If you look at the math, I should be there. It’s Clutch, it’s New Year’s, it’s Jersey, they’re performing the entire self-titled and filming it for a DVD, and I still have use of both my legs. Really there’s no excuse for my absence, and I can only imagine the heartbreak the band will feel at my not being there. I can just see Neil Fallon on stage now, gleefully bouncing his way through “50,000 Unstoppable Watts,” suddenly looking out on the already-melted Starland Ballroom crowd, realizing I’m not there, and — perhaps not mentioning it out loud, because he’s a professional — but maybe tearing up a bit. Little tear in his eye.

But, although the reasons for going are plentiful, the unfortunate rationality of sitting this one out seems to have won the day. I will not recommend you follow me in this course of action — if you’re lucky enough to have Clutch tickets for a New Year’s show, you damn well better use them — but here are my reasons for not seeing one of my favoritest bands rock in 2010:

01. Starland Ballroom.
I’m not even going to debate the matter. Last year around this time, Clutch played Starland and it was so packed I had to leave early. When Starland Ballroom fills up, it is not only a fire hazard, but one of the most unpleasant places to exist in the entire world. You know that scene in Rambo: First Blood Part II when the Russian guy comes after the not-Viet Cong have been torturing Rambo and cuts open his chest for no good reason? It’s like that, only with overpriced Bud Light. Plus, they charge $6 to park in their parking lot, which as far as I’m concerned is like paying the gorilla to rape you.

02. I don’t have a ticket.
And the show’s sold out. Might make things difficult if I suddenly decided to make the trip.

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Earlier today, I thought to myself, “Gee, you know, I haven’t heard anything about a ridiculous amount of Clutch releases in a while.” Then, wouldn’t you know it, I come home this evening and sitting on the floor from the PR wire (because, oh yes, the PR wire is a ticker tape machine and definitely not an email inbox) is notification that the seminal Maryland blues rockers are planning digital and physical reissues of their three DRT Entertainment albums through their Weathermaker Music label, a new live DVD and special edition vinyls of, well, a ton of stuff. All for the best. We wouldn’t want the band to sit still for five minutes, now would we?

Here’s the info:

On December 15th, Clutch will issue a double vinyl package of their latest studio effort Strange Cousins from the West through the band’s self owned label Weathermaker Music. This vinyl edition will feature two tracks that cannot be found on the CD version. The first is the recently recorded “Metroliner Special” and the second is an extended version of the band’s latest single and video, “50,000 Unstoppable Watts.” The first 4,000 pieces of Strange Cousins from the West vinyl will include a coupon for a free digital download of all 12 songs through the band’s website, www.pro-rock.com.

Also this Fall, Weathermaker will make available for digital purchase, the former DRT Entertainment catalog which includes Blast Tyrant (2004), Robot Hive/Exodus (2005) and From Beale Street to Oblivion (2007). Weathermaker plans to reissue all three of these in 2010 with a heavy dose of bonus material. Double vinyl packages are in the works for these as well.

For now, look for the digital release of Robot Hive/Exodus on November 30th to be followed by Blast Tyrant on December 18th. Due to the high amount of digital demand for the band’s 2007 single “Electric Worry,” Weathermaker has already issued From Beale Street to Oblivion on November 7th to coincide with the song’s inclusion in the popular video game Left 4 Dead 2 and its television commercial.

To end 2009, Clutch will headline shows in Washington DC, Sayerville, NJ, Charlotte, NC, Boston, MA and Albany, NY. These concerts will be filmed by producer and director extraordinaire Agent Ogden and featured on the Strange Cousins from the West DVD package to be released in the spring of 2010.

Just a quick word about this show. It was over a week ago now — Saturday, Oct. 10, to be precise — but the Clutch gig I caught at Irving Plaza in NYC has taken residence in my spine, leading to residual flashbacks and long-term developing appreciation of a rare kind. Careful analysis of the input factors, variables, controls, etc., leaves open questions as to the cause here to be explored:

The second of two New York nights at Irving (it’s not “The Fillmore” no matter the dollars spent to market it as such) to close out a tour with Wino and Lionize, on paper there wasn’t really anything different about it. Just another Clutch set in Manhattan. They seem to happen every couple months like clockwork. But this one has stuck with me, and all I can really chalk it up to, as regards the band (which I say because I had many personal friends at the show and it was a pleasure to see them), is the set list.

