James Ethan Clark & The Renegades

7. “Stories” by James Ethan Clark

"This song by southern rock singer James Ethan Clark is perfect for bad weather on a lazy day, bringing you slowly to life. Clark’s mellifluous voice paired with an electric guitar and pedal steel will melt your stress away." - Kristen Hill, PASTE Magazine

James Ethan Clark is a tough musician with an authentic blues-rock sound. After earning a spot on the 10th season of American Idol, James returned home to finish his first full-length album, which won acclaim with critics from its raw, emotive, and soulful music and lyrics. - Bel7 Infos / PAR BEL7 – 9 OCTOBRE 2013 (EU)

D.J. Flash Jordan: In your own words, who is James Ethan Clark?

James Ethan Clark: I am a singer-songwriter. From the time I could breathe, I sang. Writing came much later in my life, but creativity was always a huge factor in everyday things. For as long as I can remember, I have always hummed as a strolled or sang at random times as if no one else was around me. As I aged, I taught myself how to play the guitar and the piano, and from there on I began to write and play and sing, etc… Now with my first record ("Southern Hotel") released, I am bound and determined to get it in as many ears as possible, and hope that people can relate.

D.J. Flash Jordan: A lot of your songs appear to be about very emotional and personal subject matter. How do you manage to chronicle these moments and feelings without it becoming detrimental to your social life?

James Ethan Clark: You know, heartbreak is a strange thing, it sucks, but everyone has dealt with it at some point in their lives. Writing songs based on my own experiences is scary in the thought that whoever hears it knows my deepest, darkest fears and has an in-depth look into my personal life, but deciding to continue doing "this" is basically signing up for that exactly. Take a look into Alcott, Hemmingway, Thoreau… all of their works are partially related to their own lives. But you see, that's what people cling to. That's what they can relate to. Often times people have referred to my writing as "my heart on my sleeve", and I think that's just fine with me.

D.J. Flash Jordan: Tell what you like doing better, songwriting or performing?

James Ethan Clark: It really depends. Songwriting can be tough. There's this little thing called writers block that can really throw a wrench into a session, but then once something completely random hits you off guard, it's go time. It seems as if a levy had broken and a river of words started rushing through. With, performing, I always love it. Now, if it's a show I'm really pumped about and there's 10 people there, it's a bit of a bummer, but still I give it all I've got. So I would say it's pretty evenly split.

D.J. Flash Jordan: Who are some of your early and current musical influences?

James Ethan Clark: For starters, my first and largest inspiration and influence is my Grandmother. She was a choir director for 20+ years and was also apart of a gospel trio called "The Kindred Trio" in the 70s and early 80s. To this day I can see her playing the piano in her den and singing old hymns, and I even have two vinyl records of her group in my house. I will say (and probably too often) that Ryan Adams has been a huge influence, as well as My Morning Jacket, Neil Young, Jim Croce, Kings of Leon and even more obscure groups such as Mazzy Star, The Sundays, Blonde Redhead and The Smiths have influenced me lyrically and musically.

D.J. Flash Jordan: If you could collaborate with any artist living or dead, who would it be and why?

James Ethan Clark: I'd love to collaborate with George Harrison. His writing ability and his musical talent was absolutely beautiful. The way he could turn something as small as "Oh, my Lord…I really wanna see you" into such an amazing creation still blows my mind. I'd also really like to work with Ethan Johns- his production work on countless albums is incredibly impressive, and most of what he works on turns out to be some of my favorite albums.

D.J. Flash Jordan: Oftentimes many artists get nervous when they perform their music for a live audience. Would you fit into this category and if so how do you overcome "stage fright"?

James Ethan Clark: Honestly, I have no idea. I get nervous all of the time, but I like that I get nervous. It makes me remember that I'm human and that nobody is perfect. I think in a way, it keeps me grounded and in check. One thing I've done is to just psych myself out, get in a zone and just do it. Holding a guitar really does help though!

D.J. Flash Jordan: Has your music been featured in any musical scores or television shows?

James Ethan Clark: Not directly. I did however pretend to play guitar for Jana Kramer on "One Tree Hill" a couple of years ago- it was filmed in my hometown and I got cast to be "lead guitarist". It was fun.

D.J. Flash Jordan: Were you formally trained in music or did you just pick up your instrument one day and began playing after intense practice?

James Ethan Clark: I took about 3 years of formal piano lessons, and it just did not stick. I hated sitting there with a woman looking over my shoulder saying "Aat! No!" when I would hit a wrong key, so I gave up on it. The only thing I learned from piano lessons was the standard C Chord. Several years later, I asked my father if I could mess with his old '86 Alvarez. It was way out of tune and really needed to be set up, but he showed me how to play the only 3 chords he knew to Poison's "Every Rose Has It's Thorn". I then began to learn more and more, and after about 6 months, my folks got me a new guitar. After that, I figured I'd take another crack at the piano, so then I taught myself how to play that.

D.J. Flash Jordan: How long does it usually take you to write and complete a song?

