The Clutch albums you should definitely own
When a band comes along and knocks you on your ass, blind-siding you with a wholly unexpected journey, it’s hard not to take notice. With a prolific studio output and a legendary live reputation, Clutch are as unique as they are unpredictable, a true rock’n’roll unicorn.
Since their inception in 1991, the Maryland four-piece have ushered their burgeoning congregation through a multiverse of experiences, emerging as pioneering advocates of good times and big grooves. With elements of hardcore, country, rock, blues and other vibes, Clutch have danced their merry jig across the globe for over 30 years now, and it doesn’t look like the pace will be slowing any time soon.
Growing up in Maryland, they soaked up everything that the nearby DC scene would throw at them. From Fugazi to the legendary go-go rhythms of Trouble Funk, the variety of influences came thick and fast. The hardcore scene injected a fire within them, but it was the funk that made them who they are today. “That feeling of groove, I hear that all the time when we’re playing,” Clutch’s drummer Jean-Paul Gaster told Classic Rock’s Dave Everley. “Big beats and big sounds. That’s what I’m thinking when I’m playing. I’m thinking go-go.”
With fans and loyalists popping up from all areas of the rock and metal spectrum, Clutch are hard to hate. They’ve shared the spotlight with Slayer, Tool, Motörhead, Marilyn Manson, Dinosaur Jr, Mastodon, System Of A Down and Helmet, to name just a few – solid evidence that trying to fit them into a neat box is a fruitless exercise. And the joyous rhythms that permeate every live show flow directly into their studio recordings, making it hard not to want to move and dance. They exude the aura of a band truly comfortable and confident both in the studio and on stage.
Preacher, shaman, ringmaster; all have been used to describe Clutch’s frontman Neil Fallon, who oozes charisma like Clutch’s music radiates serotonin, syrupy and hearty; Clutch’s music fills you up. With Gaster on drums and Dan Maines on bass, they have a rhythm section for the ages, saturated with weight and feeling. And Tim Sult’s avant-garde guitar musings have him ranked with other sonic six-string pioneers such as Tom Morello.
Together, the four are a tour de force. On stage they are peerless. As their 2015 track Earth Rocker preaches: ‘If you’re going to do it, do it live on stage, or don’t do it at all.’ Amen to that.
At the height of their cosmic surrealism and sonic Americana road trip, the self-titled milestone showed Clutch angle-grinding the rough edges off their sound, and a smoother, more confident band came to the fore. Bringing a lighter touch into the mix, with this album Clutch began to blend their heavier leanings with a groovier, funkier flavour, and the next stage of their evolution began.
It’s an undeniable ‘no skipper’ of an album, with Big News I & II, Spacegrass, Texan Book Of The Dead and Tight Like That the prime cuts from a record that is still revered by Clutch aficionados as something akin to a religious relic.
Blast Tyrant (DRT Entertainment, 2004)
Signalling a new era for Clutch as they headed, pedal-down, into a bluesier, more grounded sound, Blast Tyrant put them into new conversations. It’s seen by many as their greatest achievement, and it’s hard to disagree, with the number of dance-floor favourites and live regulars on show.
Spearheaded by the frenzied stomp of Mob Goes Wild and the wah-wah fest that is Profits Of Doom, the album also shone a light on Clutch’s more delicate affectations with The Regulator, a finger-picking firework that explodes with 10-ton choruses. Blast Tyrant saw Clutch flexing their muscles, announcing their intent to take their show to the big stage
Elephant Riders (Columbia, 1998)
Probably the band’s last sojourn through the cosmos, as their love of surrealist space-jams started to wane soon after and Clutch evolved into their next form. But on this record their imagination ran wild as they continued to push the boundary lines outwards, redefining what could be considered heavy rock music.
Ship Of Gold and Eight Times Over Miss October roll along like storm clouds, a swirling duo of dirty riffs and crackling tones, and The Dragonfly is the perfect full stop. There are no real standouts, just an amorphous collection of tones and vibes, culminating in what appears to be a concept-free concept album.
