record exchange boise
The Record Exchange - Culture Spot

[ Search Store ]

Include Tracks

[ countdown to rsd ]

[ 2015 staff picks ]

2015 staff picks

After weeks of scrutiny, Record Exchange staffers have completed their 2015 Top 10 lists. Visit the store to view the lists in realtime and preview our picks. Let the judgment begin!


[ sell us your stuff! ]

sell us your stuff!

The Record Exchange buys and trades used CDs, DVDs, Blu-ray discs and vinyl in good condition Monday-Saturday until 9 p.m. and Sunday until 6 p.m.


[ rx amazon store ]

rx amazon store

Visit The Record Exchange's Amazon Marketplace store to shop for rare and discount CDs, vinyl, DVDs and books. Live in Boise? Order online and arrange for in-store pickup!


[ pono is here! ]

pono is here!

Pono is here! The Record Exchange is now carrying the PonoPlayer, a high-resolution digital music player created with the intent of providing a higher quality digital listening experience.


[ outside the heard ]

[ record store day 2016 ]

record store day 2016

Mark your calendars: Record Store Day 2016 is April 16 at The Record Exchange! We'll have 350+ exclusive releases, live music 20% off used music/video and more all weekend long!


[ rx top 10 ]

rx top 10

1. Rimrock Country
2. Purple
3. I Still Do
Eric Clapton
4. 2
5. Coming Home
Leon Bridges
6. Love Letter for Fire
Sam Beam and Jesca Hoop
7. The Impossible Kid
Aesop Rock
8. Paging Mr. Proust
The Jayhawks
9. A Sailor’s Guide to Earth
Sturgill Simpson
10. Fallen Angels
Bob Dylan

[ payette brewing company ]

Basic CMYK

The Record Exchange is a proud partner with Boise's Payette Brewing Company! Enjoy Payette Brewing Company beer (and for free!) at Record Exchange events such as Record Store Day, the annual holiday Bonus Club Sale and our singer-songwriter Birthday Bash celebrations!


[ go listen boise ]

go listen boise

Go Listen Boise is a non-profit, all-volunteer organization with the mission of fostering a vibrant and diverse musical culture in the Boise area.



April 2nd, 2016


Lissie My Wild West photo for album cover94.9 FM The River presents Lissie live at The Record Exchange (1105 W. Idaho St. in Downtown Boise) at 3:30pm Sunday, April 3. This is Lissie’s only show in town! As always, this Record Exchange in-store event is free and all ages.

Lissie’s new album My Wild West will be available for purchase on CD and vinyl at the event!


418457133688“All that you lost/You get back/And all that you want/You can have” – “Wild West”

My Wild West begins with an overture, by definition an “introduction to something more substantial”. In this case it is Lissie’s third studio album and her most personal one to date, a fitting tribute to Lissie’s life in California, from her arrival as a fresh-faced singer-songwriter ’til now, leaving for the Midwest wiser and more self-assured. Bookended by the songs “Hollywood” and “Ojai”, it brings out the two extremes of the past decade – the ups and downs of the former and the “stability, joy and peace” of the latter. My Wild West represents both a new beginning and a return to Lissie’s Midwestern roots.

My Wild West was recorded with producer Curt Schneider in his Studio City home – he oversaw the project as a whole, produced eight tracks on the record and pulled together the additional material from Lissie’s time recording with her band in Ojai and with Bill Reynolds in Nashville. As the album unfolds, we see a more confident Lissie, self-assured and coming into her own power. “I want my 40 acres in the sun,” sings Lissie on “Hero”, written before she had made the decision to leave California. It details Lissie’s life on the West Coast and the empowerment she felt that she could leave and demand a new adventure from life: “I could have been a hero, I could have been a zero, I could have been all of these things”.

After being signed by Sony U.K., Lissie’s two previous albums, 2010’s Catching a Tiger and 2013’s Back to Forever, came out on Columbia in England and prestigious indie Fat Possum in the U.S., both scoring in the Top 20 of the U.K. charts and Top 5 in Norway, the former going gold in both countries. Stateside, the two releases hit the Top 5 in Billboard’s Heatseekers chart, peaked at #5 and #11, respectively, on the U.S. Folk tally and went Top 40 on the Indie chart.