James Ethan Clark: Honestly? Anywhere from 5 minutes to 5 years. It truly depends on the inspiration behind the song- why I'm writing it. There are some songs I wrote 3, 4 years ago that I'm still working on today. On the other hand, there are songs where I've been hit by something random and I just write it really fast, then it's done!

D.J. Flash Jordan: I see that your sound is acoustic. How do you feel about the use of electronic instruments or computers in your recording process?

James Ethan Clark: I really dig it. There's actually a lot of electric guitar on my record, and my pedalboard has about 8 pedals on it, but I'd love to get involved in the electronic world. I look at artists like Deadmau5 or Avicii and I get so amped up that I just want to get up and dance, which I think is what they are aiming for. I just don't know where to start! But I would really love to find out.

D.J. Flash Jordan: Is there anything else that you would like to add?

James Ethan Clark: Sure!, In July of this this year I awarded the Carolina Music Award for "Best Rock Male, 2013", and in November of this year, the International Music and Entertainment Award for "Rock Male Vocalist of the Year, 2013" and also an official Pandora station. You can find me on iTunes, Amazon (physical and digital), Spotify, ReverbNation and every other social media site you can think of. - D.J. Flash Jordan

James Ethan Clark is a singer-songwriter hailing from North Carolina. He draws inspiration from an eclectic melting pot of genres ranging from progressive rock, folk, soul. He has won the Carolina Music Awards of the "best rock Male" category this year.

He has released his debut album "Southern Hotel" in April 2, 2013. "“Southern Hotel,” an intrepid collection of songs about a young man’s coming of age in a bleak, southern landscape." - Mike Blair, M.F.A., VCFA.

Lovers of good old rock music gonna love the sound of James Ethan Clark. It's been a while since I've listen to great blues/rock songs like this. The first thing we can say about James Ethan Clark is that he is an amazing guitar player!!! The guitar solo in "Forbidden Fruit", one of my favorite song of this album, is just awesome. "Southern Hotel" offers great 10 songs going from folk to rock music with sometimes some touch of blues.

The first single of "Southern Hotel" is "God Knows When". The official music video has premiered on CultureMass last week.

The 2nd single of "Southern Hotel" is a cover of "It Couldn't Be Ann" from the 90's movie Bandwagon.

The music of James Ethan Clark is soulful and deep. A great voice with It's a great debut album. I can't wait to discover what will come next. - The Indie Discovery

We sat down with rising indie artist, James Ethan Clark, to discuss his thoughts on what it means to be indie and how to thrive in today’s musical climate.

Q: What does the term ‘independent’ mean to you?

Independent to me is more than the fact that I am not represented by a major label. It's something that I'm proud to be classified as. I'm hustling everything possible for me and my music to get into people's heads and ears. 


Q: What inspires you?

A lot of things inspire me. Other music, film, art, food, people. I get most of my inspiration from my surroundings honestly. I can think of times in my travels where I will find a small café and just people-watch, or meet people and hear their stories.


Q: How have the shifts in the industry, (the disintegration of most major labels, the rise of social media, music being exchanged freely, etc…) affected you as a musician? Do you feel it’s all been positive?

It personally hasn't affected me. My wallet is another story! Of course as an independent artist, selling a physical CD or Vinyl gets me more immediate money, but in the end it truly can't be about that. None of us started in this industry to make money. We started because we saw some artist play some show and thought to ourselves, "I'd love to do that!" But I have seen the difference in friends and colleagues who are on indie labels and major labels and it obviously helps with tour booking, distribution, etc.


Q: Do you think that being a musician and being an entrepreneur are interchangeable these days? If yes, what do you feel are the benefits and drawbacks of that?

I think they can be for an independent musician. As an artist, I'd much rather know what's going on behind the scenes rather than just handing it over to someone. 


Q: What has been the greatest tool (apart from playing live) that you’ve been able to use to build your audience?

Social media, for sure. It's amazing how much you can accomplish given the proper social media tools such as Twitter, ReverbNation, Facebook, etc. I've been able to get my music to so many people who would have never heard about me had it not been for utilizing those social platforms.


Q: We like mental snapshots of different scenes around the world. Can you give us your perspective on Wilmington, NC as a musical city? Or on any other city you’ve lived in?

Wilmington is a bright, beautiful beach community of arts and entertainment. We are lucky enough to have local involvement, such as a booming local record store (Gravity Records), as well as an A&E Magazine highlighting the goings on about town, and local spear headers to help with events and festivals. All in all, it's a great place to start it off.

Q: A lot of artists are willing to give their music away for free in exchange for exposure. But some musicians feel that this is what’s killing the industry and causing musicians to give up on the dream. What do you think? Do you believe that music should be free? If yes, in what context? If no, why not?

Everyone has their own opinions, and they are certainly entitled to those opinions. For me, as mentioned before, it would help if people would buy an album in a show of support for a musician they had heard about and liked. I personally don't have a problem giving away my tunes in a limited capacity. If it gets in people’s ears and they like it, then they'll (hopefully) buy it. If they don't like it, then they don't. Where's the harm there?


Q: When you look back on your life, what kind of career do you hope to have had?

