ben summers
Album review: The Grisly Hand - Flesh and Gold
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.
Album review: The Grisly Hand - Country Singles
(Photo by Todd Zimmer)
The thought of today's "country music" genre is enough to make this reviewer's skin crawl. Almost no other recollection is more irritating than the memory of high school dances gone by, predominantly backdropped with a Garth Brooks soundtrack. Flashes of two-step, ill-fitting cowboy hats and oversized belt buckles, some nasty substance called chaw, and off-key, twangy impressions spring to mind, stereotypical as they may sound. And if 16-year-old me knew that 30-year-old me would willingly and constantly blast a country album while driving around town, she would be wildly perplexed.
Fortunately, none of those memories is drudged up while hearing The Grisly Hand's latest full-length effort, Country Singles. The six-piece group masterfully composed twelve solid tracks (along with a special bonus track if you have the album; and if you don’t, get it now—you won’t regret it), presented in a way that brings a broad appeal to its music, yet maintains its core. Country Singles is still, in essence, a country album, but it incorporates a healthy blend of classic country with pop, rock, folk, blues, and soul influences. The personal touch each member contributes to each song provides an extra boost of originality and character, and the production by Joel Nanos at Element Recording invites a quality that reaches far beyond the typical lengths of a locally-produced record.
In previous works, the strength of each track was primarily found in the pristine vocal harmonies of Lauren Krum and Jimmy Fitzner. But with a careful eye on production by Nanos, a new combination of members (this is Mike Stover's and Matt Richey's first recording with the group), and an ever-maturing sense of songwriting, Country Singles stands out as a premier local album.
The characteristically pleasant vocal harmonies by Krum/Fitzner continue to pervade the majority of the LP, but they push through each track with a more confident collective voice and project a stronger personality through their colorful brand of storytelling. One of the best examples of this is on "(If You're Leavin') Take the Trash Out (When You Go)," a jaunty track that nonchalantly tells the story of a breakup, driven by Krum’s intrepid vocal delivery and Fitzner’s accompaniment. On this track—among several others on Country Singles—Richey shows his ability to outshuffle any drummer in Kansas City, helping carry a consistent heartbeat throughout the LP’s most classic country tunes.
Guitarist and mandolin player Ben Summers also puts his songwriting abilities on display throughout the album, on songs like “Municipal Farm Blues” and “Coup de Cœur,” a lovelorn duet between him and Krum, accompanied by Stover’s masterful, lonesome steel guitar work.
These are just small examples of the diversity of the LP, which is best captured in the middle of the album with “Amusia” and “Blind Horse.” While the first four tracks contain the signature Grisly sound, these two are direct counterpoints that retain just enough of the band’s style to shine slightly brighter than the others. The songs show a deeper side of the band, both in emotion and composition; and perhaps the album’s finest moments are found on these tracks. One is the haunting minor-note instrumental/vocal performance that resolves at the bridge of “Amusia.” The other sort of just occurs throughout “Blind Horse,” as the physical and emotional force of Krum’s voice is pitted against intermittent breaths of a simplistic but equally-as-compelling piano, also played by Krum.
Country Singles is The Grisly Hand’s finest work to date, because the band maintains its roots and style while integrating a variety of influences and emotions, along with plenty of humor (the idea and liner notes were inspired by a rural newsletter for lonely singles), dynamics, and depth. No doubt this is already a strong contender for local album of 2013.
Yesterday, The Grisly Hand released a video for “That’s Not Affection,” directed by Dan Myers. Check it out below!
The Grisly Hand is:
Jimmy Fitzner: vocals, guitar
Lauren Krum: vocals
Johnny Nichols: bass, keys, vocals
Matt Richey: drums
Lauren Krum: vocals
Johnny Nichols: bass, keys, vocals
Matt Richey: drums
Mike Stover: steel guitar, bass
Ben Summers: guitar, mandolin, vocals
You can check out The Grisly Hand on a big stage this Saturday, September 14 at Crossroads Music Fest. The band will play Crossroads KC at Grinder’s at 8:10 p.m. You can buy tickets in advance at this link for $15, $20 at the gate.
--Michelle Bacon
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Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. One member of The Grisly Hand claims to be toothless, and she knows which one it is. Do you? |