Singer-songwriter Mikal Shapiro’s perfectly titled latest release, The Musical, is a collection of not merely songs, but 10 short stories set to wonderful music. The album is a work—or multiple works—of art that are just as mysterious and intriguing as any paintings you will find in a gallery. Shapiro’s palette is splattered with the complete spectrum of colors. There are dreary gray tones and bright whimsical flashes, melding together to create a soundtrack to life—one that touches many musical genres, including rock, folk, jazz, old-school country, and even gospel.
The Musical’s opening act, “Nope,” is an airy, ethereal fantasy. Odd, evasive lyrics over a folk sound made jazzier by a muted trumpet give the listener a sense of drifting in and out of a dream on a rainy Sunday morning. Drums and crashing cymbals briefly end the slumber, until you are lulled back to sleep as the song comes to a close. Several tracks share this jazz feel, including “Out on the Town,” “Two String Blues,” and the wonderfully whimsical "Hot Cool." Shapiro’s vocals are poised and effortless on each of these.
“Here and Now” explores rediscovering love and a desire to forget (or never remember) the past. A dull snare beat blanketed by beautiful steel guitar rivals the purest of cry-in-your-beer country songs. Similarly, “This Way to Heaven” is country with an emphasis on gospel. It begins a cappella and, as the band joins in, becomes the loveliest song on the album. It is simultaneously serene and haunting.
Matching the mystery and irony found throughout the album, “Daniel,” the catchiest and most up-tempo tune, is also possibly the saddest. Daniel himself is an enigma. The storyteller, who acknowledges being a “friend” of Daniel’s, clearly knows little more about him than that he can “sings like a Christian” and “drink like a demon.” The song turns dark when the protagonist is found dead, presumably by suicide. “But on that Saturday, Daniel was down / They couldn’t say where he was found, or how he was found.” Brilliantly, the listener is left to decide how Daniel may have met his demise, and why.
Shapiro is fortunate to be backed by Chad Brothers (guitar and vocals), Johnny Hamil (electric and double bass), and Matt Richey (drums), along with a small army of additional local musicians. This adept team provides a canvas that Shapiro expertly fills. My interpretations of The Musical may differ from other listeners. As with any painting, the artist is not only revealing her emotions, but is also attempting to provoke a response—and Shapiro certainly does. My response may be lost in translation, as the peculiar, personal songs will pierce each listener differently.
—Brad Scott
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
“I don’t want it if it’s just for fun,” sings Toughies vocalist Carl Smith. The lyric echoes throughout “What Are Hands For?”, the second track off the band’s debut EP. Ironically, Tough Enough is a great deal of fun, complete with indie pop chords, full-chorus sing-alongs, and an adorable fluffy cat featured on the back of the album art. Yet this lyric perhaps encapsulates the tone of the EP’s 6 tracks—though the music is catchy and bright, it’s not ‘just for fun.’ In fact, the band has produced something of meaningful substance.
The Lawrence-based quartet released Tough Enough in September of this year. In addition to vocalist Smith, the band consists of Brad Girard on guitar, Joe Gronniger on bass, and Caroline Lohrenz on drums. The EP’s opening track, “Sloane,” immediately introduces us to Toughies as a unified team. Listening to the strong vocals sung in unison supplemented with the image of a wandering cowboy on the cover of the album, one can’t help but imagine singing this song while sitting with friends around a campfire.
Tough Enough explores that in-between space traveled by so many trying to navigate young adulthood: the sadness of a break-up, followed by self-reflection, leading to sweetly sincere attempts to mend the heartache by winning that someone back. On “Birthday Party,” Smith sings from the perspective of a man who hopes an ex will show up to his party and witness how much he has matured over the past year of separation. It’s sentimental, comedic, and honest all at once. However, the somewhat tender nature of many of the lyrics by no means makes the music of Tough Enough cheesy or dull—this is indie-pop, after all.
“Horsefeather” provides a dose of funk halfway through the EP that shows off the instrumental strength of each member of the band, and “Cheek” is a favorite that closes the EP on a high note. Listen closely to the last few seconds after the music stops and you can hear one of the Toughies mumble “we can go” amidst giggles, half-jokingly implying the recording was so flawless there’s nothing left for the band to do to raise the bar. Tough Enough is a skillfully constructed and warm introduction to a band we’ll hopefully hear much more of.
