Review: Keep Moving

The third album in an artist's catalog tends to be my favorite. I don't know why, but they do. Examples include Pearl Jam, Creedence, the Bangles, Volbeat. So I'm not sure where I stand on Andrew Stockdale's Keep Moving. After all, he is the common denominator between Wolfmother albums. However, while he is the primary creative force behind their music, he isn't the only one. That goes for his latest release, which, up until the end of last year, was a Wolfmother album. So if you consider it to essentially be Wolfmother's third effort, then it's my favorite record of their body of work. If you look at it as Stockdale's first solo album, it's a solid debut.

Andrew Stockdale creates the Polaroid picture of music. It's feathered hair, cut-off jeans and vans with murals. His music has more of an AM radio sensibility than Everclear ever had. It is, at its core, far out. It's fun to listen to, especially while driving to the store on a hot summer evening to get more Margarita mix. The songwriting is exemplary, with complex melodies and harmonies from a variety of instruments weaving through and around each other like Formula one cars on a difficult course. My biggest problem is the production. This sounds more like a expertly-cut demo than a finished, polished album. Stockdale's vocals miss their mark often, and on a couple of tracks, the harmonica parts could be tighter. That being said, it's been in heavy rotation on my media player since it dropped.

So let's start the track-by-track analysis:

• Long Way to Go

An optimistic and diverse beginning to the album. Multiple bridges highlight the virtuosity of the musicians involved, though Stockdale's vocals falter occasionally, especially when he slides between octaves.

• Keep Moving

The simplicity of the instrumentation, especially during the verse, help the vocals stand out. The main riff is bouncy and catchy, working effectively as a hook.

• Somebody's Calling

The driving rhythm of this track matches the desperation described in the lyrics, yet the overall feel is still hopeful. The time change at the bridge marks the turnaround in the lyrical journey the singer is taking.

• Vicarious

I love the counterpoint guitar between each line of the verse. The first tune with a darker feel than the proceeding tracks, mid-tempo and a less-sunny message.

• Year of the Dragon

Another bouncy track, thematically playing off of the Chinese zodiac. I have to say, though, that Stockdale is not at his lyrical best here. He uses simple, easy rhymes, which has the effect of making the song sound more like Dr. Suess wrote it.

• Meridian

This track is most reminiscent of Wolfmother. Interesting interplay between the guitars and the bass leading into the verse.

• Ghetto

While it starts in the same key as the previous song, it sounds vastly different. I love the multiple layers of guitar sounds, and the quick piano (at least, I think it's piano) runs. Nice transition from minor key to major. One of my favorite tracks on this album.

• Suitcase (One More Time)

The lyrics are, again, simplistic, but this mellow track is a welcome change of pace from the harder tracks leading up to it. The vocals could be tighter, especially on the falsetto parts. It's easy to imagine this song being performed by Faces or the James Gang.

• Of the Earth

Then Stockdale picks things right back up. Nice bass work and mellotron accents. This shows the artists' versatility. It does just enough, without overdoing it. Funky and fun.

• Let It Go

The bridge really saves this song. The main riff seems to exist simply to get you to the bridge. Together, though, they create a terrific counterpoint to each other.

•  Let Somebody Love You

Let Somebody Love You is a jaunty little ditty. The rhymes are simplistic, but it's hard not to tap your toes. Not to mention, it's pretty good advice.

• She's a Motorhead

This track captures that true '70s  funk that Stockdale appears to master. I can easily picture this as a Stones release. Nice use of harmonica.

• Standing on the Corner

Nice transition from simple instrumentation to a full wall-of-sound effect.

• Country

This is a well-placed slower song. It gives the listener a breather. Its sound is reminiscent of the Grateful Dead or even later Beatles, although the harmonica solo at the end sounds under-rehearsed. Country starts the wind-down of the album.

• Black Swan

Andrew Stockdale writing for Sesame Street. When I hear the whistling at the intro, I think of Sing a Song from that show. The horns at the end perpetuate that association. It's almost a lullaby, letting you know the ride's about over.

• Everyday Drone

Vocals and harmonica are weak on this track, but that might have been the effect Stockdale was going for. It's an appropriate wrap-up to the album. I like the synth under-layering the chorus and the banjo counterpoint in the bridge. 

I can't tell if Andrew Stockdale left the apparent missteps in this album on purpose, to increase his Lo-Fi cred. I do know that if you are a fan of Lo-Fi, or Garage, or Wolfmother, or any of a number of late-'60s-to-mid-'70s bands, you will like this album. Take the top off the International Scout, throw this on the stereo, and take the gang down to the river for some fun.

Listen DC: 15 

Review: Earth Rocker

You run across very few perfect albums over the course of a lifetime. A collection of songs that balances sophistication and drive; that properly intersperses up-tempo tunes with mellower ones; and that doesn't ruin otherwise engaging melodies with banal and inane lyrics. I last found one in 2010--Black Ribbons by Shooter Jennings and Hierophant. In fact, the only other perfect album that I can immediately recall is Creedence Clearwater Revival's Green River. Therefore, I hope Clutch is proud of their latest release, because it is damn-near flawless.

