Album Review: Foolish Pride Baby’s Gone by Vernon Claud
Alright, buckle up because we’re diving into Foolish Pride Baby’s Gone, the rockabilly gem from Vernon Claud that screams US roots louder than a jukebox in a Southern diner. Released under Decca Records, this album is like your favorite leather jacket—worn-in, cool as heck, and packed with attitude.
First off, let’s talk about the title track, “Foolish Pride.” This one slaps you right across the face with its swagger. It’s raw, unfiltered rock ‘n’ roll with a side of twangy guitar licks that feel like they were cooked up on a hot summer night somewhere deep in the heartland. What makes it stick? The lyrics hit hard without trying too hard—you know, those moments when love goes sideways, and all you’ve got left is pride to keep you standing upright. Claud nails that vibe perfectly, making it impossible not to crank this sucker up every time it comes on shuffle.
Then there’s “Baby’s Gone,” which feels like someone took Elvis Presley, Jerry Lee Lewis, and a dash of Hank Williams Sr., threw them in a blender, and hit puree. You can practically hear the sneer in Claud’s voice as he belts out lines about lost love and regret. The rhythm section here is so tight it could hold together a pair of old blue jeans after years of wear. Plus, the piano solo halfway through? Chef’s kiss. It’s catchy enough to get stuck in your head for days but gritty enough to remind you why you fell in love with rockabilly in the first place.
Now, I won’t lie—the rest of the tracks are solid, but these two stand out like neon signs on a dark highway. They’ve got that perfect mix of grit and charm that makes rockabilly such an addictive genre. Sure, the production might sound a bit dated compared to today’s polished pop monstrosities, but honestly, that just adds to its charm. Like finding a dusty vinyl at a thrift store, it’s got character.
Reflecting on this album feels kinda funny. In an era where music streams faster than coffee through a caffeine addict, something about Vernon Claud’s work reminds me how good it feels to slow down and appreciate simplicity. Or maybe I’m just overthinking things while sipping my third cup of coffee. Either way, Foolish Pride Baby’s Gone proves that sometimes, less really is more—and rockabilly will always have a special place in the chaotic soundtrack of life.
Oh, and hey—if anyone reading this actually knows Vernon Claud, tell him thanks for reminding us what real music sounds like. Also, ask if he still plays pool; I bet he hustles people for fun.