It’s not necessarily rare for a show to make me want to go back and listen to one of the band’s records, but in the last week, I’ve hit up both Elephant Riders and Pure Rock Fury, neither of which is my favorite Clutch album by a longshot. I’ll say this as well: this was my fourth time seeing Wino’s solo band in 2009 (Roadburn, Atlantic City with Clutch, Planet Caravan and Manhattan with Clutch), and he never sounded better.

So clearly there was a special feeling about this night. Clutch broke out “Immortal,” “Cypress Grove,” “Ship of Gold,” “Sea of Destruction,” “The Dragonfly,” “Animal Farm,” and even capped off with a rare “Spacegrass.” It was the best I’d seen them all year, but you know, I seem to say that after every show. If I’m brave enough to make it out to Starland Ballroom when they’re there in December (last year was so crowded it was a nightmare), I’ll probably say the same thing then too.

But like an idea whose time comes on Bill Murray’s Groundhog Day, Clutch killed a crowd of familiars in NYC. Their shows are usually a party anyway, but this was a standout, and since I can’t seem to get over how good it was, it at very least seemed worthy of note here in case I wasn’t the only one with a similar experience of it.

After issuing their IPO in the form of the recently-vinylized Sign Here, Here and Here EP (on CD through the band’s own Venture Capital Records in 2008), the five-piece supergroup The Company Band return with a change in lineup and general approach on their self-titled debut full-length. The Company Band, produced by Andrew Alekel (Foo Fighters) with additional tracking by J. Robbins (Clutch), is 10 tracks of straightforward pop songwriting that is tight and given an edge because of the players involved. And before this review goes any further, it’s probably best to list them:

Neil Fallon (Clutch): Vocals
James A. Rota (Fireball Ministry): Guitar
Dave Bone (The Company Band): Guitar
Brad Davis (Fu Manchu): Bass
Jess Margera (CKY): Drums

Davis is new to the band as a replacement for Jason Diamond of New York’s Puny Human, and he makes his presence felt throughout as a suitable accompaniment to Margera’s drumming – though quite frankly neither of them is down for much fancytalk musically. The Company Band depart from the impression they gave on the four tracks of their prior EP by keeping the stoner level low, pushing the riff all the same but angling the style of the writing toward classic and southern rock with some meaty grooves thrown in the verses and choruses.

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Despite having downsized Puny Human bassist Jason Diamond since the release last year of their EP, Sign Here, Here and Here, and replaced him with Fu Manchu’s Brad Davis, corporately-themed stoner supergroup The Company Band are pressing forward with a new release due out Nov. 10. Here’s the PR wire news:

The Company Band, featuring vocalist Neil Fallon, drummer Jess Margera, guitarists Jim Rota and Dave Bone with bassist Brad Davis, today confirm November 10 as the release date of their full length debut. The self-titled album was recorded in Los Angeles earlier this year and teamed the band with renowned producer/engineer Andrew Alekel (Queens of the Stone Age, Foo Fighters). The band will release in advance to the album a special digital-only single featuring the album track “It’s a Confusing World” with an exclusive cover of BTO’s “Not Fragile.” The single will be available for download via various DSPs in early October.

“It was pretty awesome to get everyone into a studio together and make this record,” reveals Jess Margera of the album’s recording process. “I never thought it would happen given that everyone has insanely crazy touring schedules. But sure enough the results turned out amazing. It was a strange reality for me, personally, as I am a huge fan of Fireball Ministry, Clutch and Fu Manchu. So to be in a room playing drums with members of all those bands was kind of unbelievable.”

“It’s not very often that one gets to write and play music with people that they respect as well consider family,” says Jim Rota. “This band is a dream come true.”

“Good times and great friends made this music that we are proud to bring you,” adds Dave Bone. “So pick up your balls and load up your cannons for the 21 gun salute!”

Founded by Margera (CKY) with Rota (Fireball Ministry) and Dave Bone in 2006, The Company Band originally got together to jam among friends. Their initial recordings were laid down for the band’s 2008’s mini-album Sign Here, Here, and Here. It quickly sold through its limited pressing and has continued to be a popular digital seller via CDBaby.com and others since release. Restricted Release has now pressed it on a special 10-inch available now exclusively through the label’s Amazon store. The vinyl pressing features exclusive artwork and is hand-numbered; limited to 1000 copies.

…But when you think about it, is there really such a thing as a bad day for free Clutch? The groovinest Marylanders have an exclusive non-album track called “Metroliner Special” from the Strange Cousins from the West sessions they’ve made available for free download at their website, Pro-Rock.com. I haven’t even had the chance to listen to it yet, but can only imagine it rules, being Clutch and all.

