Tag Archives: Fuck Yeah

The Plurals “Swish Tour” 2017

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Catch The Plurals live and grab a copy of SWISH on vinyl before its street date of September 1st! The midwest, west coast, and southwest are about to have to deal with all kinds of clowning around from the fuzzy punky trio. Check it out!

8/8 Chicago, IL @ Cobra Lounge
8/9 Milwaukee, WI @ Quarters Rock and Roll Palace
8/10 Madison, WI @ Mickey’s Tavern
8/11 Minneapolis, MN @ Seward Cafe
8/12 Minot, ND @ Why Not Minot
8/14 Helena, MT @ House Show
8/15 Missoula, MT @ ZACC Below
8/16 Spokane WA @ Baby Bar
8/17 Seattle, WA @ Kraken Lounge
8/18 Portland, OR @ Twilight Cafe
8/21 Oakland, CA @ Golden Bull
8/22 Los Angeles, CA @ Golden Beat
8/23 Long Beach, CA @ 4th St Vine
8/24 San Pedro, CA @ Harold’s Place
8/25 Anaheim, CA @ Parks and Rock
8/26 Phoenix, AZ @ The Lunchbox
8/27 Tucson, AZ @ Club Congress
8/28 Albuquerque, NM @ Winning
8/29 Denver, CO @ 7C
8/30 Wichita, KS @ Kirby’s Beer Store
8/31 Omaha, NE @ Lucy’s Pub
9/1 Iowa City, IA @ Trumpet Blossom Cafe
9/2 Normal, Il @ Meltdown

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Frank and Earnest Farewell 7/1/17

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On July 1st, 2017, Frank and Earnest will be playing its final show as a band at The Avenue Cafe in Lansing, MI. In addition to the great support acts (including GTG-released bands Bong Mountain and Small Parks) this show will also feature a reunion of the “classic”/ Old Francis lineup – Ben, Paul, Otis, and Ryan – of the band which, barring two one-off performances, parted ways in fall 2013.

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Classic.

Full disclosure, I’ve been a member of Frank and Earnest since Otis left in fall 2013 and prior to that I had been heavily involved with recording their output (with the exception the album Modern Country which was recorded by Isaac Vander Schuur, though I did assist with some demos for the album) and being party to many of the band’s shenanigans. “Shenanigans” is an important part of the band’s story (and it’s also probably one member’s favorite Green Day album) – one of the first things I think of in this regard was the time in 2010 or 2011 when the band was doing a radio interview and performance but Ben couldn’t get out of work in time to take part so Otis, Paul, and Ryan went on the radio with me impersonating Ben in an absurd impression, except when I sang one of his songs – “Red and Black,” a clever, catchy and passionate ode to the misery of working as a line cook – which I made it a point to sing as much like myself as possible. To compound this nonsense, Ben then called into the radio station from work, got the DJ to put him on-air so he could call me out as an impostor and we had a “Ben vs Ben” argument on the radio that would have been entertaining had we actually been notable public figures, but pretty much anyone listening to this while driving around Lansing on a Thursday night… well, honestly, they probably stopped listening. I did have a friend later tell me that they turned their radio on right as Ben called in to the show and were baffled that their idiot friends were carrying out this nonsense in a public forum. In a way that anecdote kind of distills the band – the great music that it all revolved around, the opportunities to share it with the public, and the absurd squandering of the opportunity for the band’s own amusement.

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See: the existence of Paul Dubya and The Oak River Bridge Boys Band

We decided to do this final show about two months ago, and in the intervening time I’ve been periodically thinking about how I needed to do one of these essay things about the band in the spirit of some previous writings I’ve done about GTG bands and friends. The thing is, I’m too close to this project to really be able to step back and give an overview, and I’ve been struggling to decide if I wanted to do a blow-by-blow history of the band or get into my own complicated feelings towards the whole thing. I also do a lot of non-music work in the spring and early summer, so I can’t pretend that narrative existential angst has been the primary procrastinating factor here. The strangest thing is probably that this is the first time a band I’ve been in has actually “broken up,” and I’ve played in at least a dozen gigging bands in the last 17 years. Sure, bands have fizzled out, but the only other time a band I played in broke up was 2 Minute Nothing in 2004, and that was an unceremonious after-the-fact acknowledgement with the band basically then turning into My Apology. (Shout out to Timmy who will be the sole reader of this to get excited at my mentioning those bands). Every other time a band I played in went inactive the door was always left open so that when and if we did decide to play again we wouldn’t have to feel like “oh shit, the band is back together and it’s a big deal!” and could just play without baggage, which usually has happened. Does this mean that Frank and Earnest is dying a true and merciful death on Saturday? Hard for me to say, I’m the Ronnie Wood/ Slim Dunlap guy that entered the picture when people stopped caring about the band’s new material.

