Charley Crockett drops a surprise second album less than a month after the completion of his Sagebrush Trilogy with ‘Age of the Ram’. Making a defiant departure from contractual record deals, ‘Clovis’ is released under Crockett’s second independent label ‘$10 Cowboy’.
Charley Crockett Clovis Review
Alongside the renowned Shooter Jennings, production was primarily based at Norman Petty Recording Studios in Clovis, New Mexico.
Photo from Norman Petty Studios website.
The band and crew committed several long, consistent days to churn out each song in only a handful of takes before continuing on to the next. Although their studio time was brief, it was nothing short of a uniquely historic and beloved experience amongst the tribe.
Norman Petty Studios currently stands as a museum, offering tours to visitors who book their time in advance.
Production was carried to Los Angeles and polished off at Sunset Sound Recorders.
Drummer Mario “Mayo” Valdez was kind enough to provide some insight of the moving parts that pieced the record together.
“We had some guys fly in to help knock this one out. A few guitarists out of Austin, Jay Moeller also did a few drum takes and wrote some tunes as well. All very talented guys.”
“We don’t go much further than three takes, if that. A lot of the time we were only asked to play what we felt. A bit stressful, but also forces you to play intentionally- to play what you feel but respect the space and lyrics.”
With all hands on deck, Crockett and his team stirred up a mighty fine refreshment for devoted listeners.
‘The Hallelujah Trail’ kicks everything off with a new take on his familiar sound. Crockett’s story telling talents continue to stand firm while mixing dreamy western slides and fierce guitar hooks.
The blues forward tunes are sprinkled throughout the album into songs like ‘One Eyed Jack’, ‘Honky Tonk Philosophy’ and an exhilarating take on Johnny Cash’s ‘Don’t Take Your Guns to Town’.
Similar acoustic riffs are coupled with easy drums and smooth keys on songs like ‘Image of a Woman’ and ‘Last Night at the Alamo’ that take you back to the thriving days of the New Mexico studio. With the help of Crockett’s wife Taylor Grace, ‘Top Hand’ softly brings a deep western sound, reflecting roots of ‘The Man From Waco’ days.
Charley visits a more notable classic country sound in songs ‘Down by Law’, ‘Albuquerque Lights’, ‘I Ain’t Riding Anymore’, and you guessed it, ‘Country Music’. At the end of the seventh track, Charley commentates
“Damn good song. Oh look, Waylon’s coming down, hanging out of this asbestos right here. Can we do it again? I really like it.”
Bassist Kyle Madrigal was also kind enough to shed a light on their time spent at Norman Petty Studios.
He debriefed the history of this “creative haven” as he calls it, stating that everything was still the exact same from it’s original days. They were even able to use some of the antique equipment despite the dusty and ghoulish disruptions.
“We really got to settle into the place and get a glimpse of what it was like back in the 50’s. By the last day I felt we transported back in time using the space just like Buddy Holly, Waylon Jennings, Norman Petty and the rest.”
“I felt Norman’s vision, why he designed the space the way he did. We went to this old tired space and literally woke it up. We told them- “We remember you. We honor you. We need you. We carry you with us into this shiny future.” It’s like a Miyazaki movie. Howls Moving Castle meets Spirited Away meets Clovis.”
The title ‘Clovis’ comes in on the ninth track, where Stephen Barber was welcomed into production for the day. Listeners are greeted with an orchestric instrumental that seemingly plays out a brief story of a brave and well lived journey.
Although we are familiar with their notorious instrumentals, woodwinds and a jaw harp are met with chin-held string instruments that mark an enormously new move for Crockett and the Blue Drifters.
Another new note is found on the evidently rock geared songs ‘Eagle and the Crow’ and ‘Waylon Rides Again’. As the fifth track, ‘Eagle and the Crow’ treats listeners to an up-beat, deep chord, head bopping, professed song of belief in one’s self assurance.
Last but certainly not least, ‘Waylon Rides Again’ ends the record with Kyle dropping brass chains on a brass crash cymbal along to a blues infused rock heavy sound. The song enlightens the prevailing mood that one can be prone to feel through trials and tribulations.
Guitarist Alexis Sanchez shared an Instagram post admiring his long term friend and noting the daring work that has been put into continuance.
“It had almost nothing to do with talent, and damn sure not any privilege, and everything to do with doing what not a lot are willing to do, and that’s whatever it takes.”
“Show me your faith without your works and I will show you my faith by my works.”
It’s safe to say that Charley Crockett is perfectly capable of producing a profoundly involved album without the say of modern labels and pesky contracts. His seventeenth studio release depicts perspective and observation of life in and out of the music industry. He’s managed to stay true to his roots of appreciation for historical inspiration.
Uploading the release from his cell phone on the tour bus, Crockett gave Spotify listeners early access to the album on April 29th. Roughly a week later the album was mysteriously taken down.
At last, released for America’s 250th celebration, Clovis landed back on streaming platforms on July 3rd.
Keep up with Charley on social media to see where the winds unfold his next chapter.
While waiting, check out our Charley Crockett live show review HERE