If you didn’t yet, check out The Obelisk’s interview with guitarist Tim Sult here. Goes great with listening to free goo.

In case you missed the news, Strange Cousins from the West sold 13,000 copies its first week out, which is actually less than 2007’s From Beale Street to Oblivion, which debuted with 15,000. However, because since that time sales in general have continued to suck — plus that whole economy collapsing thing I keep hearing about — the 13,000 was enough to push Clutch into the Billboard Top 40 for the first time in their career at #38!

Congratulations to the band on this new milestone. If only Casey Kasem was still doing Casey’s Top 40 and could introduce the single, “50,000 Unstoppable Watts.” “Here’s a little song about anthrax, ham radio, and liquor…” Awesome.

The PR wire has it that riffy supergroup The Company Band, featuring Clutch’s Neil Fallon and now Brad Davis of Fu Manchu replacing Jason Diamond of Puny Human on bass, are about to release their debut EP, Sign Here, Here, and Here on vinyl via Restricted Release (MySpace here). In case you’ve forgotten how mucht the EP ruled, it ruled quite a bit. Here’s the news:

Restricted Release proudly presents a special 10-inch vinyl pressing of The Company Band’s mini-album Sign Here, Here, and Here. Set for release September 15, the pressing features format-exclusive artwork and is limited to 1000 hand-numbered units worldwide.

Recorded in Los Angeles with producer Andrew Alekel (Queens of the Stone Age, Bad Religion), Sign Here, Here, and Here was originally released as a digital-only recording early in 2008 (followed later by its physical digipak partner). It brings together five highly-regarded musicians with nothing but the love of jamming on their minds. Two live performances to date have highlighted their still short sonic union (early fans of the band surely hoping to see more; member schedules permitting).

Founded by Jess Margera (CKY) with James Rota (Fireball Ministry) and Dave Bone in 2006, The Company Band originally got together and recorded some instrumental tracks. Jason Diamond was approached to contribute bass tracks while friend Neil Fallon (Clutch) agreed to appear as a guest on one of the songs but quickly changed status to that of a full fledged member. Brad Davis (Fu Manchu) replaced Diamond earlier this year when the band laid down tracks for their full-length debut which is planned for release later this fall.

The flyer for this one pretty much says it all:

Hard to believe, I know, but over the course of their nine studio offerings, Maryland groove gods Clutch have gone from Eastwest hardcore-tinged upstarts to established blues rockers putting out albums to ever-greater fanfare, most recently via their new self-run label, Weathermaker Music. Released just yesterday (July 14), Strange Cousins from the West is in many ways the archetypal Clutch record for 2009. It hones in on the direction the band has taken since 2004’s Blast Tyrant — the beginning of the DRT Entertainment era, which culminated with 2007’s From Beale Street to Oblivion — planting mature riff-led rock songs with varying degrees of blues elements deep in the cerebral cortex of the audience while vocal madman Neil Fallon weaves tales of sleestaks and time spent in county lockup. If you can get past “Let a Poor Man Be” without a new brain-tattoo, consult a physician.

The man behind some of the catchiest guitar lines in stoner rock history, guitarist Tim Sult, recently sat down for an in-person chat at the House of Blues in Atlantic City, NJ. Clutch was headlining a bill with Wino (featuring Clutch drummer J.P. Gaster) and Shadows Fall, who replaced a missing Monster Magnet. The interview took place deep in the bowels of the Showboat casino, in some back room where on another night high roller executives might mingle with bored-looking women half their age and the scruffy likes of yours truly most assuredly would not be allowed.

Sult (like bassist Dan Maines, to whom I spoke a few months back about Clutch side-project The Bakerton Group) was humble to the point of being puzzled why I’d want to talk to him, but though our discussion was relatively short, it nonetheless gave me something to look forward to in that night’s set. Hope you click that “Read more” doohickey and dig it as much as I did.

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Tack an hour onto the Parkway ride to Atlantic City because it was July 3 and you get me arriving at the Showboat Casino literally two minutes before my scheduled interview with Clutch guitarist Tim Sult (coming soon), rushing up the escalator to find the main room of the House of Blues and promptly sitting for 25 minutes while the band finished their sound check. When The Patient Mrs., who had dropped me off and gone to park the car, came into the building, told her via phone from the backstage kitchen to just cross the rope and walk in like she knew what she was doing. She did and when my interview was done, we met up and went to grab a slice of crappy boardwalk pizza before the show started.