“There was always a bit of commercial compromise, like pressure to make the charts and sell units,” she recalls of her experience on a major label. “I just wanted to be able to move people with this gift I’ve been given … my voice.”

What emerged was a cohesive, conceptual, musical whole, which belied the rather unorthodox manner in which it was created. “The songs turned out to be more personal because I wasn’t adhering to a strict set schedule,” she realized. “In writing ‘Hero’ and ‘Wild West,’ I had no idea at the time I was going to leave California and move back to the Midwest. I feel like their very creation was predictive of the changes that were coming. The moment I decided not to make an album was when I really started to make the album. That took all the pressure off!”

Lissie’s tales of triumph and self-propelled adventure were inspired by strong females close and far from home: “Sun Keeps Risin’” was inspired by an aunt of Lissie’s who passed away from ALS, while “Daughters” is a pro-feminist call-to-arms that took its cue from Liberian peace activist and Nobel Prize winner Leymah Gbowee, subject of the documentary, Pray the Devil Back to Hell. The funereal, dirge-like “Shroud” and the upbeat “Go for a Walk” shed light on the yin-and-yang nature of Lissie’s personality, the first a meditation on depression and isolation, the latter a heartfelt affirmation of nature’s power of renewal. “Stay” and “Together or Apart” detail the pain and pleasure of relationships, while “Don’t You Give Up On Me” is a spiritualized self-pep talk, urging those around her to hang in there while she figures life out: “Don’t you give up on me/As I dive into the dark/And slip into the endless sea.” There’s also the line “I left you on the coast for something only I can see” and that’s just it, Lissie has a personal vision and it may be hard for others to understand at times but she has to follow it.

Having recently purchased a farm on 10.7 acres in a small Iowa town, Lissie now boasts her own personal “Field of Dreams”, just across the Mississippi River from Rock Island, Illinois, where Elisabeth Maurus grew up in possession of a strong rebellious streak surrounded by the memory of steamboats and railroads of past. Concentrating on converting the barn into a recording studio, getting used to her new pick-up truck and setting up beehives, Lissie is visibly content in her new life, eager to take on each new adventure and challenge that presents itself.

With a career that has seen her open for renowned artist Lenny Kravitz (an early supporter), Tom Petty and even been asked to perform at Ashton Kutcher and Demi Moore’s wedding, Lissie has had a wealth of incredible experiences that have made her the confident and determined artist she is today. “I have a loyal, passionate fan base that every day is growing through its own power, not just an aggressive marketing campaign,” she says. “I want to be an artist with longevity, which is an exciting prospect for me. I feel I’m in a really good place. In fact, I’m already planning a follow-up album, My Mild Midwest,” she says with a laugh.

March 31st, 2016


2014.05.16: Acoustic Medley @ Showbox at the Market, Seattle, WADanny Newcomb and the Sugarmakers will perform live at The Record Exchange (1105 W. Idaho St., Boise) at 6pm Friday, April 1 – their only show in town! As always, this Record Exchange in-store event is free and all ages.


DannyNewcomb_Masterwish_Cover-page-001For years, Danny Newcomb has played a quiet but essential role in some of Seattle’s more noteworthy bands (Goodness, The Rockfords, Shadow), letting his guitar playing and songwriting do the talking. With the release of Masterwish, the guy who inadvertently pushed Pearl Jam’s Mike McCready to become a better guitar player in their teenaged band has stepped into the limelight for the first time.

Released nationally through Think Indie after an initial 7” by McCready’s HockeyTalkter Records, Masterwish has already received impressive support in Seattle. Word of mouth raves from McCready, noted author and journalist Charles Cross and Easy Street Records’ owner Matt Vaughan — not to mention substantial airplay from tastemaker radio station KEXP — have meant that Newcomb is finally getting his day in the spotlight.

