A Silver Tray Q/A: Brian Krumm and His Barfly Friends
A Nice, Li'l Email Exchange About the New Album "Just Fade Away"
Brian Krumm is a songwriter with deep roots in the St. Louis music scene. The Collinsville, IL, native was member of The Suede Chain, then moved on to a long tenure with The Great Crusades, a Chicago-based band with a heady pocket of followers in Germany, the country of a recent GC tour. During Covid times, his desire to write and record in a new way lead to an album called Just Fade Away, now available via Pravda Records.
Though his most recent work is a solo album of sorts, a host of longtime collaborators are counted among His Barfly Friends.
The record’s described this way on Krumm’s Bandcamp page: Brian Krumm, front man for Chicago’s tortured Americana artists The Great Crusades wrote the songs on his debut solo release, Just Fade Away (Pravda Records), during the 2020 shutdown. In an effort to stay sane during the first days of the pandemic, Krumm would drink a shot of whiskey each evening and try to write a song. Twenty-five days later, he had 25 songs. Krumm enlisted his bandmates to record the tunes, as well as a who’s who of Chicago music scene standouts. His influences, such as Robyn Hitchcock, the Jayhawks, Warren Zevon and Dylan, shine through on Just Fade Away and Krumm’s captivating, taleteller lyrics are again at the forefront. The record gives listeners a sonic snapshot of remembrances from Krumm and a life lived observing a perplexing yet utterly inspirational world.
For our initial outing here at Silver Tray, here’re a couple of STL expats tossing around some thoughts via email on an album’s genesis story, the role of a city in songwriting, the role of whiskey in songwriting and a host of other topics related to this new work, now directly available via Pravda Records.
A lot of folks are putting out EPs these days, with the idea that listeners don't have the attention span for full albums. And you're going against that grain, not as a new artist, exactly, but as someone releasing under their own name for the first time. What was the thought of doing the bigger release first? It all just happened very naturally and the label, Pravda Records in Chicago, has been putting out full-length records lately by other artists (Ivan Julian, the Handcuffs, the Flat Five, Nora O’Connor, Josh Caterer) instead of releasing EPs or staggering singles like some newer (ahem, younger) artists are doing these days. We did put out a single, “Just Fade Away,” before the rest of the record was released. I think the “veteran” nature of the artists on Pravda led us to go ahead and release the full-length. It’s an old-school mode of operation, but it felt very natural to go ahead and get the thing out into the world.
Take us through some of the sausage-making on this. You had songs first? Then an idea of doing a solo/BK album? Then Moder signs on? Then you think about a label and Pravda presents itself? Or what's the basic A, B, C trajectory of how this album came to pass? I’ve been trying to do a so-called solo record for years now, but each time it turned into a Great Crusades record because I’ve been working with my friends in that band for so long. Since this record was written during the pandemic, it came together a bit differently this time — with me sending files back and forth to Christian Moder and then him basically starting to build the bases for the songs by adding drums, keyboards, etc. When it was “safe” to go back into studio settings, we got contributions from the other Crusaders, Brian Leach and Brian Hunt, but in the meantime I had also sent out digital files to a bunch of people in Chicago who I had been working with, such as vocalist Jessie Hotaling and bassist Erik Attkisson. (I had been playing with them in a cover band called Soul Daddy.) Moder also sent files to people for their contributions, including my buddy from The Suede Chain, Jake Brookman, and a longtime friend, Dana Anderson. We also did recording in our basement studios and at JoyRide Studio in Chicago. I got my daughters and wife to contribute vocals on some tunes, too. The microphones were always set up and ready to go, basically.
But the initial writing process was that during “shutdown” when we couldn’t leave the house basically, I would drink a shot of whiskey at 5PM every day and try to write a song. This was in April 2020 and my wife’s idea to stop me from moping around basically. At then end of the month, after 25 days, I had 25 songs, 11 of which ended up making the album. I started sending the initial demo recordings to Moder and then we started rerecording the tunes we wanted to work on or the ones that felt the best. There’s a bunch more that we started recording that we didn’t have time to finish. So maybe there’s another Barfly Friends album out there.
