| WHITE HOUSE SESSION REVIEWS | ||||||||||||||
| NORTH OF THE BORDER MAGAZINE November 2003 Texas |
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| "My buddy, Barry Pollock at Borsky's handed me this recording a few visits ago and it sat on the shelf until this week. Boy, am I glad I found it and gave it a listen. With a voice weathered by time and a clean picking style, Clay has written some fine music that he presents with the help of his harmonica and the Gibson J-150 guitar. While mostly traditional country, his blues influence shows on "Twangy Guitar", a rowdy roadhouse two-stepper, and "Guitar Man", where he highlights his picking abilities and the harp-blowing harmonies. A beautiful tear-jerker ("Ain't Enough) Whiskey would top the charts in the right hands and with enough star power, but of course I'm partial to whiskey songs (see the first review this issue), and the final cut "Whiskey's Fine could be a 1960's Hank Thompson hit. His cover of Johnny Winters' "Dallas" brings out the slide bar and he does a credible job on this bluesy, harp-driven cut. Other ballads meander around, with "Texas In My Dreams" a sentimental touch and "Heartbeat" pulling your heart-strings. What a true delight, this is a trip to dancehall heaven..." | ||||||||||||||
| COUNTRY MUSIC PEOPLE MAGAZINE February 2004 |
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| Clay Canfield The White House Session Over & Over/Twangy Guitar/(Ain't Enough) Whiskey/Guitar Man/The Buffalo Grass Dallas/Texas In My Dreams/(I Overheat In A) Heartbeat/Good Old Boys/Whiskey's Fine Producers: Clay Canfield & Polly Waters Self-release CC1203 (36:38) **** No, not a performance before the President of the United States, but a recording cut in White House, Tennessee. This set follows The Comanche Session , Clay Canfield's debut album which he cut in a single day in 2001 with just his gutiar and harmonica for accompaniment. The formula is repeated here, but this time the excellent singer-songwriter speeds up some - the entire White House Session was recorded in just one afternoon. An accomplished guitarit, Canfield switches between gentle arpeggio picking to a driving rock style on Twangy Guitar, before hitting the listener with a bottleneck blues on Johnny Winter's Dallas, one of two outide songs. The second is Bob McDill's Good Old Boys which Clay performs in an even more laidback way than the song's hitmaker, Don Williams. Clay is a fine writer annd any of his eight songs on this album could be successfully recorded by bigger names. Echoes of Marty Robbins can be heard in Over & Over, a lament from a loser in love, and Canfield should certainly pitch it to Don Edwards. (Ain't Enough) Whiskey is a real tear-in-my-beer barroom waltz that George Jones would lap up, while Texas In My Dreams would delight any number of singers from the Lone Star State. Followers of Chris LeDoux who bought his latest Horsepower album will have already heard Canfield's The Buffalo Grass, a great song which perfectly captures the anxiety of a small time rancher a he sits out a particularly bitter winter. Hopefully, a British promoter will get to hear Clay, stick his neck out and bring him across for a tour. I'm sure he would go down well in the few remaining listening clubs around the country. Yet when talented artists like Dave Mallett, Andy Wilkinson and David Olney are failing to draw respectable crowds (largely because they get very little radio airplay and remain almost unheard of), I'm not sure Clay would fare any better. A pity - but that's the sad state of the country music scene these days. (www.claycanfield.com) Al Moir |
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