(But fuck you! This song is great!)

Recently a friend of the band posted on facebook about “Greatest Lansing Music Scene Disappointments” and one of them was “Frank and Earnest Post-Old Francis.” We all saw this while discussing specifics of the final show and basically thought “cool, someone cared enough about something we did to be disappointed later on.” It all returns to Old Francis – most bands never make a record that good. I really, truly mean that. I can say that as a fan, and even though I’m the person that recorded it, I feel like I’m objective enough as the truth is I cringe at most of my production decisions 7 years later and I still love listening to that record. Back in 2010 Razorcake gave it a glowing review comparing it favorably to Iron Chic, D4, and Avail which practically guarantees you a packed room at The Fest and the fact that Frank and Earnest never actually did that is a crime. Speaking of crime, the always-entertaining UK rag Collective Zine gave a less-than-glowing review of the record, calling it “a musical hate crime” which is up there with “shit sandwich” for quality negative reviews. But most people that heard the record were fans of it, and I’ll admit to going back and re-reading the positive review RockFreaks gave it when I’ve been down on my limited production skills. Everyone in Frank and Earnest has played a lot of shows with a lot of bands and as lackadaisical as the band likes to be it feels really fucking good when someone gets what you’re doing, feels some sort of inspiration from it, and lets you know. Old Francis is one of those records and while I’m not a member of the band on that record I did live through making it and it actually pre-dates any of the positive national press I’ve gotten with The Plurals or other GTG projects so it will always have that distinct place in my memory.

My two favorite Frank and Earnest songs have always been those two posted above, “Stick A Fork In Me, I’m Done” and “BFF.” Otis and Ben both equally hit all of the points of a punch-you-in-the-heart punk rock song, with both being songs that I can say I wish I was the one that had written them. It’s these kinds of highs that are hard to reach repeatedly, and while I’m committing the same “I love the early stuff” sin that frustrate bands while they keep creating, it’s not knocking any of the other stuff to point out this early stuff is great. But Frank and Earnest is a multiple songwriter band, and I don’t want to leave Paul out. Paul’s the best singer in the band and his songs are the most fun to play live.

The band started unofficially on Bermuda Snohawk 2008, with Otis – off of a few year stint touring as bassist with Michigan punk bands Hell Or Highwater and Matadors of Shame – recording a solo acoustic version of “Stick A Fork In Me, I’m Done” under the name Frank & Earnest. Sans ampersand, Otis formed a full band under this name with Ben – a bandless Lansing native who had recently returned from a few years living out of state – and Paul – who had previously played with Otis in Grand Ledge ska punk band Shoelace – a few months later with John Bruce (Cavalcade, Shoelace, etc) on drums for the first show at GTG House on March 21, 2009.
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Here’s Ben singing a cover of “Miami” by Will Smith that for some reason they only did at the first show.

GTG MVP Hattie Mae Danby was the next drummer, playing a run of shows around Lansing in spring of 2009 and recording the first 3 song demo, which I actually can’t find online anywhere. The “true” band lineup was solidified by Ryan Horky (the Cartridge Family, The Ryans, etc) joining as the drummer in June-ish of that year, and the first time I saw them play together was at GTG Fest 2009. I know at one point Ryan ate a watermelon while playing drums and I swore there was a photo of that somewhere but I couldn’t find it. They also opened this show with a ragged version of ZZ Top’s “Legs” for no apparent reason.
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From there things took off. More songs were written, midwest and east coast tours happened, Old Francis, various compilation songs and covers were released, the performance art pop-country alter ego band Paul Dubya and the Oak River Bridge Boys Band staggered into existence and the band was voted Best Band in Lansing by City Pulse readers in 2011 and 2012, to the band’s own confusion. In 2011 Mac’s Bar was also voted the Best Venue in Lansing and shortly after the results came in Frank and Earnest was playing at Mac’s so the marquee (back before the city’s Cartridge Family banning saw the dismantling of the marquee at this famed Lansing institution) triumphantly read something to the effect of “Best Venue In Lansing Hosts Best Band In Lansing.” I ran the door at Mac’s that night and for whatever reason hardly anyone showed up to that show, which the band found profoundly amusing. This was the exception though, the shows were generally packed and raucous during these years and when the band was on point I watched from the audience and thought they were pretty much untouchable.

