Clifton Roy & Folkstringer

"Great bright lyrics, fantastic, diverse music, absolutely fun people. You have all been voted 'Most Adoptable Band' from the festival. Looking forward to more great tunes and live shows."
- Bluebird Music & Arts Festival - Steve (Bluebird Music & Arts Festival)

Taking more cues from Son House than Son Volt, Chicago-based folk troubadour Clifton Roy's new full-length is a labor of love and loss, as well as a lament of a man born perhaps fifty years too late. Roy's youthful and exuberant, if unseasoned, vocals and countrified guitar are well-supported by Folkstringer, a drums-upright bass-mandolin combo, and while a bit is left to be desired, "Where the Rock Meets the Rail" is a solid folk album by a promising singer-songwriter.

Haunting songs like "His Mary" and "Eventual Highway" are balanced out by folky ballads like "The Well" and bouncy ditties like "I Only Wanna Be Your Man." Roy's voice, while not short on conviction, lacks the road-weariness of the singers he takes his cues from, but his squeaky-clean warble is certainly endearing. Gregory Morland's mandolin alternates between accentuated rhythms and melodic solos, Craig Hauge's thumping double bass provides the foundation and adds a percussive element to David Rothenberg's minimal-but-tasteful drumming. Vocalist Christie McClure harmonizes with Roy, adding a decidedly Nashville twist to the already bluegrass-inspired tunes.

"A Ballad for the Flatlands" is the song that really jumps out of the speakers, boasting not only an effective hook and the best meshing of the various Folkstringer elements, but Roy's most inspired vocal. The tune, however, would greatly benefit from some additional instrumentation. In fact, the entire album is practically screaming for pedal steel, banjo, dobro, blues harp, piano, organ, hand percussion…anything to fill out the group's spare sound. The recording is high quality, and the songs don't sound empty, but there's definitely something missing from the chemistry. In today's musical climate, big sounds are paramount, and while Folkstringer's decision to eschew electric instruments is admirable, they're going to need to beef up the instrumentation to make up for it.

But other than want of more sounds, there is precious little fault to find with "Where the Rock Meets the Rail," and the debut offering from the up-and-coming Chicago folk outfit shows near bottomless potential. As their reputation grows, hopefully so will their sound, and by the time the next album rolls around, they will likely be a formidable force indeed.
- Evan Thorne (BEEP Magazine)

There are "retro" bands, and then there are bands like Clifton Roy & Folkstringer.
The group, centered on singer and guitarist Clifton Roy, doesn't use any electronic instruments, opting out of any pop/rock formulas. Instead, with NIU alumnus Craig Hauge on upright bass and Gregory Morland on mandolin, Roy has honed a time-honored style.
After cutting its teeth at open mic nights and house parties, the band has picked up a few new members: NIU senior David Rothenberg on drums and backup vocalist Christie McClure, along with their debut album.
With such little emphasis on studio frills, "Where the Rock Meets the Rail," focuses mainly on Roy's singing and songwriting. Roy's traditional sense of song structure and melody occasionally makes some of the songs blend together, but his band's keen sense of musicianship helps differentiate the highlights.
Rothenberg's tasteful drum fills on "The Well" really emphasize the folk-shuffle rhythms on the album's key track. Elsewhere, on "Uncharted," Hauge carries the song with an enchanting bass line.
Roy's expressive singing and lyrics are often the focal point on the album. On the gothic-country tinges of the opening track, "Herod's Blues," Roy sings "Write these words on my tombstone / I never meant to die alone / but there's only room for one in the grave."
As an entire piece, the album lags with too many longer, mid-tempo folk songs in between the upbeat jams like "I Only Wanna Be Your Man," and "Salty Dog." The band is still a lot of fun to watch live – that much seems clear from listening to their efforts in the studio. But it feels like any strength on the album would be only enhanced with an audience present.
- Andy Mitchell (Northern Star)
- Andy Mitchell (Northern Star)

Clifton Roy & Folkstringer, out of Naperville, IL sound like they read: a folky, bluegrassy ode to all the old Americana artists. They name drop the typical influences, Emmy Lou Harris, Johnny Cash, and Woodie Guthrie - but they thankfully leave out the band every Chicago folk group wants to be, Wilco. Gladly, they don’t seem to be riding the current wave of the genre bending “alt-country” trios and foursomes and fivesomes invading a coffeehouse near you. With pinched vocals similar to Colin Oberst, and a consistent, well played mandolin CR&F sound like a bluegrass festival, something people from appalachia would be proud of. Surprisingly, they lack a fiddle, which is sorely missed, but with 5 members already, there might not be room on the stage, though as Tom Schraeder and his Ego can attest, there’s always room for strings! The recordings are lo-fi, as they should be, and the lyrical content is intelligent and aching, pushing introspection and pulling out a tear or two (Angels of Sad Laramie). Most biographies are typically boring, or typically over the top trying to be funny, but I’ve never audibly giggled at the mention of a gong before, so they score some major points there. Solid music from a solid band. I can proudly say that these guys do Americana right.

Review recommends: A Ballad for the Flatlands and Angels of Sad Laramie - Jason Petros (Chicago Independent Music Review)