Robot Hive / Exodus (DRT Entertainment, 2005)
Along with Blast Tyrant, this period of Clutch’s discography is an unblemished gold mine of musical prowess. It’s hard to find fault when you have a tracklist that includes 10001110101, Burning Beard and Mice & Gods. But even without those stonecold classics in mind, the album hardly puts a step wrong, and the inclusion of the cosmic Hammond organ of Mick Schauer only gave Clutch more depth and plumped up their sound.
Never Be Moved should be up there in Clutch’s Hall Of Fame, but when there are so many prime cuts, room at the top table is hard to come by.
From Beale Street To Oblivion (DRT Entertainment, 2007)
Not an obvious choice for such praise but Beale Street contains a vast array of sleeping giants often overshadowed by their more popular siblings and premium live favourites.
Electric Worry is the star of the show, a constant inclusion at Clutch gigs and for good reason, as it is by far the greatest amalgamation of the band’s finest traits: groove, intensity and the ability to get any audience moving. But behind that one showstopper stands a multitude of gems like Child Of The City Opposum Minister and Black Umbrella, incredible tunes most likely never to see a stage.
Pure Rock Fury (Atlantic, 2001)
Sitting between the jagged hardcore scene and trippy spacerock vibes, Pure Rock Fury existed as an isolated island, signalling Clutch’s only real foray into a more ‘metal’-sounding production. Even the rap-based standout Careful With That Mic, bursting with rough edges and sonic grit, sounds like it was recorded in a swamp.
No surprises, then, that riff wizards Leslie West and Scott ‘Wino’ Weinrich make some wonderful cameos, solidifying this as one of Clutch’s statement albums, occasionally butting heads with the rest of the discography. It’s an uncompromising and vital chapter in the band’s evolution.
Transnational Speedway League (East West, 1993)
Clutch’s debut full length album turned heads and rattled cages at a time when rock and metal were in a period of transition, with grunge becoming the MTV-friendly figurehead of the scene. So Clutch’s heaviest album to date became a sanctuary for people looking for a fresh sound.
At the time, Metal Hammer’s Morat succinctly described Transnational Speedway League as “a stark reminder of just how good angry music could sound”; lead-off single A Shogun Called Marcus caused havoc at the band’s shows. The album tails off slightly, but the embryo of something special is clear as day.
Earth Rocker (Weathermaker Music, 2013)
Produced by Machine and coming off the back of tours with Motörhead and Thin Lizzy, it came as no surprise that Clutch’s tenth album arrived with a little extra gas in the tank. Hitting the ground with smoking tyres, the opening tracks Earth Rocker, Crucial Velocity, Mr. Freedom and D.C. Sound Attack get things going at an unrelenting pace, giving the back straight of tunes a slightly pedestrian feel by comparison.
It’s not uncommon for Clutch to adopt a bilateral approach to building albums, often stating that need for a classic ‘Side A/Side B’ LP feel. But overall Earth Rocker still feels a touch top-heavy.
Psychic Warfare (Weathermaker Music, 2015)
Following up on the pedal-down pace of previous album Earth Rocker, Psychic Warfare kept the momentum rolling, with juiced-up highlights such as Firebirds and Sucker For The Witch. They even brought a touch of Cold War espionage to the mix with the wondrously surreal and sci-fi tinted X-Ray Visions, showing the band’s constant ability to mix tongue-in-cheek humour with big beats.
Your Love Is Incarceration is by far one of Clutch’s best-kept secrets, a dirty alternative to the band’s addiction to funk and groove. Doom Saloon and Son Of Virginia bring a lighter, grittier touch that really helps to even out the album.
...and one to avoid
Clutch don’t make ‘bad’ albums. Period. But Jam Room has always been the runt of the litter; a little scruffy and not much meat on its bones. A solid seven out of 10 by any standard, but Clutch’s bar is set so high it stands out from its stockier, more robust kin.
Big Fat Pig has riffs for days, and Raised By Horses and Gnome Enthusiast, although sounding a little unpolished, keep the kneeslapping stomp going at a heady pace. The star is opener Who Wants To Rock, and if a more perfect way to open a live show exists then I’ve yet to see it. ‘What you need you know I got, so hands up who wants rock?’ Fallon bellows, and the audience always answers with a sea of hands.
