The Top Ten Awesomely Absurd and Absurdly Awesome Clutch Lyrics

Categories: Clutch

Clutch

Throughout two decades and ten albums, D.C. rock outfit Clutch has evolved into one of the mightiest blues-rock bands around. One of the tangibles that make Clutch stand out is vocalist Neil Fallon, whose lyrical output and delivery at times borders on the edge of both awesomely absurd and absurdly awesome. With the band's new album Earth Rocker coming out this week, let's take a moment to revisit our favorite Clutch lyrics.


See also: Live: Motörhead, Clutch, And Valient Thorr Pack 'Em In At Best Buy Theater

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Live: Motörhead, Clutch, And Valient Thorr Pack 'Em In At Best Buy Theater

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Just don't get between Lemmy and the bar, or the women. Pics by Phil.
Motörhead/Clutch/Valient Thorr
Best Buy Theatre
Monday, February 28

Better than: Any other 65-year-old still making (rock) music.

Bassist/vocalist/negative role model Lemmy has always insisted that Motörhead are not a metal band. His first words to the audience (OK, after "Everybody doing all right? Well, we'll soon fix that!") were "We are Motörhead, and we play rock 'n' roll!" And the set list for this tour, which supports the band's 20th studio album and the rapturously received documentary Lemmy: 49% Motherfucker, 51% Son of a Bitch, indeed focuses on the more conventionally rockin' side of the band's output, avoiding thrash-punk assaults in favor of slower songs like "Stay Clean," "Metropolis," and most surprisingly of all, two numbers that are the closest thing Motörhead's ever recorded to slow jams. "The Chase Is Better Than the Catch" is an underrated slow-burner from the Ace of Spades album, a stalking blues with a bass break made for audience participation, while "Just 'Cos You Got the Power" is a seven-and-a-half minute (!) rant against the money-hungry bastards who run the world (a favorite Lemmy target, along with those who declare war, those who run major world religions, and anyone getting between him and the bar, or him and the nearest available woman), punctuated by multiple stinging guitar solos from Phil Campbell.

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