—Mary Kennedy
Mary is a lifelong Bostonian learning her way around Kansas City. She can often be found in an art museum, checking out local music, or taking a nap.
You only have one more chance to catch Toughies before the end of the year—this Friday at Replay Lounge. They will be appearing with Oil Boom and Monster. Facebook event page.
Before listening to the new Thunderclaps’Cookin’ Up a Good Time EP, I had never actually heard the band. I knew a little bit about them—mostly that they’re a two-piece comprised of cousins Bryce Jones (guitar and vocals) and Colin Blunt (drums). As a bass player, I must admit that I tend to lose interest when I find out a band is sans bass. This probably isn’t fair. The first of the record’s three tracks, “So Lonesome,” begins with isolated laughter. I wondered why, until I heard the rest of the EP. Now I get it…the joke’s on me. This is great stuff.
“So Lonesome” is a song your grandparents wish they could have heard at the sock hop. A true throwback to the ‘50s, when rock and roll was still being defined, it is full-throttle rockabilly that has a simply irresistible energy. Jones’ guitar and vocals share a gritty but warm distorted twang. Blunt’s tenacious yet tight drumming is on the mark and fills the sound. You’ll be tapping your toes—if not dancing—to this ditty.
The closing track, “Shake It,” shares the verve and vigor of “So Lonesome,” but the driving beat and even gooier guitar tone gives it an almost surf sound. This may be the most potent tune on the record, thanks to the drums and guitar quieting to a whisper while Jones chants, “Oh ah a whoppa bam boom mama,” leading into a crescendo consisting only of sticky, reverb-dripping vocals. Despite sounding like it came from an old album purchased at an estate sale, “Shake It” could easily create an impromptu mosh pit in a live setting. It’s fun. It’s fast. It’s cool, daddy-o.
Between these two offerings is the slow dance number, “You Got a Hold On Me.” It’s a love song and a breath of fresh air strategically placed inside of two powerhouses. Jones softly sings about love from afar with someone he can’t have—or who won’t have him. “You got a hold on me / But I never held you.” Much more than a filler, the music is nicely crafted with a gentle pulse and smooth guitar punctuated with full ringing chords. It is literally and figuratively the heart of the EP.
Cookin’ Up a Good Time will appeal to multiple generations. It will be a blast from the past to some, and something totally new to others. At the end of the day it’s just good music—and good music is timeless. Pablo Picasso said, “Good artists copy, great artists steal.” Maybe one could argue that the best artists inspire others. Thunderclaps have clearly been inspired by past artists, and have borrowed from them to create something very relevant today.
—Brad Scott
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
Congratulations to our October Artist of the Month, Ivory Black! A fairly new transplant to Kansas City’s music scene, Black has been honing an identity as a songwriter for years. The budding performer moved to Kansas City from Seattle 6 years ago, and began adapting acoustic songs to include full band arrangements. Black recently assembled a band (consisting of Glen Hockemeier on drums and Keenan Franklin on bass) to fully execute their thoughtful, reflective brand of songs. With the release of their EP Ready Get Set this summer, the songwriter has gained some well-deserved attention locally and beyond.
The Deli: Down and dirty: 1 sentence to describe your music.
Ivory Black: I call it primo alternative, as in, it’s got this easy listening vibe but with upbeat rhythms, making it possible to move to.
The Deli: Give me some info on your musical background. Why did you decide to put a band together?
Black: My story musically is a simple one. I started writing as young as 12 years old when I got my first guitar. I’ve had bands over the years, but performed alone due to the simplicity of my acoustic songwriting. It wasn’t till I moved to KC that I started writing more intricate parts that required other musicians to play them along with me live and in the studio.
The Deli: What inspires your music and songwriting? What is your songwriting process?
Black: Literally everything inspires me artistically. It’s a dice roll of how I’ll write a song, depending on my mood, what I’m thinking or what happened that day or even years before. I don’t believe I’ve ever written a song with the same exact process I did on previous ones.
The Deli: What have been your greatest musical accomplishments?
Black: I’d have to say the greatest achievement so far has been the spike in my writing abilities, as in getting the point across. Listening to songs I wrote so many years ago, it’s mind-blowing to realize how far someone can come from where they first started.