Earth Rocker cemented Clutch as my favorite band. They are at their straight-forward rock best on this record. It would not sound out of place in a biker bar or a nerd gaming den. It sets a musical mood and then keeps you in it until it's over--at which point, you're ready to play it again.

Their songwriting and recording are among their finest efforts here. Neil Fallon's vocals almost have an over-driven quality to them that walks right along the edge of distortion without ever crossing that line into the Land of Bad Production Values. They keep the vocal gimmicks to a minimum, but use them to great effect when they do include them, such as the echo during the interlude in "D.C. Sound Attack." I've seen other reviewers grumble about Jean-Paul Gaster's fast-and-loose drumming style, but I've always felt that part of what makes a perfect album is the proper utilization of imperfection. Gaster's drumming sounds like rock drums should--the grown-up version of a toddler banging away on pots and pans. Tim Sult's expertise with the wah-wah pedal is again evident. Dan Maines' bass guitar provides a robust bottom end and carries the bridge where necessary. Individually, each band member delivers a masterwork performance that have been assembled through their songwriting abilities, recorded and polished (thank you Machine) into a sparkling gem of musical accomplishment.

So let's break it down, song-by-song:

• Earth Rocker

The other night, my wife and I went to a new restaurant and ordered a sampler of their locally-produced cider. There was one brand in particular that had something of an odd taste to it, and neither of us particularly enjoyed it--until I tried a sip with my food. The cider paired fantastically with my appetizer pizza and it was this complementary note that ultimately swayed my opinion of the drink. What does this have to do with Clutch?

The first time I heard this track--prior to the release of the album, as a YouTube video--I felt concern that maybe Clutch was losing its innovative edge. As with the cider, I was wrong. This song is a perfect gateway to the rest of the album, a shouted anthem declaring the band's back-to-their-roots approach that was to follow.

• Crucial Velocity

Then they released this, again as a video. This would be the opening song on the soundtrack of the apocalypse, a dusty ride in the bed of a pick-up truck down a gravel road leading deeper into the recording. Gaster's drum work during the verse is the real standout on this track, pairing perfectly with the simplicity of the guitars, until the chorus kicks the whole thing into overdrive.

• Mr. Freedom

Clutch is pissed at YOU, dilettantes of the world! At least, that seems to be what the lyrics suggest. The band makes effective use of time and key changes, and highlights Maines' bass playing under the melody. This song is the closest the record comes to filler, which says a lot about the strength of Clutch's musical ability. It gives you a bit of a breather before launching a...

• D.C. Sound Attack!

This is one of those rare occasions where an assault on the senses is a good thing. You know, from the low-down grove of harmonica that opens the song, that the riot will begin in fifteen minutes and this is last call to gather your rocks and bottles. The bridge is the real star of this song though, with more cowbell and Fallon leading the charge.

• Unto the Breach

When I first heard this cut, I had to wait several days for the lyrics to find their way to the internet before I could verify that the song is indeed about Doctor Who. I have to set the cruise control in my car when this comes on to avoid inadvertently speeding. Fallon's cries of "One more unto the breach!" are as enticing as having the TARDIS land in your back yard.

• Gone Cold

Fallon's vocals on this slower track are plaintive without sounding whiny. The interweaving of guitars helps build that sense of desolation and loneliness. This song is both stripped down and complex, and a testament to Clutch's capable songwriting.

• The Face

I find this to be Fallon's strongest vocal performance. Of particular note is the wall-of-sound background on the chorus, and yet another intricate bridge, handing down a sermon to put the fear of God or in you. Although in this case, the God sounds more like Kali or Cthulhu.

• Book, Saddle & Go

Another of my favorite tracks. Gaster's drumming is striking, excuse the pun. The lyrics evoke vivid imagery of driving your horse hard across the plains with the sheriff and his men hot on your heels and the gallows waiting. 

• Cyborg Bette

If nothing else, this song proves that Clutch has a sense of humor. A Dear Jane letter for the subject's android lover, with a driving beat and bouncy guitar riffs. The track has an urgent energy to it. Style and grace indeed.

• Oh, Isabella

This is a good song to start winding down the album. A little more mid-tempo than some of the other cuts, it sounds the most like classic Clutch. Great use again of evocative imagery, as well as key changes during the solos. I find it reminiscent of Drink to the Dead.

• The Wolf Man Kindly Requests

The party's over, and to make sure no one overstays their welcome, stragglers will be eaten. This song has a definitive groove to it, and showcases Clutch's ability to make good use of time changes. This is how you end an album. Listen for the discordant guitars leading out of the bridges. 

The first Clutch album I ever owned was Strange Cousins From the West, their previous effort. Honestly, I wasn't that impressed. Yet, for some reason, I kept buying their music. I saw them live. And over time, I came to appreciate that Clutch are the epitome of Rock 'n' Roll. No fancy hairstyles, no make-up, no costumes or gimmicks--just four scruffy-looking guys playing loud and hard. I love this album. It's my favorite album from my favorite band, even if it isn't my favorite album ever. If I had any complaint, it would be that Sult relies on the wah pedal too heavily, although true fans know to expect this, as he is a master of this effect. And I only mention it to explain why this didn't receive a top rating from me. I recommend buying this particular recording on vinyl, because a record player will highlight the warm tones. When I grow up, I want to be an Earth Rocker.

Listen DC: 19