Binary solo, anyone? There’s no way in the world that this song’s title should be a catchy lyric but, of course, in Clutch’s world it’s practically a pop song. Masterfully paced and brilliantly executed.

Only Clutch could write a song about a redneck martial arts warrior and not only get away with it but make it seem like on of the best things ever recorded, ever. Seeing the reaction to its bone rattling opening riff live is a special treat.

Nearly always played live with its sequel (see below), Big News I shows Clutch at their wooziest and bluesiest. It’s like vocalist Neil Fallon is retelling Moby Dick as he bellows out its nautical-themed lyrics.

Shorter and sharper than Big News I, this still barrels home its point with another wobbling riff and, best of all, finishes off the story they started telling with Big News I. Swathed in distortion and totally compelling.

The growling laughter and jaunty riff that start things off let Fallon off on a rambling, almost spoken word recollection that would sound like a stream of consciousness rant if it wasn’t so damn tight.

The confessions of a Hispanic crime lord, apparently. This is another off the wall offering that takes you inside the mind of one of the barmiest bands on the planet who prove theit imagination can take you anywhere.

A return to more blues-flavoured territory, Electric Worry is music to stroke the hash crumbs out your beard to. Its <<‘Bang! Bang! Bang!’>> is impossible to dislike, either, if you’re in the mood for getting rowdy.

An unlikely cover version, Equinox is a round the houses cover of a song by New York jazz legend John Coltrane. It’s doubtful the original featured clinking cow bells and scratchy stoner riffs, but do you want a cover or a copy?

Find a better opening couplet than this: ‘Born with a moustache and a supernova/Tossed off the cliffs of Dover’. No? Thought not. Immaculately produced, it’s like Superman’s back story gone wrong. In a good way.

The aborted first single from the album that would eventually drag them towards the mainstream. It’s a knock down, drag out number that you could use to kick off the bar fight of your choosing.

Another unmistakable opening riff quickly gives way to a mature sounding Clutch. Their delivery here has never been smoother but, like always, the lyrical scope of their songs is epic and transporting.

A good time stoner number that recalls the legendary Kyuss at their most good humoured. It’s a white knuckle ride and sonic trip you couldn’t shake off if you wanted to. Start a riot in your stereo.

A stomping up-tempo number that wraps Fallon’s opening verse in distortion but doesn’t hinder his apocalyptic, other-worldly storytelling. Still, even when they take of their foot off the pedal, ‘the riff’ is still king.

A short and sweet introduction to their more experimental Jam Room opus, Who Wants To Rock celebrates the band’s southern states lineage to the point where you can almost smell the cornbread burning.

It predates Transnational… and it shows. But, just because Wicker lacks the refinement of their later efforts, it doesn’t mean it’s not a snarling example of Clutch at their most punk rock, with razor wire guitars in tow.