Clutch are as unclassifiable as they come. Are they metal? Hardcore? Punk? Listening to only one of their albums will likely give the wrong impression.
Clutch's sound is constantly evolving, but there is one higher driving force that allows this seminal group the freedom to mutate with such frequency: rock 'n' roll.
After the surprisingly logical succession of Blast Tyrant to 2005's Robot Hive: Exodus, Clutch's newest album sidesteps expectation, continuing the band's evolution. While it's difficult to label, many call From Beale Street to Oblivion blues, but vocalist/guitarist Neil Fallon disagrees.
""Well, it's not a blues record per sAc, but it does have some of those flavors,"" Fallon said in a Daily Cardinal interview. ""Rock 'n' roll is just a bastard form of the blues, so it's easy to jump between the two. It wasn't a preconceived move for us. It was instinctual.""
The album's body is raw rock 'n' roll, but its bluesy soul emerges in ""Electric Worry."" The song combines Clutch's almost-rockabilly bounciness with a few key ingredients of the blues to create a distinctive and infectious sound. The band uses the old blues staple of guitar/vocal harmonizing along with Fallon's soulful harmonica and Mick Schauer's Hammond organ to create an inspired sound unlike any other.
The prominence of the unconventional Hammond B3 organ is much more noticeable on Robot Hive: Exodus, but Schauer seems to settle into a comfortable niche in this release, quietly flavoring the music instead of dominating it. Both approaches work well for the band, but this assimilation seems a coherent next step for Clutch.
Longtime fans who fear that the boys from Maryland may have strayed too far from their roots on this record should give it a few listens before judging too harshly. While the incorporation of an R&B feel is apparent throughout the disc, it is not overpowering.
A steadfast part of the band's music is Fallon's wit in lyricism. As a result, Clutch songs are often scrutinized for meaning by members of the band's devoted cult following. He says, however, that fans may be remiss in assigning the songs with a single message.
""Writing lyrics is just storytelling, and storytelling is just a socially acceptable form of lying. Say anything with enough conviction, and it'll sound like you know what you're talking about,"" Fallon said. ""I'm drawn to mythology and history because the names and images there are all loaded with other meanings that can charge the lyrics with countless potential interpretations. And my intent at meaning isn't authoritative. The listener's interpretation is as valid as mine.""
Now as much as ever, Fallon's lyrical acrobatics challenge the mind of the listener in ways that other bands just can't match. One of the best story-songs is ""The Devil and Me,"" which provides the album's title lyric as part of a lively story of a falling out between the narrator and the Dark Prince, himself. The song seems to reference the legend of Robert Johnson who allegedly sold his soul to become the king of the Delta blues. But with Fallon holding the mic, who knows?
There is a subtle mystery to both the sound and meaning of Clutch's music, and they continue their tradition of playing gritty rock and roll of the highest quality on From Beale Street to Oblivion, without taking themselves too seriously. The blues add to this equation, but as usual Clutch verge on rock worship, and that's no sin.
""Rock 'n' roll is supposed to be fun,"" Fallon said. ""Haircuts and hits come and go, but solid rock stays right where it is.""