The Deli: Tell us about your latest album Ready Get Set. What can listeners expect? What future plans do you have for recording?
Black: Ready Get Set is a compilation EP that I threw together so everyone that has ever asked has something physical and official of mine that they can finally hold in their hands. The future, however, holds many opportunities! The things I’m working on now, I’m very excited to get out as soon as recording opportunities arise in my favor again.
The Deli: What brought you to KC, and what do you think about the music scene here? Possibly related: what does supporting local music mean to you?
Black: I came to KC to focus primarily on a dream I’ve been chasing since I was little. Music is so influential, and can change people’s lives when they’re open to it. I really wanted to be part of that movement in a positive way. What I’ve found about KC is the abundant acceptance and appreciation that supporters and musicians alike have for local music. This scene isn’t possible without the support to push it forward, and KC is very supportive in that respect.
The Deli: Who are your favorite local musicians right now? Non-local?
Black: You develop a sort of kinship, or at least intend to, with people you relate to on an artistic level wherever you go. I’ve been a fan of My Brothers and Sisters for some time and have mad respect for what Jamie Searle has done and is still doing for his band and the community. I recently attended the Macabre KC show and was very entertained with the talent that was there. Calvin Arsenia has always had a spot in my heart, due to his passion in what he does vocal wise and with the harp. Jessica Paige has an incredible talent as well. Amazing voice. Erica Joy is easily a favorite.
Astounding attitude on both ends of the scene; even lesser known musicians I catch at open mics. The passion that people have to share their love for what they do is always inspiring, and of course the songs are as well.
Non-local, I’ve been a big fan of Diane Coffee lately. I don’t follow a lot of music but that artist is on point. I like music with psychedelic vibes in it that bring back the ‘70s and the music I grew up with. You won’t hear that on the EP, and it’s probable in the future, but I like it on other people’s material right now when it’s executed well.
The Deli: What is your ultimate fantasy concert bill to play on?
Black: To be honest, I think it’s mind-blowing to play with any artist. I’m just starting out, so I’m pretty psyched every chance I get. The big dream of course is to have my name in those big letters on a marquee or something, with some huge band everyone knows about, but right now I’m taking it one step at a time.
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
I kinda like it the way it is though. How about John Lennon? He’s been a huge inspiration to many! Maybe Mick Jagger for some flair. Since we’re going down the road of long-haired rock stars, you gotta have legend Stevie Nicks on there. Fleetwood Mac was a huge inspiration to me on that note. We’ll end it with Jim Morrison, cause you know, when the music’s over…
The Deli: What other goals do you have for 2015 and beyond?
Black: Well, to be frank, all the goals I wanted for this year have been fulfilled! Got the band going, started playing out, and finished the EP. Things went very well this year! It wouldn’t have been possible without my manager, Klaartje, so a big shout out to her. Next year we are banking for building up on our following so we can play places like Knuckleheads Saloon, The Brick, and venturing out to other states with well known venues. Just gotta take little steps at a time.
The Deli: Where can we find you on the web? Also, provide a link to streaming music and/or video.
Black: I ask that everyone checks out my personal site out where everything, including links to my EPK, EP and pictures can be found: www.ivoryblackmusic.com
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
Black: I don’t consider myself wise by any means, but I do know that if you put all of your heart into something good, things tend to have a way of working in favor of those that want it enough.
The Old No. 5s’ second album, Steam, is first and foremost a blues record. But it shouldn’t be pigeonholed. A self-proclaimed rock/roots trio, members Brock Alexander (guitar/lead vocals), Derek Tucker (bass/vocals), and Aaron Thomas (percussion/vocals) prove they can play the blues with the best of them, but also have the chops to bust out some serious soul, bring the funk, or simply construct a nice power pop song.
The majority of the 11 tracks are fairly straightforward blues rockers, beginning with the album’s first song, “Going Nowhere.” A perfect appetizer, it gives listeners a taste of what can be heard throughout the album: solid vocals, nimble guitar, and one of the best rhythm sections you’ll find on a local or national release this year. There is an undeniable Stevie Ray Vaughan influence on this and several of the other true blues tunes, including “Starting to Show,” “Easy,” and the harder rocking “Hill Country.” While few guitarists can match his licks, Alexander certainly dials in Vaughan’s tone, and has plenty of salty riffs himself.