Is there an overall arc to the songs? A loose story or lyrical approach that hangs over all the material? Or do you have a collection of your 11 best tracks, without a real, systemic lyrical interplay between them? I gave myself one hour only to write each song. It was usually right before we started making dinner or getting the family together after home school. So, I didn’t try to overthink the songs or the lyrics, just let them come out. I was surprised that stories and songs came pouring out, because I had reached a bit of a writer’s block with working on Crusades material. I found that I had a lot of memories I hadn’t thought about in a long time — about growing up in the St. Louis area and Champaign-Urbana, about past relationships, about friends who I hadn’t talked to in a long time, about people we lost during the pandemic, about playing in bands. There is a thread going through the album that the stories and lyrics all touch on real life, and real things that happened in life. All of my favorite songwriters do that, or at least it seems like they do, so I was happy I could pull that off myself to some degree. And because I had a time constraint with the songwriting, I had to try say more with less words.
You're working here with some super-close associates and folks with whom you've not recorded before. Was that the sweet spot for you? To combine new/old collaborators? Exactly! I purposely reached out to some folks that I’ve always wanted to work with, especially in the Chicago area, but it was also about the songs, too. Like for “I Never Do as I’m Told,” I thought about Dana Anderson to sing on it, because I wanted some Steve Earle kind of grit on it. For “Wasn’t Born Yesterday,” the Montrose Horns played on it, who are also the horn section for Soul Daddy. For “Easy For Your Heart to Break” and “Good Times Not the Bad,” I knew I wanted my daughter Hazel to try some vocal parts and she nailed them. And I knew I wanted Jessie to sing on “Just Fade Away,” “Stuck in the Van” and others — she really took the songs that she sang on to a new dimension. Moder added some genius parts to all the tracks — parts that turned the songs into real songs. Leach added some really tasty vocals and keyboards and Hunt and Attkisson also contributed fabulously on bass. Brian Wilkie added some amazing guitar and pedal steel, too, and I’ve known him for years. He’s an absolute master.
Working with other people can be the best and worst experiences in life, especially in the creative context. What, as the album is now released, confirms that you were on the right path with this work all along? What was the most challenging aspect? The most challenging part is not adding too much to a tune. To let it have room to breathe. I’ve been guilty of the kitchen sink approach in the past with overdubs, so I’m glad we kept those to a bare minimum on this record. There were really no challenges to working with others on this record. I think everyone was just happy to be making music again!
What song on the album sounds the most different from your initial, raw materials for it? Maybe one where someone added a really unexpected instrumental bit, or the song just took on a mood or vibe that differed once pieces were added? Probably “Good Times Not the Bad” and “Stagger Inn” because we added some field recordings into those tunes. Jake Brookman added some really magical cello parts to “Barfly Friends” and the percussion and drums that Moder added to that song made it feel like a real song as opposed to just an acoustic guitar song. “Lost in Your Own Space” took on a 1960s Dylan/Byrds feel, which was unexpected, but now it’s my secret favorite on the record. “Stuck in the Van” also has something really special about it — reminds me of being in the van with The Suede Chain, driving down the Garden State Parkway. It tells the story of being in that band, actually, if you couldn’t already tell.
The Crusades have always had that interesting connection to Germany. Assuming that you feel strongly that this release can find those same, longtime fans? On this last tour that we did (in June 2023), the Barfly Friends “opened” for The Great Crusades on several of the gigs, and the response was overwhelming. By the end of the tour, some people in the front of the stage were singing the new songs back to me, which was absolutely astounding and made me super emotional on stage. I hope people continue to listen to the new record. It’s really one of the best things we’ve put out into the world. It will be available on vinyl now at pravdamusic.com in the U.S. and bluerose-records.com in Europe, as well as on all streaming services, of course.
How does Chicago, the city, present itself in your songwriting, if at all? Whether that be on this release, or your band catalog? Or to put it this way: New Yorkers can't seem to stop themselves from writing about their daily/lived NYC experience and I'm curious if you see Chicago as a "character" in your music, at all? It has been in the past, definitely on early Great Crusades records like “Damaged Goods.” It played a huge part. But I find myself not writing about Chicago as much in my day-to-day lyrics. It’s almost like there is a separation between real life and music life. Chicago is more of the day-to-day and music is more of an all-encompassing entity that involves my entire history in general. That being said, I’m a huge fan of people like Lou Reed and Patti Smith who absolutely embody NYC or even Wilco who goes hand in hand with Chicago. Or R.E.M. with Athens. I always think of Massapequa, New York, when I think of the Stray Cats or Brian Setzer. Sometimes cities become more of a place for a band headquarters than a character in the songs. But then there are songs like “Dirty Water” by the Standells that you identify with a certain city. There are so many damn good songs. I want to listen to them all.