Monster Magnet was supposed to play, which would have at least been convenient since I elected to stay home the rainy Saturday night in May when they hit Starland Ballroom in Sayreville, but for reasons unknown, it was not to be. Speculation, rumor and innuendo was all the explanation I was able to get out of anyone at the show. Massachusetts‘ Shadows Fall somehow became the fill-in for the middle slot, and their fit betwixt Clutch and opening trio Wino (featuring their namesake guitarist/vocalist and Clutch’s J.P. Gaster on drums) was awkward to say the least, but they made a go of it and did their thing nonetheless. I was one of many late 20-somethings in the crowd who gave a perceptible “Oh yeah, this song,” when they played “Crushing Belial.” It had been a while since I heard that.

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A little while back, Maryland gods Clutch premiered the track “50,000 Unstoppable Watts” over at MetalSucks. Well, now, because they’re generous types, they’ve uploaded a fancy newfangled widget with new song “Abraham Lincoln,” “50,000 Unstoppable Watts” and some cool video footage of the band recording and doing their thing. Strange Cousins from the West is out July 7 on the band’s own Weathermaker Music. Widget autoplays after the jump.

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In case you missed it, our friendly friends over at MetalSucks posted the track “50,000 Unstoppable Watts” from the new Clutch album, Strange Cousins from the West. They are good souls indeed, and the song, unlike the material on the Joe Barresi-produced last album, From Beale Street to Oblivion, has guitars you can actually hear. Thanks, J. Robbins!

Now, I know you’re wondering what kind of exclusive Clutch goodies The Obelisk has to offer. It’s a valid concern. After the jump, you can see just how up to date and in the loop this site is when it comes to getting Clutch stuff that no one else can.

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July is hot as hell here in the valley. The moisture rolls in and settles and it feels like you could open your mouth to breathe (because naturally there’s so much pollen around that breathing through your nose is impossible) and drown in it. I’m usually found sitting in front of my window unit in my underwear chewing on ice. It and August are, without a doubt, my most miserable time of the year.

Here’s why I’m looking forward to it:

Veteran Maryland rock quartet CLUTCH are putting the finishing touches on their ninth studio album, titled Strange Cousins From the West. Produced by Clutch and J. Robbins at Magpie Cage Studios in Baltimore, the effort is the first Clutch original to be released on the band’s own Weathermaker Music, through RED Distribution. Label manager Jon Nardachone reports Strange Cousins… will be available both digitally and through retail on July 7th. He also reports the first single and video, “50,000 Unstoppable Watts“ will be officially released prior to Memorial Day weekend.”

Also of note is the Poppo’s Blues Band cover song “Algo Ha Cambiado,“ which vocalist Neil Fallon sings in Spanish. Poppo was a legendary Argentinian hard rock singer/guitarist throughout the 70’s and 80’s. The title Strange Cousins From the West was taken from a line in the song “Minotaur.“ Although the band has toured the world extensively over the past 2 years, and released multiple Clutch oriented projects, Strange Cousins… is the band’s first original studio work since March of 2007’s From Beale Street to Oblivion which featured the hit “Electric Worry.“

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Fucking a. Check it:

Maryland rockers Clutch have set Strange Cousins from the West as the title of their new album, due on July 7 via the group’s own label, Weathermaker Music. The CD was recorded at Magpie Cage studio in Baltimore, Maryland with producer J. Robbins (Jawbreaker) and will feature the following track listing:

01. Motherless Child
02. Struck Down
03. Unstoppable Watts
04. Abraham Lincoln
05. Metroliner Special
06. Minotaur
07. The Amazing Kreskin
08. Witchdoctor
09. Let a Poor Man Be
10. Freakonomics
11. Algo Ha Cambiado
12. Sleestak Lightning

Oh hell yes. Thanks Blabbermouth. If only every Wednesday began with such kickass news.

So another week of chasing the dragon comes to an end, and as I make ready to drive my ass down to that (re-)birthplace of prideful ignorance in pop culture, Asbury Park, to have my mind expanded by Earthless and Witch — or maybe just groove out, whatever’s easy — here’s a killer clip to round out the week: Clutch live at the Trocadero in Philly playing “Never be Moved” from Robot Hive/Exodus. Dig that echo effect on Neil’s vocals and have a great weekend.