Alexander’s vocal style varies. On “Easy” he is confident and powerful, channeling a cocky Jimi Hendrix. He shows off a deep soul sound during “Keep Lovin’ Me Baby.” On “Little Man,” a jazzier number, he is a bit more transparent and vulnerable, much like a young John Mayer. While he is very capable at each, I couldn’t help wondering which one is Alexander’s real voice.
The standout track on Steam has to be “Barn Party.” A tightly wound ball of energy, it combines ferocious slide guitar (sounding very similar in this case to a pedal steel), brilliant bass, and a shuffling beat to create foot-stomping fun. Reminiscent of Robert Randolph and the Family Band, it starts uptempo and only gets faster, ending at a blistering pace. Be sure to have your air instruments handy for this one.
The Old No. 5s display a more unique style on the album’s final track, “Just the Way I Am.” While remaining true to the band’s bluesy vibe, the song has a catchy pop sensibility—with an impressive jam in the middle—and should appeal to a wide audience. The trio seems to find their own identity here, something I hope to hear more of on future recordings.
Steam is filled with truly fantastic music that taps into several genres. The songwriting and execution is top-notch. The expertise and use of each instrument, tempo changes, and drawn-out solos make it one of the most enjoyable local albums I’ve heard in some time. As the band continues to mature and distinguish itself, The Old No. 5s should become a force to be reckoned with—both locally and beyond.
—Brad Scott
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
The Old No. 5s put on a monthly concert series at Coda—5s + 1—and it’s coming up this Wednesday evening. Special guest Coyote Bill will be sitting in with the band. Facebook event page. Or if you happen to be near Wichita next Saturday, they will be celebrating the release of Steam at Barleycorn’s that night. Facebook event page.
If you’re new to the Kansas City music scene, you need to know who The Electric Lungs are. This punk/synth rock band has been kicking it and rocking out since 2012, and still going strong. Following their 2013 full-length Simplified and Civilized, they are releasing their second full-length album Don’t Be Ashamed of the Way You Were Made. This album is basically the soundtrack of an awesome B-movie greaser film. The band incorporated rockabilly-influenced tunes that are infused with gritty distortion guitar chords and catchy piano melodies.
No two songs are alike. “Play it When You Need It” has a lot of attitude and angst, and this is reinforced by dirty punk chords with the innocence of a clean upright piano. This is a song that my teenage self can relate to while the band releases their frustration through the song. Then you have “Time, Whiskey and the Lord,” a positive, hopeful song about moving on that can be backed up by a New Orleans marching band. This features a breakdown bass solo that is unreal (respect!).
One of my favorite tracks, “Surgical Malfunction,” has been on repeat on my iPhone for a couple of days. The song starts up with a harsh strumming of a banjo that is later backed up by an organ that makes this song eerie and dark. After lead singer Tripp Kirby sings “I am the shadow that covers the sun,” there is silence for 3 seconds then the yelling of “I DON’T KNOW WHY!!!”, showing frustration of the character in the song. It is followed by a ‘30s ragtime piano solo then progressed later on in the song with an incredible rock organ solo that’s followed by an incredible drum solo breakdown. This hair-raising sinister song shows a lot of personality in 5 minutes that makes you crave more.
Compared to the last album, this one does not hold back. This album shows The Lungs’ true nature on how they play live on stage. This band is not afraid to be different with their unique repertoire of songs. Every track on this album is enjoyable, none of which you would want to skip.
From the retro ‘60s psychedelic album art to their wall of sound performances, listening to Major Games’ self-titled album feels like visiting a sonic circus. Released in the spring of this year, the first full-length album of the Lawrence-based band arrives 4 years after their 2011 EP (EP1, which was just re-released on cassette by This Ain’t Heaven Recording Concern), and each one of the eight new tracks is indisputably worth the wait. Those who have been enjoying their earlier release will not be disappointed—in fact, any fan of noise, shoegaze, or psychedelic will be excited to hear what Major Games has been up to, as will those interested in an introduction to the genre. Their previous five-track EP laid the foundation for Major Games’ seemingly effortless song construction and gritty sound. This new, self-titled album harnesses everything great about those songs and amplifies it into one cohesive Major Games experience: a larger-than-life rollercoaster of noise.
