Customer Reviews

From Beale Street to Oblivion

5 star:		(40)
4 star:		(15)
3 star:		(8)
2 star:		(2)
1 star:		(0)

 

 

It's a long-standing tradition for rockers to turn to the blues as they get older and wiser. The maturing Clutch, masters of twisted and subversive heavy rock, have embraced the blues as the next step in their creative development. This release consolidates the new sounds developed on the last Clutch album, and these rocker dudes, who have done mind-boggling things with every style from hardcore to metal to funk, have fully incorporated rowdy blues rock into their singular musical vision. Songs like "The Devil & Me," "Electric Worry," and "Black Umbrella" (which even includes a harmonica solo) are clearly descended from traditional blues, with Clutch sounding like an especially anarchic Savoy Brown. And since Clutch will always rumble headlong into new musical territories, this album features several progressions, like the spooky "White's Ferry" and the slowly rumbling "Opossum Minister." But rest assured that we're still in gearheadland, thanks to the classic pummeling Clutch crunch of "Power Player" and "Mr. Shiny Cadillackness," which are crucial links to the band's heavy past.

While the fellas may be mellowing out a little bit, their playing is still top-notch, as heard in Jean-Paul Gaster's piledriving (and surprisingly nimble) drumming and Dan Maines' dexterous rumbling basslines, while Tim Sult has seamlessly converted his traditional vertiginous stoner-metal riffage into this album's bluesy chord progressions. Here we are also witnessing the great benefit of the addition of keyboardist Mick Schauer (now on his second full album with the band), who successfully adds slightly arcane and off-kilter Memphis licks to the existing Clutch attack. And regardless of the ever-changing influences that Clutch bring to their sound with each album, the band will always remain unmistakable thanks to the unique vision of Neil Fallon, whose vehement vocals and shrewdly subversive lyrics remain the band's calling cards. This time around, Neil seems to be zeroing in lyrically on the pathetically simplistic ideals of an under-informed American society, as seen in tracks like "You Can't Stop Progress" and "When Vegans Attack," which both skewer know-it-all protestors who don't understand what they're protesting (that's my educated guess on the always inscrutable Neil, as it were). Clutch are maturing impressively, and while they're not yet your serious dads, they're at least your eccentric rockin' uncles. [~doomsdayer520~]

This is an interesting album, even for Clutch. While it lacks the lyrical and thematic edge of Robot Hive Exodus, it makes up for in pure southern rock foot stomping goodness. This album makes it harder to stay in your seat than any of their previous offerings. The earlier tracks such as "Can't Stop Progress" and "Power Player" hearken back to Clutch's heavier roots, while "The Devil & Me" and "Electric Worry" take them even farther into their new southern sound. "Electric Worry" is an instant classic and easily one of the band's best songs to date. The latter tracks dive back into Fallon's trademark lyrical style ("When Vegans Attack" and "Black Umbrella" are particularly entertaining) and sound more like a solid Clutch live set than any of their previous studio efforts. Their blues influence is more noticeable on this album and smoothly integrated into their sound, especially with Mick's organ work and Fallon's harmonica. Clutch's gearhead fans from their early days who have been displeased with the southern direction of their sound will probably not like this album - it's clear the 'rock fury' days are past. Fans of Clutch's newer direction will love it, as will anyone who enjoys their live shows. This is a great album.

If you want to hear the definition of tight, this is the album. Road hardened as all Hell, Clutch has managed to produce the most amazing neo-blues album ever. This is the most dirty album I have heard in a while, and it's refreshing. Most of the tracks on here sound as if they should have been written by blues greats like "Howlin'" Wolf, Tennessee Williams, and Muddy Waters. Instead, Neil Fallon shows his lyrical love of the blues by paying homage through his own words. On "You Can't Stop Progress" he lets us know that "I understand there are no victimless crimes, that being said, I feel rather victimized". On "Electric Worry" the catchy hook "Bang Bang Bang Bang...Vamanoose Vamanoose" reminded me of when they played this live, six months before the release of this album. Now I look back and feel as if I was a small part of rock history as they honed this tune live. There are so many other examples that I could site, but I don't want to leave the rest of the band out.

Though I was initally disappointed that there was no jam session for the last track, I now understand that this album was meant to highlight the entire band. Tim Sult,on lead guitar, manages to impress by the notes he doesn't play. This is the sign of a truly mature musician. When he does pull out a solo, they're at times minimalistic, which speaks to his character. I have to say, that despite how much I love the sound of his guitar on such greats as "Tim Sult vs. The Greys", "(Notes From the Trial of) La Curandera" and "Swampt Boot Upside Down". That does not mean that Sult lacks in any area. The tightness of the turnaround blues of "Child of the City" is reminiscent of "Black Dog" by Led Zeppelin. Also, whichever band mate is playing the slide guitar on "Black Umbrella" reminds us of the classic blues riffs of days long past.

