Kasey Rausch | The Deli Magazine

Rural Grit Happy Hour celebrates its 15th anniversary

(Photo by Todd Zimmer)

Last Monday about 20 to 30 hearty souls braved the cold and the coming snowstorm to go down to the Crossroads and celebrate the fifteenth anniversary of that uniquely Kansas City jam of American music, the Rural Grit Happy Hour.

The Rural Grit Happy Hour started in the winter of 1999 as Brother Ike's Rural Grit Happy Hour ("Brother Ike" being frontman Ike Sheldon of The Wilders), and it was held on Monday evenings at the Grand Emporium. I worked at that fine establishment back then, and when the word spread through the musical community that Roger Naber had sold the bar, the most frequent question I got from people out in the community, wherever I went, was "what will happen to Rural Grit?" asked by people who were genuinely, painfully concerned.

After the Grand Emporium, the Rural Grit Happy Hour found a home at Mike's Tavern, the bar across Troost from Rockhurst University, where I learned a new definition of "awkward.” While my son and my money were going to Rockhurst, I walked into a Rural Grit one night to find a former colleague from the GE happily serving my minor son while he tapped his foot and bobbed his head in time to the music. Eventually, he felt the daggers I was staring at him and turned slowly to see me standing there cross-armed and fuming. He closed his tab and beat a hasty retreat across the street to his dorm.

A few years later, it was my turn to ask "what happened to Rural Grit?" with genuine concern, when that same son, now living in a house a couple of blocks from Mike's, told me in a satisfied tone, that the bar had closed. "Don't worry Mom. It moved to The Brick, and the Brick isn't going anywhere. It'll be there forever."

Here's hoping, because looking at the slideshow of fifteen years of Rural Grit on Monday night, I sure did get nostalgic for those Mondays gone by.

--Tammy Booth

Tammy (AKA Blue Girl) also blogs for They Gave Us A Republic and Show Me Progress.

The Rural Grit Happy Hour happens every Monday from 6-9 p.m. at The Brick. Old Sound will be the featured artist at tomorrow’s show. If Mondays don’t work for you, you can catch the Rural Grit All-Stars at Halfway To Winfield 2014 at Knuckleheads on Saturday, March 15. Facebook event page. Purchase tickets online.

February 09, 2014

Show recap: Murder Ballad Ball 5 - The Verdict

(Photo by Sondra Freeman)

Another Murder Ballad Ball has come and gone, leaving a ghostly smile playing about the lips of those who attended that will be a source of puzzlement well in the coming week to those we come in contact who didn't attend.

Saturday night, The Verdict, was seven hours of music by some of Kansas City's best musicians performing at The Living Room Theater. The music got started at 6:00 with A.J. Gaither doing a one-man set playing his homemade cigar box guitars and a kick bass, doing mostly original material, except that gospel number he snuck in there because hey, the crucifixion is the most famous murder of 'em all, right?

Next up was perennial KC bluegrass favorite Loaded Goat, romping through a five-song set that had the crowd that was starting to trickle in and fill up the place on their feet and dancing from the first notes of “John Hardy” to the final notes of “Six Feet Down.”

Next up was David George and cellist Christine Gross doing a stripped-down six-song set of Crooked Mile tunes that had the crowd that was ready to ride off and rob the Glendale Train with Loaded Goat a few minutes before paying rapt attention so as not to miss any of his subtle turns of songwriting phrase.

The fourth act of the night was Damon Parker who did a solo-set—just him and his electric piano—reminiscent of Dr. John and New Orleans. His rendition of “Seven Spanish Angels” gave me goosebumps, and the strains of “Night Train” hung in the room long after he had left the stage and the next act was setting up.