Major Games is made up of Jeremy Sidener on bass and vocals, Doug McKinney on guitar and vocals, and Steve Squire on drums. What immediately stands out on the album is the band’s ability to make a wall of noise sound elegant and cohesive—if you have any doubt, check out the first 50 seconds of “BDBDBD.” Although a solid addition to your road trip playlist, this music is made for hitting play, leaning back, closing your eyes, and soaking up the sound. Sidener’s vocals soar through each track, weaving in and out between layers of instrumental sound with impressive control and range. Lyrically, Major Games comes across introspective, however lyrics take a backseat to the sheer power of the instruments themselves. “Other Location” makes an impact alternating between lightly echoing guitar, and harder, droning noise, creating an unpredictable and layered quality that saturates through the whole album. Other favorite tracks include “Risk,” which will most likely get a crowd dancing, and “Burner,” featuring an unrelenting rolling bass and elaborate guitar work.
Despite its brilliant raw sound, the entire album manages to maintain a quality of precision and clarity. Producer Jim Vollentine, who recorded the album with the band at Black Lodge Recording Studio in Eudora, KS, deserves credit for capturing the force of Major Games’ arrangements. Vollentine’s career includes production and technical work with bands like Spoon and White Rabbits. This album demonstrates serious confidence in their craft and inspired musicianship with no hesitations about breaking the mold. Major Games doesn’t sound like the band is coasting or playing it safe. Their album is a major achievement.
Mary Kennedy is a lifelong Bostonian learning her way around Kansas City. She can often be found in an art museum, checking out local music, or taking a nap.
Midwest Music Foundation is proud to present the eighth annual Apocalypse Meow! Mark your calendars for November 6-8 and enjoy 3 nights of music at 3 great Kansas City spots for a very important cause.
Apocalypse Meow 8 benefits Abby’s Fund for Musicians’ Health Care, which provides emergency health care grants to musicians in need. Raffles will be held throughout the weekend and a silent auction will be held on Sunday at Knuckleheads, with items, gift certificates, and tickets donated by local businesses and organizations. Click here for a full list of items and contact rhonda@midwestmusicfound.org if you’d like to donate.
Huge thanks to all our sponsors, volunteers, and musicians that make this event possible each year! For more information and a full list of sponsors, please visit http://midwestmusicfound.org/apocalypse-meow-2015.
LFK darlings The Sluts’ self-titled second album is just what the doctor ordered. Assuming, of course, that you’re in need of a dose of brash, fuzzy, garage rock, most potent when chased with a shot of bourbon and some cheap yard beers. And let’s face it, you probably are.
The Sluts’ eleven tracks—four of which (“Let Me Go,” “Loser,” “Green,” and “Linger”) were previously released on last year’s The Loser EP (here’s our review of that)—are for the most part quite one-dimensional. This isn’t a bad thing. Ryan Wise (guitar and vocals) and Kristoffer Dover (drums) are not trying to overthink their craft, but instead are content to give listeners fun, mostly up-tempo ball-busters, lasting under three minutes.
The songs are a unique blend of early grunge and edgy punk. Think of Mudhoney joining forces with The Stooges. Wise’s slightly whiny, reverb-laced vocals are nearly as distorted as his chunky, drop-tuned guitar, and Dover’s relentless sonic booming is filled with crash cymbals. The result is a much larger sound than one might expect from just a two-piece band, although I would be interested to hear the added depth that a bass guitar might bring.
Three songs showcase Wise and Dover at their best. The crunchy “Green” is reminiscent of Alice in Chains, both vocally and musically. Dover’s tom rolls give it a defined groove, and set it apart from many other tunes on the album. “Be With You” is a fast, driving love song with interesting rhythm variations and guitar like a machine gun. The highlight of The Sluts is “Linger,” which begins with a catchy surf-like guitar hook, and becomes a thrashing, angst-ridden anthem. The use of fuller chords and incessant drumming allows it to have as much breadth as two instruments are capable of providing.