One that I can look back on and smile about. I think any chance that someone gives you is something to smile about. Although a Grammy or three wouldn't hurt, that's for sure!

Q: How do you define success?

I think success is defined within. To be honest, I don't know how to define success for myself. I think when I've reached "success", I will know.


James Ethan Clark recently won the ‘Best Rock Male’ Carolina Music Award. His album was released in April 2013 and he plans to continue touring throughout the year.

Official Website:

www.JamesEthanClark.com - Indiemag

Songwriter James Ethan Clark, from North Carolina, recorded his debut album “Southern Hotel” in Nashville with the assistance of seven talented musicians. The album was released in 2013 and is described as “an intrepid collection of songs about a young man’s coming of age in a bleak, southern landscape”. Enjoy our interview with Clark below as he speaks of his background, musical influences, and the writing process behind “Southern Hotel”; be sure to check out his first full-length offering on iTunes today.

Could you give us some insight into your musical background?

“I’m from North Carolina. I was born and raised in Wilmington; I’ve always been lucky enough to breathe the saltwater air. My family is a huge component of my life and I have an amazing relationship with them. My Grandmother passed away in 2003; she was a choir director for over 20 years and was also in a gospel trio in the 70′s called “The Kindred Trio”. She is quite possibly the reason I love music as much as I do. I’ve been singing for as long as I can remember, and I believe the first capture of a “performance” was me singing a Vince Gill song in front of a Christmas Tree in 1994. In 2006 I asked my dad to show me chords on the guitar, and after learning three chords, I taught myself. About a year later, I sat down at a piano and did the same thing.”

Who are your biggest musical influences? Have they changed over the years?

“Again, it comes back to my grandmother. She was and still is my biggest influence. As far as major label artists go…let’s have a story. (When I was) 12 years old, Alicia Keys was just surfacing, and I immediately fell in love. A few years later, you couldn’t stop me from watching MTV and singing Top 40 songs all day, every day. Once I finally learned how to play an instrument, that all changed. I started reading into who was responsible for making rock and roll what it is today ,and it started to change my mindset about where my career as an artist was going. Today I look to Tom Petty, Neil Young, Jeff Buckley, Ryan Adams, Jackson Browne and a lot of the guys that influenced indie rock in the late 80′s/early 90′s.”

Could you give us an inside look into the writing and recording process behind your latest album, “Southern Hotel”?

“In December of 2010 I opened for The David Mayfield Parade here in Wilmington. I covered ‘Oh My Sweet Carolina’ by Ryan Adams, and David and his band ended up joining me on stage and finishing the song with me. Turns out, his pedal steel player was a fan. We kept in touch and then reconnected in New York City at one of Adams’ shows. I called him in March of 2012 and told him I needed to make the record happen and I wanted his help. He told me he’d call me in a month with the band, the studio, and everything else I needed. He did just that! Fast forward to May of that year: I show up in Nashville with 10 songs to rehearse and we cut a live record in 5 days. There was a lot of coffee, pizza, Red Bull and triple-distilled involved, but we got it done. It was an amazing experience to take nothing and make it something to be proud of; I wouldn’t have had it any other way.”

How has the music scene of your hometown in North Carolina influenced you? What are the differences between it and Nashville?

“I don’t think either town has specifically influenced me. I’ve had the great honor of being able to travel a lot in my short life and every place I go and every person I meet influences me. I’ve learned that you have to soak in everything around you at all times, and that in turn forms your creative lifestyle. I remember one of the songs from “Southern Hotel” (‘So I Can See’) was written on a lonely day in SoHo at Café Café. I was eating a late lunch and having an espresso when (the song) hit me. That’s the beautiful thing about music and art: it finds you at the most unexpected moments.”

What has been your most exciting or memorable live performances?

“My favorite show I’ve played has to be my release show. I had two good friends who also have bands open for me, and I played with a 7 piece band. We were tight, and nobody had heard the new music, yet all of the people I love were there. It was one of the best nights of my life.”

What does the rest of 2013 hold in store for James Ethan Clark?

“We have played a lot of shows here on the East Coast; two weeks ago we released the official video for ‘God Knows When’, and we are planning a tour and have been in the works of getting “Southern Hotel” to SiriusXM and Pandora. Luckily enough, I got accepted to Pandora several months ago and now my station is live (hint hint). The rest of this year will consist of traveling, playing shows, and working to get the record played as much as possible and getting it in as many hands and ears that we can.” - Tom Lohrmann, Administrator

James Ethan Clark and The Renegades rocked the Brooklyn Arts Center on Friday, April 5, with help from Sean Thomas Gerard and Mike Blair and the Stonewalls. In support of his just released LP, Southern Hotel, Clark and his friends kept the energy-level sky-high all through the night. The crowd was loyal and loud and rocked like crazy until the last note was played. “I have to work at six in the morning,” Tim Nasman, a huge fan, said, “but this is totally worth it.”

