off shotguns, broken bottles.

But beware, savvy observer. There is more to Eilen Jewell than meets the ear. Do not confuse the singer and her songs. The drama and darkness that give Queen of the Minor Key its gritty texture are in short supply in the Boston-based songwriter’s personal life. And in a curious twist, these fourteen originals actually took shape in a sunny, idyllic location that contrasts strikingly with the album’s moody, film noir atmosphere.

In August 2010, Jewell headed to a tiny cabin in the mountains of Idaho. Although her clan hails from the Gem State, this was no comfy retreat at the family fold. Her temporary abode had no running water or electricity, and sat at the end of a winding dirt road. Wild elk would graze in the surrounding meadows while she worked. When it was time to unwind, she availed herself of a nearby hot springs. A dilapidated truck she found on the property even made its way into the album artwork.

She had no set game plan, and her sole objective for the new material was refreshingly modest (or incredibly daunting, depending on your point of view). “My goal as a songwriter is to always improve,” she demurs. “Every time I make a record, I want it to be even more real, more heartfelt, than the one before it. I want the slow songs to be slower and the fast songs to be faster.” Drawing on a connoisseur’s love of roots music and a writer’s eye for detail, Jewell fashions her musical vignettes with impressive economy. Each turn of phrase and chord change is executed with an élan that belies the measured precision behind it.

Jewell is wary of repeating previous success by following formulae. “But I also don’t want to change things just for the sake of changing them,” she adds. Never underestimate the public’s ability to recognize calculation masquerading as inspiration. “You always want to ride the creative process to new territory, without being overwhelmingly novel.”

Towards that end, she experimented with dark humor in the new material. The title tune takes inspiration from a poke someone made about her harmonic preferences. “I decided to run with that and adopt the moniker, even if it started off as a nickname that wasn’t necessarily intended to be flattering.” “Bang Bang Bang” eschews the cliché of Cupid as a rosy-cheeked cherub (“he’s more reckless and violent than that”), and replaces his petite bow-and-arrow with a gun show six-gauge, plus a laughing disregard for such trivial concerns as aim.

Queen of the Minor Key is also the first Eilen Jewell album to feature a significant number of guest players, even as she continues to work in close consort with her longtime trio of drummer Jason Beek, guitarist Jerry Miller, and upright bassist Johnny Sciascia. Zoe Muth and Big Sandy (of Big Sandy & His Fly-Rite Boys) both contribute vocals. “I was writing the songs with them in mind—if I could work up the courage to ask them—so I was really honored that they agreed to sing with me.” Further augmenting the sound are Rich Dubois on fiddle, David Sholl on tenor and baritone saxophones, and Tom West on organ. The arrangements, Jewell insists, occurred organically as the music was fleshed out in the studio; the songs tell her where they want to go. “We don’t really think it out that much.”

Since her official 2006 debut, Boundary County, Jewell has surveyed a wide range of traditional musical styles, from the folk and jug band leanings of her early recordings, through an album-length homage to Loretta Lynn and the country gospel of her work with The Sacred Shakers, right up to 2009’s Sea of Tears, which bristled with the electricity of ’60s UK garage rock and Chicago blues. Queen of the Minor Key draws on everything from classic country (the fiddle-driven “Reckless”) to early R&B (the shuffling “Hooked”), with an emphasis on sounds from the seamier side of the tracks. With dirty sax riffs and low-slung guitars, the instrumentals that bookend the album—”Radio City” and “Kalimotxo”—evoke the bump-and-grind exotica of vintage Southern California suburban saloons. Yet on the flipside, Jewell imbues slow, jazzy numbers like “I Remember You” and “Only One” with torch and tenacity that linger long past last call.

Eilen Jewell is the Queen of the Minor Key. Sad songs are her wealth and finery. Lend her your ears, and you will quickly hear why her humble subjects admire and adore her more with each passing year.

RECORD EXCHANGE TOP 20 SELLERS (WEEK ENDING AUGUST 21)

1. Dirty Work, All Time Low
2. 21, Adele
3. Watch the Throne, Kanye West and Jay-Z
4. Young Love, Mat Kearney
5. Any Man in America, Blue October
6. Torches, Foster the People
7. Codes and Keys, Death Cab for Cutie
8. The King of Limbs, Radiohead
9. Dirty Jeans and Mudslide Hymns, John Hiatt
10. Live at Red Rocks, John Butler Trio
11. Rome, Danger Mouse and Daniele Luppi
12. The Foundation, Zac Brown Band
13. Paper Airplane, Alison Krauss and Union Station
14. Oracular Spectacular, MGMT
15. Frank, Amy Winehouse
16. Passive Me, Aggressive You, Naked and Famous
17. Up From Below, Edward Sharpe and the Magnetic Zeros
18. Jeff Bridges, Jeff Bridges
19. Sigh No More, Mumford and Sons
20. On the Ocean, Guster