The album’s final track, “Simple Song,” is the only truly slow song of the bunch. At first it seems a bit out of place among the other ten turbulent tunes. However, there is a good reason for it to be included. It informs the listener that the thrill ride has come to an end, and that it’s okay to take a deep breath and relax. It’s like a much-needed lullaby being sung to a rambunctious, yet exhausted, child.
If you’re in need of some background music for resting, studying or a candle-lit dinner, you should probably avoid this album. If you are leaving work on a Friday, and are ready to roll down the windows and get mentally prepared for the weekend, by all means crank it up. The Sluts isn’t high art or even hi-fi. It’s rock & roll, baby.
Catch The Sluts tonight at a free in-store performance at Mills Record Company! Show starts at 7:00 pm.
—Brad Scott
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
The first track of Riala’s recently released debut album, Be Here | Be There, is immediately reminiscent of the kind of emotional math rock that made bands like Circa Survive so beloved. The vocals, passionate and echoing, mirror the strengths of the instrumentals and resonances that make this band so unique. Feeding my nostalgia for the sound, I dove in headfirst and listened as the track “Aether” gave way to “We Need More Land,” which led to my personal favorite track, “Poseidon.” This lengthy 7-minute song builds to an anthemic explosion of instrumentals around the 5-minute mark that will unavoidably cause some head-banging.
The rest of the 7-track album carries on with the band’s enjoyable mixture of atmospheric rock instrumentals (similar to Explosions in the Sky at some points) and the kind of shoegaze sounds that are impossible to sit still to. The eerily distorted track “Sun Blinks Out” melts into the final track “Captain (Dredge),” which is arguably the loudest in terms of intensity. It proves to be a perfect closer for this expressive album.
Riala consists of Nick Turner (guitar/vocals), Kalo Hoyle (bass guitar), and Morgan Greenwood (drums). The group met at the UMKC Conservatory of Music and Dance and has joined their similar talents and interests to create this electric debut album. Be Here | Be There was recorded at Element Recording Studios where the album was engineered, mixed and mastered by Kansas City’s Joel Nanos, who has proven to be quite successful in various aspects of the music industry. Riala’s album as a whole is no exception to Nanos’ abilities. The album is incredibly moving and dark in all of the best ways. If given the opportunity to catch them live, do not miss out!
—Lindsey Alexander
Lindsey is a writer who loves live shows, Reddit, and really good tacos.
Jesse Harris has been entrenched in Kansas City’s Americana music scene since discovering it as a teenager at BB’s Lawnside BBQ. He has brought that approach to his songwriting, along with a soulful country edge. He has found success as a solo artist and with his band, The Gypsy Sparrows. But after several years of playing and touring, the group has decided to call it quits. This Thursday, they will play a farewell show. We talk with Harris about the group, his music, and what’s in store for the future.
The Deli: Down and dirty: one sentence to describe your music.
Jesse Harris: Songs that are true to the soul that tell tales of both triumph and tribulation.
The Deli: Give me some background on your music; talk about your solo material and The Gypsy Sparrows. Why have you decided to end The Gypsy Sparrows?
Harris:I found the blues in my early teens and luckily, living in Kansas City, the blues scene was at my fingertips. Once I started to write songs, my blues roots really became evident. My songs tend to be on the depressing side but I promise there are a few upbeat ones too. The Sparrows really came together as naturally as possible. I had been writing songs for a few years and playing out in KC with Sean DeCourcy sitting in on harmonica. I got word that Jeff Perkins had recently moved back to Kansas City from New York. Sean and I had both worked on earlier projects with Jeff and we both were eager to get him involved with what we were doing. Crazy to think about but that was almost 10 years ago.
As the frontman for The Sparrows, I started getting booked often for song swaps and singer-songwriter nights in venues around the Midwest. These were new to me because song swaps in Kansas City were almost nonexistent. I got hooked on them. They were organic and lent room for stories and camaraderie between the performer and the audience. The more I did, the more I loved them, and I began to write songs that would fit that type of show. That is how my solo album As I Am came to be.
We decided to call an end to The Gypsy Sparrows for many reasons but mainly just one big reason. We had a great run, wrote some great songs, shared millions of laughs, only a few fights, traveled near and far and we did it all just how we wanted to. It was our way or no way at all and in true Gypsy Sparrow fashion we wanted to be the one who said we were done. We didn’t want to fade away or burn out, just simply say farewell.