Sean Thomas Gerard from popular local roots rockers Onward, Soldier, played solo for this gig. Gerard showcased his original music with the accompaniment of his keyboard, providing beats behind his powerful electric guitar. His lyrics gave insight to his struggle with being a musician contrasted with his attempt to put a positive spin on his life. In the song Everlasting, ambient airwaves swept beneath Gerard’s powerful riffs and rollercoaster vocals, creating a perfect marriage between tune and tone. “Sometimes it’s tough,” Gerard said. “But I love it.”

Mike Blair and The Stonewalls followed Gerard and captivated the crowd, as usual, with their folk-rock magic, melodic progressions, and pitch-perfect vocals. “When I write a song, there’s no particular rhyme or reason,” Blair said, after the show. “I just follow my heart and write how it feels.” Blair and The Stonewalls electrified the BAC with their soulful harmonies and energetic riffs. Hits like Daisy, Another Town, and Kiss Me highlighted blistering solos. The band closed their set with Our Time, a ballad about surrounding yourself with the people you love and wanting to live in the moment. At the end of the anthem-like, power ballad, Blair looked up from the mic and into the crowd and said, “See you on the other side.”

Headliner James Ethan Clark ended the evening rocking the room with The Renegades. He played his debut album all the way through, beginning with Destination, a kick-ass starter, featuring intense licks and vocals. The setlist showcased sentimental ballads, and high-powered jams, including the barnburner God Knows When, which gave his fans a taste of what is yet to come from this star on the rise. Clark dazzled the crowd with his range in Forbidden Fruit, while Flowers Die At Night opened quietly, only to bloom into a seven-minute cluster of beautiful and intertwining melodies. The young musician had a smile on his face during every song. He danced and ran across the stage as his dreams unfolded in the music. He ended the night with the autobiographical Seattleville and It Couldn’t Be Ann. But, before the band could even get off the stage, the crowd screamed for an encore, and Clark and The Renegades came back for a splendid cover of The Allman Brothers’ Melissa. After the show, the singer/songwriter spoke to fans and signed autographs. “It was special to play a gig like this in Wilmington,” Clark said. “This town has been nothing but good to me.” - Chris Pendergast, Brooklyn Arts Center

Last month, James Ethan Clark hosted his CD release party at Brooklyn Arts Center in support of his debut album Southern Hotel. After well-known local openers Sean Thomas Gerard and Mike Blair & The Stonewalls, Clark played his new record in its entirety from start to finish.

We’ve seen James Ethan Clark play numerous times in town, including many times at solo acoustic shows. With a band backing him up, it’s a whole different experience. Not The Renegades we’ve seen before, but a new line-up featuring a couple members of the Stonewalls. In fact, Stonewalls’ guitarist Michael Graham nearly stole the show playing amazing guitar riffs and emanating pure joy as he played. The Stonewalls’ Keith Butler, Jr. and Tripp Cox of Onward, Soldiers formed the rhythm section, on drums and bass respectively. The set also included guest appearances by a violinist and pedal steel guitar player.

While Southern Hotel consists of several mellow tunes, it also includes some raucous americana-influenced rockers and the crowd at the Brooklyn Arts Center went wild during these songs in particular. “Destination” and “Anna Mae” filled the venue with raw rock energy and it was easy to see this impact the crowd. Speaking of the crowd, it was like a who’s who of the Wilmington area music community with Rio Bravo, Justin Lacy, and Graham Wilson among the crowd, just to name a few.

Pick up a copy of Southern Hotel at Gravity Records and then head out to catch the energy of James Ethan Clark and The Renegades live in person. - Karmic Fury Records

Former American Idol contestant James Ethan Clark must’ve had something to prove with Southern Hotel, because the album is a genuine and soulful Blues/Rock record that feels like the opposite of everything American Idol stands for. Clark’s voice is raw and emotive. His guitar screams and shudders on tracks like “God Knows When” and “Anna Mae”, creating an atmosphere that most primetime audiences wouldn’t be able to handle. And, perhaps most importantly, he’s an artist who is earnest and full of integrity.

The opening notes of “Destination”, the blunt and aggressive album-over, recall the opening of Neil Young’s Dead Man soundtrack. It’s a lonesome sound that a distorted guitar makes so well, and Clark knows just how to play it. The lyrics constantly ask for God, be it His forgiveness or His peace, and Clark’s heartfelt vocals make the sometimes-cliched lyrics feel immediate and honest. Maybe it’s because the lyrics are playing these cliches against themselves. After all, it’s an album called Southern Hotel, and most of the songs center on a feeling of comfortable stagnation.

It’s a southern thing, some might say, the feeling that our regional comfort is also responsible for our regional arrested development. Ambition is often dampened by lack of desire, and Southern Hotel feels like an album produced by an ambitious artist who has found himself stuck in a loop of contentment.

The first single, “God Knows When,” is about this very issue.

You ain’t seen the Moon in God knows when.

We’ve got this big ‘ole world to see. It’s ours for the takin’.

Clark senses the stagnation and is desperately trying to break free from it, but it’s also a world he’s fallen in love with. The playful, and sometimes heartfelt, dichotomy in the center of the album is what brings it its best moments. “Coalmine,” one of the standout songs of the album, is perhaps the best marriage of music and lyrics in Clark’s arsenal. The guitar picks lazily over lyrics recounting a doomed love affair, but the percussion track slams in and out like waves on an ocean, making the whole story feel like time slipping away.