Mikal Shapiro put together an all-star ensemble for her set, with the one-and-only Betse Ellis on bass, Amy Farrand on drums, and Chad Brothers on lead guitar. Her set opened with a version of “You Are My Sunshine” that my Nana never sang to me, moved into her original song “Technicolor,” followed by “Dublin Reds,”(her interpretation of Townes Van Zant's “Dublin Blues”) and they finished their set with the timeless Leonard Cohen classic “The Future.” Here's hoping we see more of this project in the new year—these musicians just jell when they come together. Each and every one of them is absolutely fabulous in their own right, but never has the phrase “the whole is greater than the sum of its parts” been more fitting.

Anthony Ladesich—Kansas City's answer to Steve Earle—was up next, and he played seven original songs, each one a narrative, and each one a true murder ballad. His set started with “To Vanish and Fade,” a haunting tale of a man who kills the banker who comes to foreclose on his home, then segued into the even more haunting “Down Bellfontaine,” about a serial killer stalking and murdering his first victim. The tune that stuck in my head was “In the Cut”: “we'll get in quick and get out quicker, we'll get high when we get done” about two guys who rob a liquor store, but it's a double cross, and one of them kills the other one—but he got high when he got done.

Kasey Rausch, who never disappoints, delivered a knock-out set with alternating supporting musicians. Her first song was “I Used to Love Her,” sang with her sister Kim Rausch McLaws; the sisters delivered some of the tightest harmonies you'll ever hear this side of the Ryman. She finished her set with the Rural Grit All-Stars doing another superb rendition of “Seven Spanish Angels.”

The Rural Grit All-Stars have been holding the fans of roots music in thrall for years. I worked for Roger Naber at the Grand Emporium when the Rural Grit Happy Hour got started, and when the news spread through the music community that he had sold the bar, the most common question I got was, “What's going to happen to Rural Grit?” (It has had a couple of homes since then, but it's still going strong, Monday nights from 6:00-9:00 at The Brick, and the cover is still only three bucks.) The All Stars performed their own set, and its various members performed with other acts throughout the night, especially Betse Ellis. She was, without a doubt, on the stage more than anyone else. It seemed like she played with more acts than she didn't; this is not a complaint, it is simply an observation, smug and self-satisfied in a my-town-is-better-than-your-town-for-live-music sort of way.

The Silver Maggies are always great, and always loud, and Saturday night was no exception. They brought their “A” game to the Ball and crushed it with a wall of sound.

The Philistines were the penultimate act, kicking their set off with the original number “Stygia,” then following it with a few covers, the first one ‘80s college-rock classic by Adam & The Ants, “Killer in the Home.” That was followed by Neil Young's “Revolution Blues.” Cody Wyoming and Kimberly Queen, the couple that makes up the beating heart of The Philistines, are huge fans of ‘80s college rock, and they went back to that well for “Killing and Arab” by The Cure, and finished the set with “Para” by Calexico.

Since Murder Ballad Ball is the brainchild of Cadillac Flambe (pictured above) frontman Kristopher Bruders, they took the stage last and played until closing time, holding the rapt attention of the die-hards who were still hanging in there at 12:30. Once they got the technical issues with the piano resolved, they blew the roof off the joint. Havilah Bruders has a voice so powerful it can make the hair on the back of your neck stand up when she belts out a murder ballad, and no drummer has ever had more fun with a kit than Michael Payne, but bassist Dave Duly gives him a run for his money. For all intents and purposes, when they're playing, the Cadillac Flambe rhythm section is like kids at recess.

Much appreciation to The Living Room Theater for the use of the space and to their staff for putting up with a bunch of rowdy music fans, to the tireless efforts of both Rhonda Lyne and Sondra Freeman who work non-stop to make sure every Midwest Music Foundation event comes together seamlessly, to all the vendors who donated items for the raffles and silent auction, and to the talent for showing up and entertaining us and bringing us together for such a good cause...the health and well being of Kansas City musicians. As I like to say, before the country had Obamacare, KC's musicians had Abby Care.

--Tammy Booth

Tammy (AKA Blue Girl) also blogs for They Gave Us A Republic and Show Me Progress.

