Excellent debut album from the hardworking Denver-based outfit exemplifies their bluegrass chops and musical smarts.
Clay Street Unit from Denver, Colorado, have been playing their asses off across the US for around five years, and apart from a four-song EP, A Mighty Fine Evening (2022), and a single, Engine Trouble (2024), there’s not been much music to get your ears around. That has now changed as their debut record, Sin & Squalor, hit the streets on 13th February. Worth the wait? You bet. This album is produced by Chris Pandolfi of The Infamous Stringdusters, and a mighty fine job he’s made of it. This is not a live album, but it certainly feels ‘alive’. The energy of a live performance is skilfully captured, and the joy derived from making the music emanates from each track. “Whenever we’re onstage, we’re just trying to throw a party”, says Sam Walker, the band’s lead singer and co-founder. You can believe it when you play the record.
The six band members originate from various parts of the US, stretching from Alabama to Virginia to Colorado. Artfully, they blend folk, bluegrass, country, rock and undoubtedly other genres. Whatever label you give it, is ultimately not important. The music is beautifully crafted and skilfully performed, and to date appears to have a wide appeal. “Our music seemed to meet everyone in the middle”, says Walker, explaining that they are appealing to audiences with diverse tastes. Formed in 2020 by Walker and banjo player Jack Cline, this album provides a timely statement and synopsis of the band’s career to date. Due to the folding of their previous record label, the release was delayed, yet now, with label Leo33, the record is finally out.
The album kicks off with Nothing Else Matters an upbeat paean to missing loved ones and the frustrations and temptations of the road. Walker’s vocal grabs you immediately as he dominates proceedings, laying a marker for what’s to come. Shuffling drums change to a back beat in the 2nd last chorus, a subtle change showing that these guys are very aware of what they are doing and are in control of the texture and contrast. The songs are credited to either Walker or Scottie Bolin (mandolin and vocal), or both. Walker, taking the lead vocal throughout, has a great voice. Initially, thoughts of Stapleton, then, in parts, Isbell. Ultimately, and as the ears tune in, all you hear is Walker. An individual and distinctive voice.
The second track, Drive, is, as of the time of writing, riding high at number 4 in the Americana Radio Charts. Bolin’s haunting mandolin introduces a soulful vocal from Walker, and after the first verse, Brad Larrison’s pedal steel and Cline’s banjo become more prominent. Halfway through, the song’s tempo picks up with some great banjo rolls, ‘Knopfler-like’ picking, and a fine banjo climb down, taking us back to the chorus. Let’s Get Stoned is an honest and arresting song that shows Walker’s vulnerable side. “Sin and squalor’s what your mama said”, he sings to his loved one, providing a brutal and haunting image. Classic Scruggs banjo licks on Where Have You Gone, propel this song along with the percussive urgency only a bluegrass banjo can. Choctaw County lets us catch our breath with a beautiful ballad. Some understated and resonant harmonies provide lovely texture as Lindsay Lou guests, duetting with Walker. Up-tempo One Last Time picks up the pace, whilst Virginia takes us back to the theme of home. Left Unsaid is, for me, a standout, speaking to the virtues of loyalty and sticking together through the bad times.
Freightline Blues has a traditional banjo lead-in. Images of sitting on the front porch with Jed Clampett appear, as these guys are not afraid to draw on some conventional bluegrass moves. In Rollin, Walker’s vocal is beautifully paced. Way Over Yonder closes the record as it ‘triple times’ you with the continuous forward banjo rolls and the uncertainty of the subdominant, urging you onwards and upwards, reminiscent of the Turtles’ Bloodshot Eyes. The sentimentality of Ronnie van Zant’s All I Can Do Is Write About It comes to mind as Walker eulogises on the beauty of home.
The album is peppered with clever yet highly appropriate instrumentation. Much of this is only possible due to the economy and deep pockets of drummer Brendan Lamb and bass player Jack Katarba, allowing banjo, mandolin and pedal steel to create textures and movement, like a river, swirling beneath Walker’s melody. The songs are full of stories and emotions and would not be out of place accompanying Beth’s tribulations on the Dutton ranch. Walker’s lyrics return to similar themes: loneliness, love, loyalty, the meaning of home.
Sin & Squalor is a confident and accomplished debut for this fine set of musicians. There is a lot to get your teeth into on this record, so enjoy the experience. It’s clear that these guys enjoyed making it.