Halfway through the song, a harmonica comes in, bringing all of the nostalgia of the past along with it. Clark’s vocals are at their most bare, here, and at their best. The fact that “Coalmine” sits in the very center of the record is indicative of what Clark is attempting to do with the album. The most raw, emotional, and tender song rests between “God Knows When” and “Stories”, two songs that remind the listener that Clark is still young and naive, and that there’s an entire world he’s yet to see.

The careful attention to melody and rhythm is essential to any Blues album, and Clark doesn’t disappoint with Southern Hotel. And while the production may be more polished and layered than I’d prefer from my Southern Blues/Rock, there are still moments of crackling joy and thunderous fury.

Clark is a major vocal and guitar talent who has a very firm grasp on his chosen genre. While Southern Hotel may find itself stuck inside the lyrical cliches of lesser Blues albums, his showmanship makes up for his shortcomings. - Cameron Cook, CultureMass, Editor-In-Chief

Long live bluesy and soul-filled classic rock. Volumes have been written about artists like
Jimi Hendrix, Janis Joplin and Free that helped define this important sub-genre intersection and their influence impacting future generations. Listening to James Ethan Clark's debut full-length album, Southern Hotel, this mix of earlier influences meeting Third Eye Blind and Kings of Leon comes to mind. 20-something "farmer boy" restlessness looking for sense of purpose, attempting to find that perfect diamond girl futilely in the old "Coalmine", being a proclaimed sinner seeking a deeper connection who "ain't seen the light" in "God Knows When" and desperation to escape to a better "Destination" prove central themes throughout the record.
James' ability to tell three-five minute intricate sad "Stories" that draw the listener in to invest further to hear how this all ends, doesn't go unnoticed. Album highlights harmonica-featuring "Coalmine", "Flowers Die at Night" and "Forbidden Fruit" display his guitar dexterity and cohesively paint vivid portraits of powerful women like "Anna Mae" with "ocean eyes", who without thinking "paralyze minds". With rooms full of failing at life, love and successfully chasing dreams, this is a Southern Hotel you'll want to visit over and over again. - musicemissions

Artist-on-the-rise James Ethan Clark internationally released his freshman LP entitled “Southern Hotel” on Apr. 2. The young alternative folk-rock solo artist uses his soulful voice, guitar, piano and harmonica on the ten song debut album to prove that his new sound is play-worthy.

The self-narrative of Clark’s life as a young man, many of his songs tell a tale of a brokenhearted boy coming into his own as strong-willed man.

Hailing from North Carolina, Clark recorded the album, his first full-length recording, in Nashville with the help of a few guest artists.

The album’s first track, “Destination” slowly progresses from a single guitar riff to a full band, leading in with the image-provoking lyrics “Standing on the side of the road/You don’t know where home is/Waiting for that train to come.” The song then describes the beginning of a journey with “Destination: Nowhere.”

Four tracks in, danceable single “God Knows When” shows Clark’s country-western side, as well as his impressive vocal range.

The slower, quiet tunes such as “Stories” and “Flowers Die At Night,” soothing in nature, give listeners an opportunity to appreciate Clark’s well-crafted lyrical content.

Throughout the album, a bluesy tone compliments the depth of Clark’s dark storytelling lyrics.

Clark’s webpage describes the ten-track product as an “intrepid collection of songs about a young man’s coming of age in a bleak, southern landscape.”

Clark draws influence from gospel music, which he was introduced to by his grandmother, mixed with his contemporary folk-rock sound that gives him a distinct soothing, yet alternative sound.

As a musician, Clark admires artists such as Radiohead, Bon Iver, Damien Rice, Augustana, and Kings of Leon.

The first single off of “Southern Hotel” entitled “God Knows When” was released for free download on Mar. 13. This track is available through Clark’s page on reverbnation.com, along with a free download of Clark’s cover of the Oasis original “Wonderwall.”

His single “The Vines of My Heart” can be streamed on Spotify for free and purchased on iTunes for $.99. A free mobile application to stream Clark’s music and keep updated on news and pictures can also be downloaded through iTunes at no charge. Although currently unsigned, Clark’s positive attitude towards the music industry, his charming good looks, and unique musical style can only help him in pursuing his dreams.

Currently a solo artist, Clark eventually hopes to assemble a band of like-minded musicians with which to tour and share his music.

Coming into his own as a musician, Clark’s album leaves some room for improvement technically, a few holes of silence and glitches in the trickier guitar parts hiding throughout the near-hour of music. However, listeners will recognize when hearing Clark’s songs that passion is certainly the driving force behind his music.

The revelation of this debut album displays clear evidence of great potential in Clark and his music. “Southern Hotel” will surely put Clark on the map, and open doors for growth and flourishing in the future of his musical career.

For more information, visit www.jamesethanclark.com. - Lauren Halligan, Features Editor, The Saint Rose Chronicle

"This album is my heart on my sleeve for anyone to hear," James Ethan Clark said of his new release, "Southern Hotel."