This is one of many ways in which Frank and Earnest was and maybe still is the most Replacements-esque band I’ve been a part of – with complete sincerity the band could be a tight, passionate, engaging unit onstage, or it could descend into drunken rambling banter with a few songs peppered in, or it could be all country covers performed in character as another band (or AC/DC covers performed in character as that same country band doing an AC/DC tribute set – that one proudly happened during my era!), or sometimes it would just fall flat, but it was all “real” no matter what happened. And maybe that’s why it can’t last forever.

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Much as this award-accepting lineup of the band did not actually exist.

Otis left the band and moved away in fall 2013, but he and the rest of the band wanted it to continue so I officially entered the picture at that point. We had some fun times and played some great sets but the energy was naturally different and the standard ebbs and flows of any band and music scene lowered the band’s profile, but it was still never phoned in. Ryan had to stop playing drums for awhile in 2016 so “original” drummer John Bruce came back for awhile and we started getting into a groove with new material but after awhile he had to leave the band too, hilariously leading to original “replacement” drummer Hattie coming back briefly this spring. The lack of stability had become a little much at this point, so after some deliberation we decided to tie up some loose ends and call it a day with the band. Ryan came back and somehow, insanely, we recorded an EP of new material largely in the last week. Through a semi-finished recording with John from late last year, old house show recordings, and on-the-fly practice and acoustic sessions we were able to get 6 songs finished and recorded that feature everyone who was ever a member of the band, including Otis who came into town late Sunday to sing and add a little guitar to most of the tracks and then sat with me while I mixed it all in a daze. I’ll be posting about the EP more tomorrow since I bet a lot of people haven’t read this far down! Get ready!
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Maybe someday I’ll be able to do a more thorough assessment of the band as, contrary to the relative length of this post, I didn’t really even get to a lot of what I’d like to say. I can just sum it up as saying the friendship felt within this band is some of the best I’ve ever had and I really appreciate the time that we all spent together. Fuck, that wasn’t bad.

GTG097: Two Houses “I Feel So Good I Can’t Stand Myself” cassette out now!

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We’ve been buds with Chicago’s Two Houses for over 5 years now and we couldn’t be happier to finally be working on a release with them! Their album I Feel So Good I Can’t Stand Myself got a vinyl release via Rad Girlfriend Records – who described the record as “transcend[ing] the boundaries of punk rock while never abandoning it” – last fall and we’ve put it out on cassette just in time for their spring tour. This is a limited run so make sure to get ’em while you can. The album shows off their instrumental chops while never letting a hooky chorus pass by, crafting the type of listening experience that’s just as rewarding on your home stereo as it is in a sweaty, beer-soaked room. Here’s hoping this is the first of many releases we get to partner up with some of our favorite Windy City pals. Tour dates below!

5/19 – Showroom Studios (Indianapolis, IN)
5/20 – Blind Bob’s Bar (Dayton, OH)
5/21 – Northside Yacht Club (Cincinnati, OH)
5/22 – TreeBar (Columbus, OH)
5/23 – The Burl (Lexington, KY)
5/24 – JJ’s Bohemia (Chattanooga, TN)
5/25 – The Clermont Lounge (Atlanta, GA)
5/26 – TBA (Birmingham, AL)
5/27 – Eric’s Skatopia (Memphis, TN)
5/28 – Evergreen Park (Carbondale, IL)

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You Heard That We Were Great…

Today, May 11 2017, The Plurals play at Mac’s Bar in Lansing with Local H. Local H is a band that tours hard and has played pretty much everywhere and I’ve had several friends share the stage with them but this is the first time that The Plurals are in this position. In many ways it’s just another show, I’ve been playing for long enough to know that opening for a “national act,” even if it’s one of your favorite bands, rarely “changes” anything, but since this is something I’ve wanted to do since I was 17 I’m just happy to achieve a personal goal.