It’s also the first time that listeners are getting to hear Newcomb sing his own songs — a surprising but natural evolution that took place as the songs were being written.

“I had always written for other voices — never sang my own songs,” says Newcomb.  “I had never performed as a singer before writing this record. I had been writing since the last record I made with the Rockfords, but found that I had written a record that I liked my voice on. For me, it’s the missing link as far as writing. Being able to write for my own voice lets me complete the circle myself — lets me write from the heart. Singing gave me that perspective to write from that narrative, and now that I have it, I want to run with it and see where it goes!”

Produced by John Goodmanson (Sleater-Kinney, Brandi Carlile) and featuring guest appearances from McCready and fellow Vashon Island resident Ian Moore, Masterwish is chock-full of classic, catchy, sometimes rootsy guitar-pop. Cross predicted that it would make many a Top 10 Seattle records list this year; now that the album is being released nationally and internationally, that list of Top 10 lists is likely to expand exponentially.

“Danny Newcomb is a musician with a rich and lengthy Seattle pedigree, and his new album is full of folky hooks and poppy riffs that will win your heart. But Newcomb’s strongest suit with ‘Masterwish’ is his commitment to well-crafted songs — that standard makes this album soar. It’s only September, but ‘Masterwish’ most certainly will belong on a list of the Top Ten Seattle Records of 2015.” — Charles R. Cross, Author

March 27th, 2016


12507434_10153861901144402_3062503561077520356_nToday’s Record Exchange Secret Treefort In-store is …

Into It. Over It.!

Into It. Over It. will perform at 3:30 p.m. TODAY at The Record Exchange, 1105 W. Idaho St. in Downtown Boise. An album signing/meet and greet will follow.

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).



To say that the Internet killed the “regional” band is to make a perfectly reasonable assertion. We know this not so much as a hard and fast rule, but as a general observation that mostly works. In the years before AOL inundated our mailboxes with software installation discs, we frequently used an artist’s locale as our most reliable signifier; the name of your city or state or small town was shorthand for your style. Most of our favorite artists introduced themselves at shows by saying things like, “We are a band called Fugazi from Washington, D.C.,” and they told us that because in the off-chance that we didn’t know who was actually on stage, we all knew what it meant to be from Washington D.C. That information alone gave us a sense of what they stood for, who they revered, and if not what they would sound like, then certainly what they wouldn’t sound like. The same could be said for bands from New York or Louisville or Seattle or Minneapolis or Detroit. There were always outliers, of course. But in this era before hyper-connectivity, different regions were allowed to take time in developing their own disconnected styles of playing music long before the rest of the world could hear it. Each region invented its own fashion sense, its own cultural heroes, and in the case of punk, even its own unique style of slamdancing — and they were able to do that in relative isolation because there was no fear of people in Paris watching the video on YouTube later that week.

Which is why, if you look for it, you’ll notice that as soon as our musical experience became firmly entrenched online — at some point in the early millennium — our signifiers changed. Fewer artists introduced themselves as representatives of their cities anymore. Global communication demanded a more universal lexicon, and with that, we chose to herald the shaky planks of “genre” as solid ground.


Evan Weiss has spent much of the last eight years preoccupied with place. Recording under the name Into It. Over It., Weiss has already dedicated an entire album to the American city (Twelve Towns), in addition to writing countless songs named after geographical positions both general (“A New North-Side Air,” “Connecticut Steps”) and painstakingly specific (“Midnight: Carroll Street,” the entirety of a split LP with Koji named after five small Chicago neighborhoods). In fact, if you were to quickly run through the track listings for his entire discography, you’d be hard-pressed to find a single release that fails to make this connection explicit in some way. Even a cassette-only covers EP manages to include The One AM Radio’s “Ghost on the East Coast.” And that’s just the song titles.

That the emergence of Into It. Over It. and its subsequent fixation with “spatial exploration” — the name of a song on Intersections, if you’re keeping count — seems to neatly coincide with Evan’s move to Chicago in 2008 is more conspicuous than coincidental. We tend to think more about place when we’re feeling displaced.


