Hall of Justice: An Interview with Scott Clay
I had the pleasure of meeting Pacific Northwest musician Scott Clay at Seattle’s iconic Hall of Justice Recording Studio for an interview. It was a hot July evening when I pulled up outside a flatiron style one story building painted completely charcoal gray. This nondescript structure is tucked into a triangle of one of Seattle’s quieter corners of the Fremont neighborhood. You would never know that each of the entrances has double layers of doors to pass through and the entire structure is sound-proofed like a 1950’s air raid bunker to keep the sounds of guitar solos and crazy loud drum sets contained inside. This is a place where history happens. Death Cab for Cutie has made this studio space their album recording home. Nirvana recorded Bleach here. Noah Gundersen, a Seattle favorite, has laid tracks here. It’s legendary. If you know it’s there.
Walking inside the studio itself, I felt immediately as though I had walked into someone’s living room. With an enormous amount of sound equipment just laying around. The space itself is arranged like a basement hang-out reminiscent of my own college days. Books are lining the walls, artfully arranged. Rugs criss-cross the floor and folding chairs are stashed in all the corners. I assume for extra people that show up to jam there. The lighting is soft, with single bulbs hanging from the ceiling and lamps placed thoughtfully throughout the room. There is a couch, of course. That looks loved and worn in from lots of late nights here.
The sound controls are in a separate room that has the same soft, hazy lighting but is packed full of equipment and more buttons, dials, and monitors than I’ve seen collected together in one tiny space. It resembles what I imagine a satellite branch of the NASA control center to look like, but with turntables. The sound engineer, Mike, sits in that room cozied up like he’s been there his whole life. But as casual as he looks, he’s really just mastering records as smooth as a Christopher Walken character. It’s amazing to watch.
“Trust your instinct, write from your heart, and dream bigger than you think you can achieve.”
-Scott Clay
It’s in this space that I’ve sat down with Scott Clay to get a peek into the recording process and connect with the artist. What I like about this man is that he’s so open. Inviting me in to the studio, showing me around, answering all my questions in detail. He’s here for the music. There is no diva quality that I can see. He’s got on a white cotton tee with a Carhartt style shirt thrown over the top. Jeans, a t-shirt, and a guitar. That about sums up his style.
Scott’s music similarly reflects his personality. There is an upbeat, fun quality to some of the tracks I got to listen to on his new album. It reminds me of the way “Sweet Home Alabama” always pulls people out on the dance floor, no matter if it’s a dive bar or around a bonfire. Scott is a fun-loving guy with personality to spare. His sense of humor is the first thing I noticed about him in person. But there is also a contemplative, deeper side. And this comes out in tracks like “Time Will Tell,” which I had the pleasure of hearing at full volume while it was being mastered in the studio.
You're a native of Washington and based in Seattle currently. How has living in the Pacific Northwest shaped your music?
I do most of my songwriting while in the outdoors; whether hiking, running, paddle boarding, or spending time on the beach.
When did you first pick up a guitar?
I found my mothers’ old classical guitar in my bedroom closet when I was 14 and immediately started writing songs on it.
Is there a music era that has influenced you?
One of my first CD’s was Dave Matthews & Tim Reynolds Live at Luther College acoustic album (1996). It was absolutely game-changing for me, I listened to it over and over again.
Do you have a particular artist or band that would be a dream collaboration for you?
What fills you with inspiration when you're writing music? What is your process?
I write mostly from my dreams. I often wake up with a melody, guitar lick, or lyric in my head. I keep an acoustic guitar within arm’s reach of my pillow, just in case I wake up with some 3 am inspiration on the guitar.
How has travel influenced your music? Is there a relationship between a sense of place and the music you've written?
I wrote my second album Price of a Life while back packing Central America. I was very inspired to write about the sweatshop industrial labor that I witnessed while traveling in Guatemala City. There are also a ton of tunes written from the hammock on the beach in El Salvador and Costa Rica.
Is there a place you've traveled to that makes you feel like you're returning "home" when you visit?
My first time to Bangalore, India was an amazing experience. I remember walking through the park in downtown Bangalore and watching mothers swing their children in their saris that were strung up between trees and feeling as if I'd spent several lifetimes of my own living in India. It’s a place that always feels like home to me.
What is one of the hardest performances you've given?
I was asked to stand with my guitar in the corner of a winery while a birthday party went on for 4 hours and not allowed to play, or sing, or participate in the celebration, only to 'look' like I was playing. It was an excruciatingly long 4 hours of standing in the corner, but it certainly paid well.
What is one of the funniest things that has happened to you on tour?
When on tour in Maui one lady tipped me $100 to play a Hansen song, and then stole the $100 back out of the tip jar.
To close, what is one piece of meaningful advice that has guided you through your journey as an artist? What advice would you give to others?
Trust your instinct, write from your heart, and dream bigger than you think you can achieve.