This site's given over to STL musicians and those who've transitioned to other points on the map. What's your best memory of playing STL, be in The Suede Chain or The Great Crusades? On the flip side, do you have that "beautiful disaster"-type of show, in which everyone played ill, or the monitors went down mid-show or five people were there on a snowy Tuesday in January, or...?
I’ll always treasure the many times (15 or so) that we played Mississippi Nights. This was a place where I saw so many heroes play — Camper Van Beethoven, The Church, The Pogues, Midnight Oil, and so many of my favorite St. Louis bands — so to be on that stage myself was a dream realized over and over. Playing at Kennedy’s on the Landing and in St. Louis in general will also always be a great memory, playing with so many of my favorites: Stranded Lads, The Finns, Judge Nothing, Bent, Bionica, Snake Ranch, Fragile Porcelain Mice and then of course The Urge, The Eyes/Pale Divine and our good friends in The Unconscious. Also, the original Cicero’s was super cool, as was playing at Blueberry Hill in the Duck Room; that still is a great room. I want to go back soon.
One early beautiful disaster show was playing at the original Bernard Pub, I think on Lafayette, where our friends and the band members had to clean up the club from the night before (beer bottles, trash, etc.) before we could set up. I seem to remember someone lifting up a piece of the carpeting to reveal a dirt floor underneath. I think we were still in high school, being very generous with our actual ages at the time. But that wasn’t even that bad. I was happy to clean up some beer bottles to play a gig. In all, any gig is better than no gig at all, still to this day.
Lightning round!
Are there any genres that you might enjoy but that would never be exactly heard in your music? (For example, I don't hear any overt ska in your album, but maybe that's your hidden passion...?) Well, I really dig surf guitar and I did write a song or two in that genre for The Great Crusades, so maybe a surf guitar record? I also love rockabilly and 1950s music, so there’s that possibility.
How (and where) do you find new music? Mostly from my daughters. They’ve turned me on to so many great younger artists, most of whom the world already knows at this point but I really like Clairo, Phoebe Bridgers, Conan Gray, Lana Del Rey, Cavetown, Girl in Red. I try to return the favor by introducing them to bands. I took my daughter Vivian to JazzFest in New Orleans and the other day I played The Descendants for them. During the pandemic they practically knew the album Excitable Boy by Warren Zevon by heart. And Bob Dylan. You gotta know Bob Dylan.
Haven't been to Chicago in too long. Like, five or so, years. What's the best new bar? Best new music club? Best new place to find the cool Gen X vibe? I’m a big supporter of the Montrose Saloon in Chicago. They have great music every night of the week. Golden Dagger is supposed to be cool. Hungry Brain is not new but maybe under the radar for jazz and experimental music. Hexe Coffee Shop is worth checking out. Café Mustache is great as well.
What's your advice (or encouragement) for Young Brian Krumm putting together The Great Crusades in 1997? To write more songs and to branch out to try to write songs with other acts and songwriters. That’s what it really all comes down to: the songs. That, and learn how to play piano. There’s sometimes not a guitar around, but it seems like there’s always a piano sitting there begging for some love. Also, keep playing sax and learn other instruments — the more you know, the more you can do in a band situation or as a session musician. Learn more about publishing, royalties, etc. Learn more about the business side of music. Don’t make any crappy deals just because you need cash. Geez, I’m being pretty hard on Young Brian Krumm.
What's next in your writing or recording timeline? Start recording an EP for my daughter Hazel in August. She has six to 10 songs ready to go. Then, start going through leftover tunes from the Barfly sessions. Think about what project to farm them out to. Maybe another Barfly Friends album and then maybe another Great Crusades record to make a total of 10. Nice round number.
(The Barfly Friends will be playing at the Miner’s Theatre in Collinsville on Oct. 13, 2023, with Al Holliday & the East Side Rhythm Band.)
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Introductory Note: This is the first edition of Silver Tray, an intermittently-published music blog that’ll highlight music made in STL and music made by people with STL ties, curated by a writer with STL roots (and monthly cameo appearances on the South Side). It’s a free newsletter, though paid subs are welcomed and appreciated via my regular Substack, Memory Hall, which publishes each Thursday morning. You can also/always buy me a coffee in the outro -30-.