December 08, 2013

Show preview: Winfield Hangover at The Riot Room, 10.26.13

Missed the Walnut Valley Festival (or Winfield, as you may know it) last month? Went and still can’t get enough? Never fear, Kansas City: twelve local bands will be performing at The Riot Room this Saturday night as a part of The Winfield Hangover.

The concert has been organized by Eddie Crane (of Loaded Goat, pictured below), who has been a large proponent of the roots/Americana scene for years. “Every year when the Walnut Valley Festival in Winfield ends, I feel like I can hear 15,000 hearts breaking, knowing that it's another 360 days until it rolls around again. I just wanted to give everyone another taste and put together a show for some of the folks that couldn't make or just can't let it go,” said Crane.

(Photo by Todd Zimmer)

He’s put together quite an evening, showcasing some of the genres and subgenres represented at the annual fest, from folk to metalgrass to thrashbilly and beyond. See the full schedule below!

Facebook event page. Purchase tickets here.

Indoor stage:
5:30 – Whiskey for the Lady
6:30 – Wells the Traveler
7:30 – Betse Ellis
8:30 – Famous Seamus and the Travelbongs
9:30 – Fast Food Junkies
10:45 – The Calamity Cubes
12:15 – Deadman Flats

Patio stage:
5:00 – Kasey Rausch and Friends
6:00 – The John Brown Boys
7:00 – Cadillac Flambe
8:00 – Loaded Goat
9:15 – The Kansas City Bear Fighters

--Michelle Bacon

October 21, 2013

Show review: Crossroads Music Festival, 9.8.12

(Photo of Rural Grit All-Stars at The Brick, taken by Michelle Bacon)

By the time I had made it to the Crossroads Music Festival, entertainment was in full swing. I had opted to take the "knowledge" approach to the fest, seeking out only bands that I had yet to experience. Thankfully, the lineup was packed with fresh names, mostly due to my overwhelming tendency to not leave my house.

Due to a pants/dryer fiasco that had plagued me for the better portion of the evening the first set I was able to catch was The Hillary Watts Riot at the Midwestern Musical Company stage. The first thing I noticed while walking in was the room. With guitars at every angle and pop art and vintage toys lining the walls, the space is easily in the running for Kansas City’s best hidden gem. Shove the extremely energetic Hillary Watts Riot in the room and you’ve got a winning combo. Though the band will fuck with your mind like a drunken kitten, the Devo meets B-52 mashup is the type of music you have to stop, think over, digest, process, then accept. However, unique is the fact that while deep and complex it remains fun and approachable on the surface. With a pinup doll look and sunglasses-at-night image, the pedal-heavy band kicks in your teeth with plenty of reverb and a chaotic sound. With glimpses of punk reflecting off the glitters of glam, the band’s sound bounces all over the place. 1990s sound bites bleed through the 1980s influences. Mixed with their witty banter, this band is entertainment at its best. Show up to catch them if not only to catch their drummer (Sergio Moreno) rock his flashlight hands mid-set.

From there, I wandered downtown towards The Brick to catch Victor & Penny. I had wanted to catch their antique pop set for a while, but could never manage to get their schedule to align with mine. In addition, their tour schedule has been nothing to scoff at. Neither is their live act. Victor (Jeff Freling), who runs his vocals through a vintage throwback radio, is a treat to watch. His guitar chops are stout and his rockabilly licks are well-rehearsed and down pat. Paired with the beautiful Penny (Erin McGrane), who rocks a tiny uke and a sunshine smile, the group is unstoppable and refreshing. Her act has a bit of snarl to it, growling when you least expect it. She is also in full control of her facial expressions, turning them on at all the appropriate moments. She is the perfect front lady and in full control of her craft. She knows her charms and makes certain that her audience is enlightened of them as well, as she swims through her 100-year-old material. Of all the sets of the night, this one was the hardest to leave early.

