Lincoln/Press

From This Might Be A Wiki

This page contains various press materials created in promotion of They Might Be Giants' second album Lincoln.

Inpress, Inc. Bio, October 1988[edit]

This Public Relations bio was discovered in the Grand Emporium Collection, housed in the Special Collections and Archives of UMKC[1].

New York's They Might Be Giants, named Best Rock Band on an independent label at the 1988 New York Music Awards, have released their second album, L͟i͟n͟c͟o͟l͟n͟, on Bar/None (distributed through Restless/Enigma). Their first, eponymously-titled LP sold over 100,000 and their EP over 30,000 copies in the U.S. alone. Now the duo, whose first record elicited rave reviews, are ready to embark on the next phase of their World Domination plan


R͟o͟l͟l͟i͟n͟g͟ S͟t͟o͟n͟e͟ reviewed the first record thusly: "They're going to have to create a whole new category of weird to contain TMBG. After all, what other group around these days would release an album with 19 songs that incorporate genres from art pop to country to polka, all operating under titles like 'Youth Culture Killed My Dog'? ... In fact, beneath the jokes, TMBG might be the most unexpectedly catchy pop band since XTC." And England's M͟e͟l͟o͟d͟y͟ M͟a͟k͟e͟r͟ concurred: (Their) user-friendly avant pop style (maintains)... a strong undercurrent of lyric seriousness to their otherwise witty, word-intensive tunesmithing."

John Flansburgh (the one with glasses) and John Linnell (the other one) are They Might Be Giants, and while the critics have been falling all over themselves, the public at large hasn't caught on yet, even though "Don't Let's Start" was a heavy-rotation MTV video hit and a top-ten single on Los Angeles' influential KROQ. While the first album attracted accolades like "inventive, bizarre, infectious and endlessly creative" (D͟i͟g͟i͟t͟a͟l͟ A͟u͟d͟i͟o͟) and "letter-perfect send-ups of contemporary pop that make normal, romantic songwriting sound hopelessly serious. Part mix-and-match nonsense, part trash parody, the songs on T͟M͟B͟G͟ resound with cultural lunacy" (N͟e͟w͟ Y͟o͟r͟k͟ W͟o͟m͟a͟n͟), these hardly describe the depth and breadth of the duo's astonishing talent.

Having originally met in grammar school in the suburbs outside Boston, Linnell and Flansburgh separated for a number of years: Flansburgh to "do a world tour of colleges," Linnell to pull an extended stint in a Rhode Island-based rock band. The two didn't get together musically until they both moved into the same Brooklyn apartment building on the same day. Having written over 300 songs and finding themselves without an outlet, Flansburgh and Linnell instituted their Dial-A-Song service, enabling fans to call and hear a new tune every day or two. Shortly afterwards, They Might Be Giants were signed to Bar/None and came out with the record that P͟e͟o͟p͟l͟e͟ Magazine hailed as "bound for greater glory... These guys should definitely change their name. It won't be long before they really a͟r͟e͟ giants."

Flansburgh notes that "it was such a slow evolution from playing on the Lower East Side to making a living (at music). I remember going out to tour and coming back home to see if we could get some hours in at our freelance jobs. There came a point where it was obvious, since we were gone so much, that we wouldn't be able to hold down those jobs." So the two Johns went after music full time. "If it's the only thing you care about,." Flansburgh muses, "whether you can make a living at it or not, you're still gonna end up doing it," referring to what he calls his occupation of shame."

The team shares songwriting duties (FLansburgh plays guitar and Linnell plays accordion and sax live, to the accompaniment of pre-recorded backing tracks), and they agree that the basic idea behind TMBG is speaking with one voice. "The foundation for the whole thing is that we're entertaining people," Linnell says. "Basically, we allow the audience to get what they want out of it." Flansburgh adds, "When you're a musician, if you can provide people with melodic, tuneful songs, then you're fulfilling a major job requirement. We're not the most experimental rock band in the world, but I think it's unusual that we get people into it, considering how off the beaten track we really are. The way we approach technology is sort of a second-generation use of synthesized music. Our music is completely based in the present, not in some high-tech vision of the future." Linnell explains that "you can use really artificial sounds and it doesn't limit the subject of your music to artificiality. Our stuff actually has a kind of frail, easy-to-destroy quality."