The Deli: What inspires your music and songwriting?
Harris: My inspiration almost always comes from real-life events. For me, to write the song I have to feel the meaning, emotion, or the story. I feel connected to my songs like they are a part of me. Even if they have been fabricated to fit the song better, I can still tell you how the lyric came about. I feel that is what makes a song true, and truth is what I look for in any song.
The Deli: What is your songwriting process?
Harris: My process varies. Sometimes I’ll come up with a melody on my guitar and go from that, but every now and then I’ll start with lyrics first. If I start with lyrics first, it’s almost always right after a long drive.
The Deli: What have been your greatest musical accomplishments?
Harris: I went and saw a band play at Knuckleheads Saloon a year or so before I started to play music live and I remember how great the venue was. Everything about the show was perfect and I remember telling myself how great it would be to play a show there. A year after forming The Gypsy Sparrows, I finally got my chance to play there, and it was everything I had hoped for. Two years after my first appearance, my solo CD release show sold out Knuckleheads’ Gospel Lounge, and that winter I was asked to host a songwriter night there, called The Troubadour Sessions. Those are definitely top accomplishments to me, and I’m honored to be back this winter to host The Troubadour Sessions again!
The Deli: Tell me about your latest solo album As I Am. What can we expect?
Harris: As I Am was a challenge to myself. I wanted to give a true perspective to my sound as an individual musician. As I Am is the best representation of that. Nothing was altered, auto-tuned or digitally changed at all. This is me and my guitar. I am sometimes off-key, my guitar buzzes at times, and I even change lyrics on the fly. It is not perfect because I am not. The songs of the album cover many topics. From heartbreaking loss in “Love, Money, & Redemption” to songs of hope and guidance in “Boots On,” you are bound to find at least one song you can relate to in some way. That is what I was shooting for anyway.
The Deli: What does supporting local music mean to you?
Harris: The local music scene in KC has been growing like crazy over the last few years. When I started out, there were hardly any venues that supported original songwriters. We have been very lucky that the trend is ending. Venues like the recordBar, The Westport Saloon and The Tank Room have really made a name for themselves in the local music community. For me, supporting local music means supporting the venues that host and pays local musicians. This is just a hobby without those venues that pay their performers.
The Deli: Who are your favorite local and non-local musicians right now?
Harris: Local: John Goolsby has the voice of an angel and has written some great tunes. Also a new favorite is Tyler Giles, who is a regular at The Westport Saloon.
Non-local: Jason Isbell is a must in my CD rotation. A newer songwriter to my favorites is John Moreland. I played before him in Tulsa and have been hooked ever since! Both of them are the most truthful lyricists I’ve heard in a while.
The Deli: What is your ultimate fantasy concert bill to play on?
Harris: Alive: Jason Isbell, Amos Lee, St. Paul and the Broken Bones, The Black Crowes, Willie Nelson. Dead: B.B. King, Ray Charles, Levon Helm, Jerry Garcia.
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
Harris: Willie Nelson – A true road troubadour.
David Gilmore – Got me hooked on the sound of the guitar.
Robert Hunter – Because songwriters get little credit.
Levon Helm – Had a true passion and heart for music.
The Deli: What does the future hold for you as a musician?
Harris: I am heading to the recording studio to record my second full-length solo album this winter. I have some of the best songs I’ve ever written in hand and a fresh (and sober) new perspective on love, life and music. I’m not sure exactly where music will take me, but I know it’s going to be a great ride!
Few Kansas City bands have been not only respected but embraced by critics, fans, and fellow musicians of many genres the way The Grisly Hand has over the past few years. Formed in 2009, the band released the album Safe House in 2010, Western Ave. EP in 2012, and then followed those with the stellar and regionally successful Country Singles in 2013. The latter cemented The Grisly Hand’s position as one of the best acts in Kansas City, and probably should have launched them onto a national stage.
There may be just one slight problem—they don’t exactly fit the mold of any one genre. Typically billed as Americana, the band’s first three releases were undeniably country music. Not the contemporary crap you avoid at all costs on your radio dial, but more traditional twang, with perfectly harmonized vocals, pedal steel guitar, mandolin, a potent walking bass, and shuffling beats. It’s not cry-in-your-beer country, but mainly up-tempo tunes that—like a lot of old-school southern music—contain elements of rock, soul, and pop. Music that, despite its wide local appeal, is not exactly sought after by major record labels.