If you are a bass player, listen to this album. Again, Dan Maines is tight and proves that he's worthy to be called a "Master of the Electric Bass". Maines does an amazing job from the turnaround blues on "Child of the City" to driving the bass of "Mr. Shiny Caddylackness". This is a complete album that will challenge you, and let you learn the basics of blues.

The drums by, Jean-Paul Master, and organs by Mick Schauer play a laid back role on this album. Master has shown his greatness on songs such as "Droid" (all future drummers out there, listen to this song so you know why you should learn your rudiments), but takes on the classic role of drummer in this venture. This is not to say he is not impressive. Master drives the songs with a unrelenting yet semi-subdued force, again, a testament to the bands musical maturity. Schauer also does an excellent job adding color to the music. In Clutch's prevous venture "Robot Hive/Exodus", Schauer's first album with the band, he was showcased on many songs to show that he was a worthy addition to the band. And on this album, he proves it again by accenting and giving a warm undertone to the simple genious of the songs.

In all, this album is a definite pick up. There is not a bad song in the bunch, and I would have gladly paid twice what I did. Why this band hasn't gained commercial success is obvious, they are too sophisticated for modern pop music. From the thickness of the grooves to the lyrical insanity, Clutch has once again proven that they are the best band in the last 20 years.

Hope that was helpfull,

PX

My taste for Clutch's music faded in and out for a while, so I never took the time to check out From Beale Street To Oblivion beyond the single "Electric Worry." Imagine certain frustration when the album, Blast Tyrant and Robot Hive/Exodus all when out of print when their former label DRT Entertainment went under along with other band's albums. It's a good thing that Clutch thought about those albums when they started their label Weathermaker Music. Here we have From Beale Street To Oblivion in a deluxe edition, remastered, and with a bonus cd with live tracks from their BBC and Australia recordings. The packaging is also very nice. A lot of their recent albums including live albums and dvd's have all been in digipaks. This one is no different, and I think it's the coolest one so far: a nice digipak with a black slipcase which is open in the front so you can see the original album artwork in it's glory. This is a fine album. So if you're like me, and you never got the chance to listen to it, it's the perfect time because it's back in print, and it's one you have to hear.

Also check out the new deluxe editions of Blast Tyrant and Robot Hive/Exodus, out later this year.

My Lord, I haven't even taken Robot Hive/Exodus off of heavy rotation, and the mighty Clutch drops another payload on me! What can you say about these guys? You feel a little odd critiquing a band that is clearly so much better than you. Clutch is genius. Clutch is sublime. Clutch is a heavy metal hedonist's wet dream. They are pure rock fury, and if you resist, you're only wasting your time. Clutch will prevail, my friend, they will prevail. You can't stop the progress.

I've been a CLUTCH fan for years now and they always suprise me with something different and great. Thier depth as musicians enables them to constantly tweak their style and produce excellent albums, this is no exception. I've had a promo copy of the album for two months now and I assure ou there are no filler tracks or anything worth missing. Buy this album as well as anything else Clutch!

As a huge fan of Clutch I find it hard to give any of there albums a bad review. This album will live in my player for months. The best way, I find, to judge an album is by how many tracks you skip during your second or third time around. I can't count how many times I've listened to this album and each time a single track isn't skipped. It has such a great flow and feel that it would be a great injustice to do so. If you're a fan of riff driven music with wildly inventive lyrics and hooks than this is the album for you. A great mix of power rock, funk and blues, the album seems to evolve from track to track much like their earlier titles. Take the Pepsi challenge and give this CD a try.

I bought the original pressing of "From Beale Street to Oblivion" on the first day it was released. It stayed in my car for at least 4 months, becoming my favorite Clutch album in the process. It had the perfect blend of rocky/psychedelic/blues that I just loved. The new release on Weathermaker Records includes new and expanded artwork which tops the original with a digi-pack design and very cool booklet. The live tracks on the second disk are awesome, as only Clutch can be live. I look forward to the re-release of "Robot Hive/ Exodus", as I've heard is coming. Hopefully it will be just as cool.

It's true, "Beale Street" finds Clutch taking a slightly different course than on "Robot Hive" or "Blast Tyrant." It doesn't slam as much as those CDs, but it swings harder and oozes a bit more grease. That "Beale Street" is so far removed stylistically from much of the band's early material is more evidence of how great this band is. If there were any justice at all, Clutch would selling out stadiums, but that might preclude true fans from seeing them up close, in a club or as part of a tour like Sounds of the Underground (that's where I saw them; been a huge fan ever since).

Clutch picks up where their last album left off, but delves deeper into blues and soul territory. The drums and bass are deep and prescise, and the guitar work is exemplary. For the last few albums, lead singer Neil Fallon's vocalls have been getting more and more melodic, and that welcome trend continues here.