When it comes to influences, Linnell has to reach back to his childhood. "Even if I'd gotten into architecture, I still think that The Beatles would have been the major influence on the buildings I designed. During that trying period (in the 1970s) when so much was disappointing and unpleasant, it was easier to pick out stuff that you hated, so we adopted an ironic attitude. For myself, I liked mostly The Ramones and Elvis Costello. Costello seemed like a guy you could base a whole music theory on."

Flansburgh, who owns an entire collection of 1940s radio broadcasts on tape, agrees with his partner's assessment of the music scene in general, observing that "we've never had any trouble performing for audiences and having them understand who we are and what we do. It amazes me that we can go anywhere and play for any kind of crowd, and people relate to it in a very personal way. Sophisticated clubgoers in New YOrk or West Germany appreciate it just as much as frat boys in the middle of the country. Obviously, they might not be experiencing the very same thing, but it also amazes how much people will allow you to do if you present it in a non-threatening way. People are very willing to take an excursion with you if you appear to give them a choice."

L͟i͟n͟c͟o͟l͟n͟ is not so much a departure as a natural continuation for the GIants. "We were going to name it L͟i͟n͟c͟o͟l͟n͟ C͟a͟l͟l͟i͟n͟g͟, but that seemed too obvious," Linnell says; the official explanation of the title (since there is no title track) is the fact that it happens to be their manager's middle moniker. Flansburgh adds that "Our first album had 19 songs, this one has 18. By the time we get to the end, we'll have just one big song... a 'Hey, Jude' type of thing." In a more serious vein, he says that "a lot of material on the first album was just written for the record and hadn't been audience-tested. THe big difference with L͟i͟n͟c͟o͟l͟n͟ is that we've done hundreds of shows since that first record, so as instrumentalists and vocal performers and songwriters, we're just that much more developed. I think we've also learned that our arrangements might actually be less fussy than they used to be. We tend to leave the kitchen sink in the kitchen now."

The Giants are planning a U.S. tour and European sojourn in support of L͟i͟n͟c͟o͟l͟n͟, and the future looks limitless. Linnell hopes to expand their at-home recording capabilities: "We always have these crazy ideas and it depends on what our circumstances are whether we'll get around to doing them," while Flansburgh fully intends to live up to the TMBG motto: "Have a good time, all the time."

Listeners adventurous enough to take the excursion with They Might Be Giants are likely to find that that applies to their audience as well.

Bar/None Press Release, December 1988[edit]

Physical copy
After a runaway best-selling debut album, successful U.S. and European tours, and an extended run on MTV, THEY MIGHT BE GIANTS are happy to announce the release of their new album L͟i͟n͟c͟o͟l͟n͟ on Bar/None (distributed through Restless/Enigma). Outstanding tracks on the eighteen song album include "Ana Ng," "They'll Need A Crane," and "Purple Toupee."


1988 has been an amazing year for THEY MIGHT BE GIANTS. After an overwhelming public response to their video "Don't Let's Start" on MTV the band broke out on commercial and college radio charts. Fueled by constant touring including a sold-out tour of the west coast, THEY MIGHT BE GIANTS' self-titled debut album sold over 100,000 copies. After their tour the band returned to New York to receive the Best Band-Independent Label Award at the New York Music Awards, where the duo shared a bill with the likes of Suzanne Vega and LL Cool J.

For THEY MIGHT BE GIANTS life has been a series of fortuitous events. Though based out of Brooklyn, New York, the duo of guitarist John Flansburgh and accordionist/saxman John Linnell actually met in grammar school in the suburbs outside Boston. After years apart in other bands and world tours of institutions of higher learning, the pair found themselves reunited ina railroad apartment building in Brooklyn, coincidentally moving in on the same day. It wasn't long until the two Johns joined musical forces and formed THEY MIGHT BE GIANTS.

Determined not to have their audience limited to downtown Manhattan clubgoers, the band started their own DIAL-A-SONG service which recently celebrated its third anniversary. Featuring a new song everyday from the group's giant library of songs, DIAL-A-SONG awaits your call at 718-387-6962 AND IT'S FREE WHEN YOU CALL FROM WORK!