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Local H are in a strange position as they had a moment of strong radio presence at the mid-90s height of “grunge” radio, but they never became top of the bill “stars” and have been in the trenches of independent touring basically since the end of the 90s and the collapse of the music industry as a relentless money vacuum. People that are just aware of their big hit or their minor hit sometimes, in my opinion, unfairly shove them aside with less interesting bands like Candlebox or Collective Soul or even Creed but while the lineage of flannel clad angst is indeed present in their music, a closer listen reveals that they have far more in common with the Replacements than Bush. I myself am not sure if their big hit “Bound For the Floor” really registered with me as a little Plural, but I do remember the now doubly defunct Lansing area alternative station 92.1 the Edge playing “All the Kids Are Right” a lot in the fall of 1998 as I was starting middle school and have always had a strong affinity for that particular tune. A definite lost classic of the 90s if there ever was one.

My love for Local H wasn’t cemented until I saw them live for the first time in 2005. By that point on the recommendation of some of my older friends I had their album As Good As Dead in my CD collection and I had impulsively picked up their 2004 album Whatever Happened to PJ Soles (sidenote – this album is a fucking masterpiece and I won’t hear a word against it; it’s a definite all-time favorite for me) when I unexpectedly came across it in the Ionia pawn shop but I (along with the other nascent Plurals and our friends that formed the original core of GTG Records) went to see them live largely because local heroes XU were opening the show. XU is another essay unto itself, but the main dude from the band runs the label Hot Capicola Records now. Anyway, this first Local H show was a revelation. They hauled their own gear, ran their own merch, had no crew, and played their asses off. Scott Lucas ended the show by crowd surfing to the merch table where he promptly began selling t-shirts. It didn’t seem like they were “has-beens” in any way, more that they had forged their own way after a stint of fleeting major label success. Can you imagine how huge this was to us, as teenagers just beginning to understand the idea of DIY music? These guys didn’t need anyone, and they still don’t. They largely self-release their music and while some of their albums have been licensed to larger labels, they certainly aren’t pandering to anyone else’s commercial interests. It’s no exaggeration to say that The Plurals and GTG would probably not be the same if we hadn’t gone to see Local H when we were in high school.

It didn’t stop in high school though. Hattie and I scrounged together our non-existent “savings” multiple times in our late teens and early 20s to go see Local H live whenever they were within 100-200 miles of us. We gave Scott Lucas so many Plurals CDs, not thinking about the fact that he was just getting burdened with more shit at his shows, but he always was polite and acted interested. So many Plurals “bits” are from the Local H playbook – at one show the fans voted on the setlist via a lottery system before the show, at another show they pulled one of their album titles out of a hat and then played the whole thing (they did PJ Soles that night and it’s still my favorite show of theirs in my personal history), at other shows they would have a “guest singer” come out and do pointless backing vocals but treat it like a serious and integral part of the performance, and, (all right) oh yeah, the Mr. Show references in song titles – but the performance itself from the band has never once been phoned in or jokey. As a teenager their music resonated with me with their early album themes about being a misfit in a nowhere town – in my forever dorky ways I relished the parallel that my nowhere town “Ionia” wasn’t too far off in name from their nowhere town of “Zion” – and I still get a kick out of this wry observance of the darkness in small town aimlessness, but their relentless work ethic and fearlessness in expanding their sonic palette has kept me a fan as I enter my third decade on this earth. We once covered their song “High Fiving MF” at a backyard redneck party at one of our first “shows” ever, an act that surely should have gotten our asses kicked, and now all these years later we finally get to be part of the show. And now they’ll know we’re lame!

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It’s really been a long time coming.

Tommy Plural Solo Album Out This Week

Tommy Plural Front Cover
This week will see the release of the first official solo album from Tommy Plural entitled “Idiot Cousin.” The person that updates this website is said Tommy Plural so I’m going to cut the third person crap and get to the point! I played all the instruments on this album and while I’ve done a couple shorter, more experimental releases as a solo studio project this is the first time I made a focused effort to create a collection of songs that are meant to hang together. And in general I spent more time on this, to the point where I worried briefly that I had fucked up my hand from trying to play beyond my meager drumming abilities. Dangerous! Here’s a song from the album called “Düdes” that tackles earth-shattering topics like hating to go to work and loving the music of Hüsker Dü.