Begrudgingly, I meandered toward the Czar Bar to catch John Velgne & The Prodigal Sons. Sadly, I wasn’t able to get a fair judgment of their sound due to an overwhelmingly extreme use of soundboard. Turned up to 11, the band’s layers and depth were missing, buried somewhere in a clutter of echo and earplugs. You could, however, gather the way the horns filled the room. Making note of their E Street ways, I gave my ears a break and headed back toward Midwestern Musical Company’s setup for Dim Peepers.

Sporting a suitcase bass drum, kazoos, a homemade washtub bass and tiny horns, Dim Peepers won my heart and the award for the fest’s most unique band. With a fantastic do-it-yourself sound, the band owned the room, the crowd, and in my humble opinion, the fest. Requesting that I not be afraid to get drunk and make a fool of myself, I lived wildly. I didn’t take notes and instead danced a little. Just a touch. Not enough to be noticed or lose my reclusive wallflower status, but enough to feel silly. Good times.

From there, I lurked at the Midwest Music Foundation tent, listening to Hearts of Darkness and watching cougars shimmy across the parking lot. Even from my lawn chair, I found the set enjoyable. The female vocals belted across the city skyline as people danced (poorly and drunkenly) in the wood chips. After a nice break, I bolted for Appropriate Grammar down the street.

Shifty eyed and crooked smiled, the band brought its best chops and left their R-rated jokes at home (due to parents in the room). With great guitar riffs and power-pop hooks slamming into the occasional alt-country structure, the band is somewhat unique to Kansas City. Think Rhett Miller without the band bleeding all over the stage emotionally. The charming female "ohs" blended well with the male vocals and seemed to fit flawlessly over the band’s epic drum usage. Sadly, battling Hearts of Darkness, the band played one of the fest’s most promising sets to an almost empty room. Take note of that and catch them when you can.

Starhaven Rounders would serve as my next adventure of the evening. I mean, can you think of a better follow up to power-pop than a country cover band? Nope. I didn’t think so.

There is a bit of irony to my catching this set. As I sat in The Brick in a purple emo hoodie, rocking a fairly impressive-sized jewfro, one would never assume me the type to catch the latest gossip at the honky-tonks of Nash Vegas. But honestly, is there anything better than a good, solid country band? With slide guitar, violin (called a fiddle in this case) and sad bastard lyrics. The interactions of a good country band are without question better than anything that any other genre can offer. There is nothing more real in music. Hearing our local member crank out Don Williams, Merle Haggard, and Johnny Cash makes me both proud and disappointed in Kansas City. This sound is something we could use more of (says the emo kid). We can debate this if you want, but before we do, I challenge you to catch this band and tell me that they don’t possess some of the finest instrumentation in the 816.

If you can debate convincingly, I’ll buy you a beer. I’ll be the one wearing the cat shirt.

The Hillary Watts Riot at Midwestern Musical Company (Photo by Michelle Bacon)

Bill Sundahl, Crossroads Music Fest organizer (Photo by Todd Zimmer)

Kasey Rausch, Mikal Shapiro, and Shane Ogren at Czar (Photo by Michelle Bacon)

Thom Hoskins at Midwestern Musical Company (Photo by Todd Zimmer)

The Supernauts at Crossroads KC at Grinder's (Photo by Todd Zimmer)

--Joshua Hammond

After stints drumming for both The Afternoons and Jenny Carr and the Waiting List in the Lawrence/Kansas City music scene, Joshua Hammond found his footing as a music journalist, launching the national publication Popwreckoning. After running the show as Editor in Chief for 6 years, Hammond stepped away from the reigns to freelance for other publications like Under The Gun Review and High Voltage Magazine. This shift allowed the adequate amount of time for him to write passionately, allow the Kansas City Royals to break his heart on a daily basis and spoon his cats just enough that they don't shred his vinyl.

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September 30, 2012

Artists on Trial: Kasey Rausch

(Photo by Tammy Shell)

Kasey Rausch has been making music for over 20 years, mostly as a solo artist and in several local collaborations. Her folky, bluegrass musical approach hearkens the timeless voice of Emmylou Harris and the melancholy sound of Gillian Welch. We were able to talk to her more about her influences and current projects.

