There is an undeniable trend in most genres where the “sounds of the past” take shape once again; it’s not hard to see why, though. The children who grew up listening to 80s synth pop begin to form their own bands, or they’re exposed to their parents’ classics. And while much of the resurgence has been with the pop and rock realms, country is seeing its own era of vintage revival.
Mobile’s own Red Clay Strays brandish a strong mix of soul, gospel, rock, and country that draws comparisons to contemporaries Paul Cauthen, St. Paul and the Broken Bones, and Orville Peck, just as much as forerunners like Elvis and Johnny Cash. Even the band’s aesthetic, a mix of western and greaser, stands in stark contrast to the skinny jeans and oversized t-shirts of today’s pop country. And with no visuals attached, you’d be remiss if you didn’t imagine a group of burly guys with beards – there’s so much power, especially vocally, across these songs.
But instead, you’re greeted with several gents who likely are in their 20s and 30s, unmarred by decades of cigarettes or drugs. The band are able to hide their youth to SOME degree, but it’s definitely there. The music, on the other hand, feels right out of a different time and place. The band’s ability to play with dissonance, the rock-steady bass foundation, and inclusion of psychedelic guitar lines sees Red Clay Strays blur the line between honky-tonk and progressive rock.
Moment of Truth, the band’s debut LP, dropped last year (yes, it’s 2023) and saw the band break into the mainstream – even getting a feature on Western AF. It’s not a flashbang effort, either. It’s a true album that sits at almost 50 minutes long. There are dancefloor jams, headbanging hits, and sentimental ballads aplenty. The band even employ the use of samples on “Killers”, a song about homeless veterans, as a reminder of the strength of the studio to augment already-powerful songs.
Lyrically, the band have a good blend of slice-of-life lyrics: subjects like romantic love, family, life on the road, and even spiritual realities of sin and redemption that never feel cliché or disingenuous. One particular highlight in this respect is “Sunshine”:
People act a certain way in trials, different than they do on any day. This is when you see a man’s true colors. This is when he shows you how much he can go through before all his faith is stripped away.
“Sunshine”
It’s an emotional, piano-centered song that balances faith and pain, never afraid to admit there’s mystery to just how the two interweave. Even here, we see glimpses of Cash’s impact on the band. We’re also reminded that it doesn’t take bombastic and fast instrumental parts to hit hard. It’s haunting and finds its place as the second-to-last track.
“Doin’ Time” is the album’s closer, and it falls on the other end of the band’s dynamic spectrum. It’s classic-tinged, southern rock, gritty and groovy. The guitar lines here are piercing, and a brief solo is a nice way to round off the energy of the song. It’s not my favorite choice for a closing track, but it’d be unfair to say the album ends on a weak note.
Of course, the album as a whole is peppered with other key tracks. The title track comes early and sees a bit of Motown-styled backing vocals float over a dark underbelly of confessional lyricism that seems straight out of Romans 7. “Wondering Why” is the city-girl-meets-country-boy love song that definitely has high school dance potential.
“Ghosts” is one of the most rock-centered tracks, and it definitely has a hazy, psychedelic feeling to it. The rhythm here is key, and both the bassist and drummer are locked in throughout. Even piano is used fairly percussively, intermittently interjecting some of the lower bass keys for an even fuller low-end presence. The end is pretty fun and sees the whole band nail precise shifts in rhythm.
One of my final favorites is “Don’t Care”, a grunge-flavored track that reminds me a bit of Foo Fighters and Stone Temple Pilots. The chorus is a bit unhinged, verging on almost screamed vocals. It’s a bit more raw than much of the other songs in this respect and it’s perhaps a bit less melodic than its compatriots – but it’s definitely a powerhouse nonetheless.
Ultimately, the album is a mixed bag – of genre influences, lyrical subjects, and the overall strength of each track. Personally, I found myself drawn more to some of the slower, more dramatic songs, but I’m also not a huge classic rock fan and you might find you prefer some of the faster tracks. Regardless, it’s clear the band are pulling from a wealth of inspirations, both from the world of music and personal experiences. These are songs that glimmer with honesty and conviction. Lyrical poetry dots the twelve songs and the songs’ topics never feels forced or handled half-heartedly. Ultimately, each piece reinforces the “vintage” notion of the Strays as you’re reminded of the simple-yet-fundamental things of life. This young band is already making a steady impact, and it’s easy to see why – there’s plenty of cross-over appeal for fans of rock and country, young and old, faithful and wandering.
0 Comments