Anyway, the project is still very much supplemental to my band work but I will be using this album as the starting point for a catalog of songs to do with various musician friends, hopefully with a tour down the line. This Saturday I’ll be performing songs from the album with a much-more-talented-than-me-solo lineup of Dave and James from Small Parks and longtime friend but first time collaborator Adam Aymor, so head over to GTG House THIS SATURDAY (April 8th) to check that out. This house show is the release party for the record and also the debut of Ryan Andrews (Red Teeth) new band No Skull, the first Lansing area show by New Jersey indie-punks Alpha Rabbit, and the return of Tim and Dim from Honah Lee! It’s GTG wild card night baby!
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Hut Two Hike – Beach Noir (GTG095) Out 3/11/2017!

Hut Two Hike Front Cover

The 2017 release series continues and the family expands on Saturday March 11th with the release of Beach Noir, the debut EP of Lansing garage rockers Hut Two Hike. Recorded in a couple sweaty live sessions at GTG House late last summer, the EP is a rush of chaotic energy, with a three guitar attack bouncing around in a jangly swirl, complementing the wry vocal delivery and the careening rhythm section to deliver a timeless sounding rock and roll performance. An advance review from City Pulse states “the record moves from moody, haunting ballads [to] feisty, organ-driven ‘60s garage-rock” and we can’t wait to share it with everyone. The release party Saturday night, at the Avenue Cafe, also will feature performances from ex-Crucifucks member Lee Gus Varner, and fellow locals Conspicuous Bystanders, Half Tongue, and The Plurettes. Check out more info for the show here and give “Hinterland Hop” a listen below!

GTG Records 2017 Record Subscription!

Starting today we’re launching a campaign to put out a new release every month in 2017, which will begin on January 27th with the release of a new live recording by The Hunky Newcomers entitled Harder Dude Stuff. This will be available digitally on the 27th and we’ll be having a release party at GTG House that night as well where CDs will be available too. 12 (minimum, there will likely be more) releases can add up so we’re offering up a 2017 album subscription plan via our bandcamp for anyone that wants to get in early and help generate some more fundage for the releases this year. We broke it down into three price models, one payment of $35 for the year will give immediate digital downloads of everything we put out this year, Lansing area people (that we can either hand-deliver or coordinate meetups with) can pay $60 to get physical product (it looks to be 4 vinyl releases and 8 CDs, possibly a cassette or two) along with the downloads, and everyone else can pay $75 to get the downloads and have the physical product shipped to them. Subscribers will also receive immediate free downloads of four of our back catalog items – Honah Lee “Life Won’t Let Me,” The Hat Madder “Orgy Opposite,” The Hunky Newcomers “Secret of the Booze,” and The Plurals “An Onion Tied To My Belt” – so if you’ve been sitting on getting any of those that’s part of it too. Bandcamp also insists on including an “exclusive fan community” thing with subscriptions, so that comes with it but I don’t have the faintest idea what we’ll do there. There also will be some bonus subscriber-only releases that will have some fun stuff (the plan is to put those out every 3 months to serve as companion releases to each quarter’s releases) – basically, you’ll get somewhere around 16 new releases for your collection this year, and we have a lot of cool stuff in the works.

We all have our goals and dreams and resolutions and such whenever the calendar rolls over, and while we’re doing our best to reassure friends and family that the world isn’t ending (yet anyway), we’ve been thinking about what the point of this label is in the first place. Sure, we all have our own self-involved reasons for playing music, but the whole point of building a community around independent, weirder, and/or less-commercial music is to give a voice to people and ideas that may not be heard otherwise and to inject some sort of positivity into our surrounding community. Let it be heard that we’re committed to doing our part to contribute positive and creative energy to help make the navigation through this life a little bit more bearable. And we’re doubling down to bring more of it out this year! It’s gonna be a fun! Scary! Wild! Inspiring! All kinds of good stuff. Happy New Year!