The Deli: Gun to your head, 1 sentence to describe your music. What is it?

Kasey Rausch: Americana (not so creative, but hey! I have a gun to my head!).

The Deli: Tell us about your latest release or upcoming shows. What can we expect?

Kasey: I've been balancing solo gigs with a lot of different projects with a ton of people and it's been a blast. Currently working on a record with Buttermilk Boys (I play upright bass/fiddle/viola/harmonies) and the Rausch & Friends crew is starting to line up the beginnings of our next recording project—we have more than an album's worth of material ready. Other projects include Partners in Glory with Mikal Shapiro and a trio with my sister Kim Rausch and Sarah Carpenter. House concerts are where it's at!

The Deli: What does "supporting local music" mean to you?

Kasey: Supporting local music means supporting local business. It's supporting the health and mental well-being of the community.

The Deli: Who are your favorite "local" musicians right now?

Kasey: Some of my favorite local musicians are the people that I'm closest to and are blessed to make music with: my sister, Kim Rausch; my husband, Travis Huffhines; my uncles, Terry Rausch & Larry Ford; my cousins, Ethan Ridings, Collin Rausch, Kyle Rausch, Danny Johnson; my friends, Mikal Shapiro, Scott Stanton, Chris DeVictor, Sarah Carpenter, Jesse Carr, Molly Healey, Tony Ladesich, Brandon Moore, Fernando Achucarro, just to name a few...

The Deli: Who are your favorite not-so-local musicians right now?

Kasey: Folks I've been listening to a lot of lately are:
Anne & Pete Sibley: Bluegrass/folk/old-time sound.
Chauncy Crandall: bluesy folk from Manitou Springs, CO. He played a house concert with Mikal Shapiro and me in Colorado Springs a few weeks ago. Good stuff.
Merle Haggard: He's been a favorite of mine for a long time and I've been on a kick lately since I just saw him at Knuckleheads.

The Deli: What bands are you most excited to see at Crossroads Music Fest this year?

Kasey: I'd say Rural Grit All-Stars except that I'm playing at the same time as them. :~) Victor & Penny, Dead Voices and Starhaven Rounders is where I'll be!.

The Deli: What is your ultimate fantasy bill to play on?

Kasey: Willie Nelson and Emmylou Harris.

The Deli: Would you rather spend the rest of your life on stage or in the recording studio?

Kasey: I'd like to spend the rest of my life recording the magic that happens on stage. :~)

The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?

Kasey: Willie Nelson: for his environmental consciousness.
George Harrison: for his compassion and desire to unite.
Jerry Garcia: for his openness.
Johnny Mullins: for his giving and for raising one of my favorite people, Sweet Melindamoon. (Mr. Mullins is a man from the Ozarks who wrote tunes that Loretta Lynn, Emmylou Harris, Porter Wagoner and Johnny Cash recorded).

And if I could add a fifth face in there, it would be Elizabeth Cotten for her originality.

The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?

Kasey: http://www.facebook.com/pages/Kasey-Rausch-Music-Other-Projects
http://www.reverbnation.com/kaseyrausch
http://www.cdbaby.com/cd/kaseyrauschfriends
http://www.myspace.com/kaseyrausch

The Deli: Always go out on a high note. Any last words of wisdom for The Deli audience?

Kasey: You can have all the love in the world, but if ya ain't got gratitude (and a lil' music) it don't mean much...

You can see Kasey channel all of her compassionate, heartfelt influences while performing her signature brand of rustic Americana on Saturday at Czar at 8:00 pm.

--Michelle Bacon

Michelle is editor-in-chief of The Deli - Kansas City. She also has a weekly column with The Kansas City Star and reviews music for Ink. She plays with Deco Auto, Drew Black and Dirty Electric, and Dolls on Fire. She is looking for someone to kill spiders for her full-time.

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September 06, 2012