Clay’s first album in three years was released in 2010. It was mainly produced by Keith Stegall, with Doug Johnson taking the helm for a few tracks, but neither man shows his usual light hand.
The first single, the title track, was the album’s only big hit, peaking at #4. It’s a good song about a woman who “wants to hold a stranger, but not the one at home”, who has done her wrong. Clay sings it strongly, if lacking nuance.
‘Where Do I Go From You’ was a minor hit, making the top 30. A mid-tempo tune about getting over an ex, it is well written but Walker’s vocal lacks real emotional conviction and towards the end he oversings. ‘Like We Never Said Goodbye’ didn’t make the top 40, but offers a more subtle vocal on a fine song about a meeting with an ex and the complicated emotions it produces.
The final single, Western themed ‘Jesse James’ opens with a bluegrass feel and an impressive wailing vocal , but soon deteriorates into a horrible over produced mess. It was a deserved flop.
Clay contributed four co-writes, three of them with old friend Jason Greene. ‘Double Shot Of John Wayne’ is the best of these (and infinitely better than the similarly themed ‘Jesse James’), a very traditional country tribute to old western movie heroes. I really liked this. The pair’s other songs are ‘All American’, a very bland patriotic number which was used as a campaign theme tune by one of the unsuccessful candidates for the Republican presidential nomination in 2012; and ‘Summertime Song’, a rather boring song about a working man dreaming of beach time, which might work better if it contrasted the two worlds more consistently through the song, but does have some nice fiddle. Clay wrote ‘Wrong Enough To Know’ with Kim Williams and Doug Johnson. It is an unremarkable but adequate mid-tempo love song given a poppy production.
‘People In Planes’, written by Barry Dean and Luke Laird, is an observational song about fellow travellers spotted on a flight, spoiled by very intrusive electronic effects and autotuning. ‘Keep Me From Loving You’ reminiscences about a high school romance which lasts, despite the disapproving parents. The song is okay, but it is heavily over produced.
Randy Owen harmonises on the Alabama hit ‘Feels So Right’, which is well sung but not a favourite of mine, and is given a very AC production with heavy use of strings. ‘Seven Sundays’ is very pretty sounding, and is an affectionate tribute to church attendance.
Overall this is a record which doesn’t seem to know how to position itself. There are some decent songs mixed in with more mediocre fare, and blatant attempts at getting radio play set against some real country sensibility.