The Grisly Hand’s latest offering, Flesh and Gold, is a different direction for the group. There is an obvious attempt to lessen the country feel by moving to a more straightforward rock ‘n roll sound than present on previous albums. There’s a bit less twanging and a little more banging, but the songs are still well-crafted. Lead vocalists Jimmy Fitzner and Lauren Krum (Ben Summers takes the mic on the third track, “Regina”) harmonize like two people who have spent their entire lives singing together. The musicianship of Fitzner and Summers (guitar and guitar/mandolin, respectively), along with Mike Stover (pedal steel/bass), Dan Loftus (bass/keys), and Matt Richey (drums) continues to be top-notch.
Flesh and Gold opens with the familiar, beautiful ring of Fitzner and Krum, singing in front of a lone electric guitar on “Get in Line, Stranger.” The rest of the band soon kicks in, and the song proceeds to become what the majority of the album is—a very solid collection of catchy, mid-tempo, alt-country tunes; some of which could be accused of leaning towards (gasp) pop rock.
Possibly the most enjoyable cut on the album is the no-nonsense, driving rock song, “Regina.” Summers’ vocals, though not quite as refined as Fitzner’s, are laced with passion as he sings about the insecurities and immaturity of youth. “You probably don’t want to follow me down, because I’m a fucked up kid without a plan / Shows me why you do the things you can.” The track is vibrant and pulsating—Krum’s backing vocals give Summers’ voice some added depth, and Stover’s killer steel guitar solo supplies just enough southern touch. This could be a very radio-friendly song.
Some risks are taken by tackling a couple of heavy topics. “Brand New Bruise,” a ballad turned barroom blues rocker, is about a woman with an abusive partner. I was prepared for a clichéd country triumph about a gritty woman teaching her old man a lesson. Instead, the song reveals a sad dose of reality; a worn woman who doesn’t know where to turn. “You can say you’re sorry again, you can bury me down in the ground / Just know whichever way you choose…either way I lose.” “Satan Ain’t Real” is perhaps a jab at Christianity and the guilt it causes, or maybe just a way of telling people not to be too hard on themselves or each other. “Satan ain’t real, it’s just what we blame when we can’t explain why fellow men hurt us like they do, without remorse / Just know it’s all in your head, and it ain’t ever too late for you to break away.” The song is also one of the more intriguing numbers musically. Somewhere between a Bossa nova and a Cajun ditty, the relaxing groove, filled with mandolin and steel guitar, implores the listener to set their troubles aside.
“Regrets on Parting,” the record’s final track, is by far the most surprising. It is a soul song at heart, and could be mistaken for something coming out of Memphis in the ‘60s. Fitzner and Krum’s harmonizing is at its best here. The real surprise is the addition of a horn section comprised of Nick Howell (trumpet), Mike Walker (trombone), and Rich Wheeler (saxophone). It’s a fantastic, if completely unexpected, song. Maybe it’s no accident that this is the last song, as it could be foreshadowing of things to come on future recordings. (Editor’s note: Flesh & Gold is the first part of a double album that is slated for release in early 2016)
Flesh and Gold is a very good standalone album. There isn’t a single song that isn’t thought out and dialed-in, as any fan would expect. Had I never heard any of the The Grisly Hand’s previous work, I would go as far as to call this output great. However, I know what the band is capable of, and couldn’t help longing for a few of the things that made Country Singles so special. For example: the dialogue between Fitzner and Krum on “(If You’re Leavin’) Take the Trash Out [When You Go],” the infectious energy of “If You Say So,” or the moving beauty of “Coup de Coeur.” Despite this, I understand the need for change, applaud the band for moving outside of their comfort zone, and feel extremely confident about the future of The Grisly Hand.
—Brad Scott
Brad loves music, Boulevard beer, and his family.
The Grisly Hand will be one of the bands playing a pre-game concert at Kauffman Stadium this week. They will be taking Ink’s Outfield Stage for Game 2 of the American League Division Series on Friday afternoon. They will also be playing the annual Brew at the Zoo and Wine Too! at the Kansas City Zoo on the evening of October 17.