Facts
Who: James Ethan Clark, with Mike Blair & The Stonewall and Sean Thomas Gerard
When: 7 p.m. (doors) Friday, April 5
Where: Brooklyn Arts Center, 516 N. Fourth Street, Wilmington
Tickets: $5, $8 for those under 21
Details: www.JamesEthanClark.com or BrooklynArtsNC.com
The Wilmington performer and former "American Idol" contestant recorded the album in Nashville last year. It boasts a '70s sensibility, ranging from warm-hearted alt-country to songs that dig deep into rock ‘n' roll.

"Southern Hotel" was released April 2. On Friday, Clark performs with Sean Thomas Gerard and Mike Blair & The Stonewalls at the Brooklyn Arts Center for his album release party.

"For so long people had their ideas about me. Most people thought I was just some kid that played music and wanted fame," Clark said. "They didn't know my heart."

"Southern Hotel" focuses on living and loving and the pains of growing up and learning. It paints a story of a life both fun and difficult, with songs that are emotionally relatable. "Stories" cuts the deepest, a heartfelt, country stroll of a tune wrapped in wistful pedal steel. Clark calls it the closest to his heart.

"The moon was my sun," he sings. "I'd wake up at three in the afternoon and then I'd have my fun." It's about duality – trying to live right while spending time with scarred, perhaps broken people, going to sleep with the sun coming up and nights around people drinking to feel no pain. At the heart are those memories, enhanced by the pedal steel driving the scenery home.

"(It's) an instrument I've loved for years," Clark said. "I do not think there is a more beautiful sound than those swells that thing makes. It brings chills to my bones."

The album oscillates from tender folk rock to scorchers that recall the crush of Crazy Horse. The result feels like Saturday night and Sunday afternoon, the highs and the lows punctuated with immediacy by recording them live in the studio with scant overdubs.

"We wanted to do it old-school," Clark said. "We wanted the feel of connection and true, real vibes. We did not enter the studio trying to emulate any certain sound … I've always made it a point to sound like ‘me.'?"

Clark takes poetic, introspective songs like "Seattleville" or "Flowers Die at Night" and creates something intimate. On bar burners like "God Knows When" Clark has fun turning up the heat. It's a gritty hip-shaker tailor-made for playing live.

"Anna Mae" is a song dedicated to his grandmother, who Clark calls his biggest influence, musically and personally. An Avon lady during the day and choir director at night for 23 years, she performed in a gospel group called The Kindred Trio. He has the group's two recordings on vinyl.

"I still listen to them and weep. Her voice was so beautiful," Clark said. "When I sing ‘Your back is broken and your knees are bruised,' it's because I can remember her on her hands and knees, in prayer every single night before she slept. I may not be the best example, but through me and my family, her life endures. I've made this record, not to prove myself or make money, but to make her proud." - Brian Tucker, StarNews Correspondent, Wilmington Star News

James Ethan Clark is tough. A determined young musician from North Carolina who never gave up, Clark started out writing his own music at home, then playing locally. Eventually, he tried out for, and won a spot, on American Idol's 10th season. Although he returned to North Carolina, that hardly slowed him down. Clark's hard work has paid off, with his first album, "Southern Hotel", set to debut April 2nd. Here, I talk to Clark about his upbringing, his upcoming album, his American Idol experience and more.

1) Congratulations on your debut album coming out in April! When did you decide to pursue your dream of being a musician? Or was it something that you've always known you wanted to do?

JEC: That's a common question. I grew up in a home surrounded by music; guitars, tapes, cd 's, albums, etc., I think the first known performance in my family is a VHS tape of me shyly singing to my mother. My grandmother, who was a Church Choir Director for 20+ years, had a piano in her home. I can remember times when I would visit and she would be playing her piano and singing late into the evening. She was also in a family Gospel group called "The Kindred Trio", toured with that group and even appeared in the television show, "The 700 Club." So, I guess it is easy to say that music has been in my heart…. or rather my soul, my entire life. I did take piano lessons as a child for a few years, but never really gained anything from it. It wasn't until I was about 15 years old that I finally picked up my father's old Alvarez acoustic guitar and asked him if he could show me how to play it. He taught me three chords. It was tough at first, but lo and behold, I picked it up. Within a year I had taught myself to play the guitar and also taught myself to play the piano. Shortly after that, I began to write my own stuff.

2) Who were your biggest musical influences growing up?