Flansburgh and Linnell share songwriting duties and together they have written over three hundred songs. They agree that the basic idea behind TMBG is speaking with one voice. "The foundation of the whole thing is that we are entertaining people," Linnell says. "Basically, we allow the audience to get what they want out of it." Flansburgh adds, "It amazes me that we can go anywhere and play for any kind of crowd and people relate to it in a very personal way... The big difference with L͟i͟n͟c͟o͟l͟n͟ is that we've done hundreds of shows since that first record, so as instrumentalists and vocal performers and songwriters we're just that much more developed. I think we've also learned that our arrangements might actually be less fussy than they used to be. We tend to leave the kitchen sink in the kitchen now.

Make sure to catch THEY MIGHT BE GIANTS when they come to your town!

Hall Or Nothing Press Release, December 1988[edit]

Physical copy
America's independent success story, They Might Be Giants become One Little Indian's first US signing when the label releases their second LP — 'Lincoln' — in mid February.


'Lincoln' is the follow-up to their eponymously titled debut album, which sold over 200,000 copies in the States. Released on the tiny Hoboken label, Bar/None, the nineteen track LP is an extrovert collection of precise pop vignettes.

With the homemade videos becoming permanent features on MTV, the Giants have broken new ground for American indie bands.

Taking to the road with their battered up accordion, guitar, and tape recorder, the group played a series of bacchanalian bar room dates on their 'Bring Me The Head Of Kenny Rogers' tour.

The Giants - that's John Flanbsurgh and John Linnell - first met at High School in Boston. Losing contact they bumped into each other several years later after both moving into the same Brooklyn apartment block. The two Johns soon amassed over 300 songs. Unable to find an outlet they started their Dial-A-Song service, where fans could ring in to the Giants answerphone and hear a newly written tune every day. This service still operates on 0101 718 387 6962, and please leave a message after the tone.

With eighteen songs on 'Lincoln' They Might Be Giants combine the classic with the quirky, writing highly strung, word intensive tunes.

A single, 'They'll Need A Crane' backed by 'I've Got A Match', is released by One Little Indian on January 30th, with the twelve inch containing two extra tracks, 'Kiss Me Son Of God' and 'I'll Sink Manhattan'.

The Giants fly into Blighty after Christmas to play a couple of London dates.

Press Kit, 1988[edit]

Press photo of They Might Be Giants by Billy Kent; featured in the press kit

A press kit sold online featured various different articles on the band, clips from several publications describing the band and their music, and quotes from the band across these articles. Also included was a Dial-A-Song poster and a press photo by Billy Kent, taken during filming of the "They'll Need A Crane" music video.

Articles included:

Quotes included:

  • GREATEST MOMENT: "The greatest moment of our careers was jamming with Sebastian Cabot. Nobody even knew he was in the club. Then all of a sudden, there he was laying down these awesome kicks in his axe. That guy was a monster." - Interview, Jun. 1987
  • ROOTS: "I was a people counter, doing surveys for the railroad in Grand Central Station. I counted a couple of hundred thousand people before I got laid off." - John Flansburgh, In Fashion, May/Jun. 1988
  • ROOTS: "My two previous jobs were bike messengering in Manhattan, and working freelance in a darkroom for audio visual companies. Both jobs were well suited for singing at the top of my lungs for eight hours a day." - John Linnell, In Fashion, May/Jun. 1988
  • STYLE: "Our clothing can be divided into two categories. The first group is apparel that's creeping into the realm of architecture. The second group is the clothing at the bottom of the drawer when everything else is dirty." -In Fashion, May/Jun. 1988
  • BIG HATS: "We made these hats for the video "Don't Let's Start". People like them, but they do have negative side effects − they turn your forehead red, crush your brain and make you vote Republican." - Star Hits, Jun. 1988
  • RANDOM: "We're the Hall and Oates of music." - John Flansburgh, The Village Voice, Jan. 27, 1987
  • IDEALISM: "You've got to have a dream. You've got to. Because if you don't have a dream, well, then you can't go on dreaming." - John Flansburgh, Automobile Magazine, Feb. 1988
  • ON SONGS: "There are stories sort of nested inside a whirling blur of songness." - John Linnell, New York Times, Mar. 6, 1987
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