Chicago is a central city, in more ways than one. Historically, the music community there has always taken advantage of its own cultural, political, and social in-betweenness in a manner so distinct that its regionality subsumed otherwise arbitrary classifications. Chicago Blues, Chicago House, Chicago Jazz. These aren’t offshoots as much as innovations.

At its core, the “sound” of Chicago’s music community has always capitalized on its physical and ideological distance from the East and West Coast wings of industry; its creative tendencies lean more towards freedom than formula, more towards hybridity than homogeny. It’s the reason why Marshall Jefferson and Steve Albini could each discover Roland drum machines in the 1980s and wind up with records as disparate as “Move Your Body (The House Music Anthem)” and Songs About Fucking, and why many locals didn’t feel a need to choose one over the other.


Standards is the third “official” Into It. Over It. album. It’s an album that was written in a cabin in Vermont and recorded in San Francisco, on opposite ends of the country, and yet it’s also somehow a record so thoroughly Chicago that — in the way most great Chicago records do — it exposes a breach in genre classification. From the onset, Standards delivers a newfound openness that yields the kind of hybridity most associated with Weiss’s adopted city. It’s a position where skittish post-punk evolves from a Rhodes electric piano; where ambient post-rock drifts alongside a low-slung jazz groove; where Fahey-styled fingerpicking gives way to sharp and angular distortion. “We went into this record intentionally unprepared, and I have never done that before,” Weiss recalls, and this is probably the point. Cohesion happens in the process, not the product.

None of this, Weiss says, could have been possible were it not for the creative culture fostered by John Vanderslice (Spoon, Mountain Goats, Death Cab for Cutie), who ultimately produced the album at Tiny Telephone Studios and later called Evan “one the most challenging and surprising songwriters I’ve ever worked with.”

That’s the other thing: By allowing his music to become more playful and improvisational, Weiss has also become a more honest songwriter. He sounds free.


Standards is the first Into It. Over It. album to feature a track listing devoid of any explicit references to a geographical location. A song called “Who You Are ≠ Where You Are,” however, comes ironically close.

March 26th, 2016


TLE_TreefortShowcase_R3.3Join Portland’s Tender Loving Empire, Payette Brewing Co. and The Record Exchange for a TLE-curated Treefort Music Fest Showcase from noon-4:30pm Saturday, March 26, at The Record Exchange (1105 W. Idaho St., Boise). As always, this Record Exchange in-store event is free and all ages — no Treefort pass required, but you should get one (available at the RX) so you don’t miss out on any of the #treefort2016 action!

There will be door prizes, free beer provided by Payette Brewing Co. (21+ with valid I.D.) and most importantly, there will be incredible tunes by some of Tender Loving Empire’s favorite artists. Stay updated here for set times and other fun surprises!


Y La Bamba
Willis Earl Beal
Esmé Patterson
Jackson Boone & The Ocean Ghosts
Cat Hoch


Tender Loving Empire is a record label and marketplace for handmade goods that supports the work of independent artists as well as a thriving community of fans, patrons and friends. Tender Loving Empire is a lot of things. Mostly it’s a big idea. The idea is that art is not a competition: that a strong and deeply connected community of creative people begets an even stronger community-at-large. Our aim is and has always been to facilitate a web of visual artists, designers, musicians, craftspeople, and every creator in-between—and then connect them to new friends, fans, listeners…

Read the complete Tender Loving Empire history here.


Domino Treefort Showcase with Alex G and Your Friend Wednesday, March 23 4:30pm RSVP
Secret In-store Thursday, March 24 5pm RSVP
Aan Second Chance Treefort In-store Friday, March 25 2pm RSVP
Secret In-store Friday, March 25 5pm RSVP
Tender Loving Empire x Treefort Showcase Saturday, March 26 noon-4pm RSVP
Secret In-store Sunday, March 27 3:30pm RSVP


All Record Exchange in-store events are free and all ages, and a Treefort pass is not required to attend (but you really should get one because you don’t want to miss out on the #treefort2016 action).