JEC: It's hard to really say. As a kid, I listened to what my parents were listening to at the time, which was "Modern Country" of the 90s (Vince Gill, Trisha Yearwood, etc…). They also listened to old gospel music and contemporary Christian music. As I grew older and started to sing more and really find a passion for it, I began branching off to listening to modern pop, Top 40 kind of stuff. It was all I knew. However, with the Internet, I found that there was more music out there other than my folks record collections and the radio. I started discovering bands and artists I'd never heard of before. In my teens, I leaned towards the huge " emo rock" and "screamo" fad, only because it was "cool". I will say however, trying to jam out and hit those notes some of those guys hit vocally may have helped out my vocal chords! After that short stent, I discovered satellite radio. Mind-blown. Bands such as Death Cab, Kings of Leon and Singer-Songwriters like Damien Rice and Ray LaMontagne were all of a sudden in my repertoire. In 2009, I moved back to my hometown. After being back for just two weeks, an old friend, Sandy Bell (of Bradford and Bell that had the hit song "Mr. Johnny Dollars"), introduced me to the harmonica. Around that same time period, another friend introduced me to Alt-Country- more importantly, Ryan Adams. This changed everything. His style and the people who were "like" him were thrown into the mix, and I had finally found where "I fit in": Americana. So, I guess after that, you'd say, "The rest is history".

3) How did you get your start in the music industry?

JEC: Playing small shows at local cafés and wine bars. My first show happened in Elizabeth City, NC at (now defunct) "City Wine Sellar", owned by Debbie Malenfant. I had a few friends in the art community that helped me out a tremendously by putting me on mix tapes and setting me up opening for other musicians. Then I started to travel and began to play out of town. Those experiences helped more than you could imagine.

4) You've tried out for American Idol and had wonderful success in your second attempt. What was your experience on the show like?

JEC: Actually it was a three-year journey. It was a wonderful and insightful experience. The people I met, contestants and crew alike, were some of the most incredible people I've ever met. To this day I still am good friends with a few people from Idol. Did it teach me more than I thought it would? Absolutely.

5) Your debut album is described as your coming of age. What was your childhood like in North Carolina? How did your experiences shape you into the man you are today?

JEC: My childhood was idyllic. My Dad worked a full-time job for a Consumer Packaged Goods Company, and my Mother taught high-school level children with learning disabilities. My family was very close. My Grandmother and Grandfather visited us a lot. My Grandfather on my Dad's side died when I was 7 months old, so I didn't get the chance to know him like I wish I could. I always loved going to "Grandma Clark's House", since we didn't get to see her as much as we'd liked to. I have a brother who is 8 years older than I am, so of course, I got picked on a lot as a kid. These days, I'm taller and bigger than he is, so I could definitely take him. Bottom line, every family has their ups and their downs, but at the root, there's love. Living in the South has taught me to appreciate the beauty of the trees, the animals, and even the seasons. My upbringing still has me (to this day) saying "yes ma'am/no ma'am" or "yes sir/no sir", in fear of getting popped on the bottom by my folks. It taught me to be respectful of everything in life, and to always try to find the good in people. It also taught me that Texas Pete is the best hot sauce in the World, hands down.

6) The tracks "Flowers Die at Night" and "Stories" are definitely favorites of mine and we all can certainly relate to holding onto to love or being influenced by poor choices in friendship. Did you find writing and recording the songs therapeutic?

JEC: Writing those songs were strange. When I finished writing "Flowers", I didn't really understand why I wrote it. I'd been heartbroken, but I guess I just hadn't gotten to where I was quite over or past it. I didn't realize my sub-conscience was still holding on. It wasn't until a later breakup that it made sense. "Stories" is the same story. I sing in the first few lines about partying and I was still doing those things. Some nights I'll still hang out too late but that's a part of aging. However, I do come to a lighter note at the end of "Stories" more so than "Flowers", but I can see the comparison of the two. Recording them, though, was more of a relief. I had those two songs in particular in my head about being a "big production" with strings and pedal steel and a choir and huge drums. Turns out, I got all of those things between the two. I'd finally gotten them off of my heart and onto tape, and that felt good.

7) I know recording "Southern Hotel" in Nashville was a personal choice, rather then recording the record in your hometown. What was the process like for your first album? Did you find the experience fun, a little intimating? Or both?

JEC: I was afraid at first. I mean, c' mon , it's the music capital of the world! I felt out of my league. I felt like the studio, as beautiful as it was, was out of my league. But after that first day, spending time with Josh Keith (owner, recording and mixing engineer - Prime Recording) and the guys - Wes Langlois, Joe Giotta , and Chris Miller as well as appearances by Kristin Weber, Joel Heumann, Mackenzie Elliot, and Ricky Braddy, I now have a home in South Nashville. It inspired me to step up.

8) What's coming up next in the pipeline for you? Any plans for an upcoming tour?

JEC: Hopefully. I know touring is in the very near future though.

9) Where do you see yourself in the future?

JEC: I want to keep making music and playing shows. Playing music and sharing my heart with people makes me happiest. I don't think I could see myself anywhere else. Although, Late Night with Jimmy Fallon might not be too bad…

10) What advice would you give to anyone out there trying to break out into the music industry?

JEC: Keep trying. I know it's cliché, but it's true. If you love this enough and want it enough, do not give up under any circumstances. With every performance, practice and appearance, give it 250% every time. And don't get down on yourself, trust me from experience. It sucks. You're better than being low about your life. And keep your family, friends and the people you love as a priority. That's important too. Lastly, don't take things so heavy man; keep joy and laughter in the mix. It's good for you, ya know?

James Ethan Clark's debut album "Southern Hotel", will be released on April 2nd, on Amazon and iTunes . For more information on James Ethan Clark, visit JamesEthanClark.com - Kathryn Reedell, Yahoo! Voices

When one’s grandmother was a gospel touring and recording artist throughout the 1970s, music becomes instilled in the blood of family. The matriarch of the Clark family, on the maternal side, was a member of The Kindred Trio and a church-choir director for two decades. Her grandson, James Ethan Clark, didn’t have a fighting chance against his muse.

Growing up between Wilmington and Elizabeth City, North Carolina, Clark picked up his dad’s Alvarez acoustic guitar at about 15. His father passed down three chords, and seemingly it was enough to light the fire. Within a year, Clark fully taught himself guitar and piano.

As a child he was influenced by ‘90s country artists like Vince Gill and Trisha Yearwood and, of course, his grandmother’s gospel. Adolescence led him to emo rock and screamo—and then he discovered Americana.

Musicians like Ryan Adams, Neil Young, Ray LaMontange, Bon Iver—they all played a part in the formation of Clark’s haunting Southern rock. Bands such as Death Cab for Cutie, Wilco, and Kings of Leon provided a bit of edge to his musicality, too.

In 2009 Clark experimented with a harmonica and the small but influential instrument solidified his soulful tinge. With his Gretsch guitar and a band of fellow musicians, Clark commands the blues and hard rock as his warm and rich vocals serenade with meaning. The occasional inclusion of dissonance brings his tunes to the brink, providing a sting that remains long after the album is through.

Every song is written by the heart on his sleeve. Clark’s goal is to invite people in and to ensure the music is relatable and comforting. Perhaps such expression—or perhaps the music in his blood—is what landed him a ticket to Hollywood.

In 2011, Clark earned a gig on season 10 of “American Idol.” Though he lost out to another North Carolina native, country crooner Scotty McCreery, Clark represented Elizabeth City—and his other musical home, Wilmington, as he’s played here many times with his band The Renegades—with Southern prowess.

On April 5th, Clark will celebrate the release of his first full-length album, “Southern Hotel”—recorded in Nashville—at Brooklyn Arts Center. He’ll be joined by openers Mike Blair and the Stonewalls and Sean Thomas Gerard. At $5 to $8 a pop, the show should be a cheap treat and a great showcase of our local pool of musical talent. encore sat down with Clark to discuss his process, his band, and more.

encore (e): Can you compare the music scenes of Wilmington and Elizabeth City?
James Ethan Clark (JEC): There really isn’t a comparison. In Wilmington, there is live music somewhere every night and something to do somewhere every night. Plus, Wilmington has been known to attract more artists as a stopping point to perform, whereas the Hampton Roads area of VA would be the next stop headed up the coast instead of Elizabeth City. In that respect, it was almost nonexistent for me as a new artist to jump on a bill with a larger band.

e: Friends and lovers can symbolically hold mirrors up to us, showing us our flaws and good traits, too. Your single “God Knows When” seems to harp on this idea. What people/influences in your life have pushed you to question your own limits?
JEC: Agreed. People’s interactions with our lives truly do show us who we are. I think from time to time we all have certain insecurities, whether it be from a relationship gone south, loss of employment, or just the day-to-day stress and struggles of modern life. I’m not too sure if that’s where my mind was when I wrote “God Knows When,” but sometimes, you can see something in passing, read something, or even hear someone’s story and immediately throw yourself into their shoes, and then the next thing you know, you have a song. As far as people or influences that have pushed me, I wouldn’t dare say that they’ve made me “question” my own limits, but rather give me motivation to know that the opportunities are only limited to one’s own drive.

e: Who makes up your band, The Renegades, and will they be performing with you at the Brooklyn Arts Center? Since this debut, will you just be going by James Ethan Clark—solo or with a band—from now on?
JEC: Think of “The Renegades” to James Ethan Clark as “Crazy Horse” to Neil Young, “The Heartbreakers” to Tom Petty, or even “The Cardinals” to Ryan Adams. “The Renegades” are a group of very talented musicians (and better yet, friends) that stretch between Nashville, TN and Wilmington, NC. My Nashville Renegades are Joe Giotta on percussion, Chris Miller on bass, and Wes Langlois on lead guitar and pedal steel. My current Wilmington lineup for The Renegades is Michael Graham on lead guitar and Keith Butler Jr. on percussion from Mike Blair and the Stonewalls, and my ex-guitar player from the first days of The Renegades, Mr. Tripp Cox on bass. For the release show on April 5th, I will be using my current Wilmington Renegades lineup, with maybe even a couple of surprises thrown in.

As I’m billed on my album, “Southern Hotel,” I’ll be moving forward as James Ethan Clark.

e: You cut the record in five days—impressive! Why do you think it went so quickly? Can you describe your recording process?
JEC: There were many facets to this recording process, first and foremost, I had some of the best musicians in Nashville working with me. Secondly, Prime Recording Studio was incredibly welcoming. The atmosphere of comfort and creativity that engineer and owner Joshua Keith extended helped calm the nerves that I felt coming to the “music capital of the world” to record my first album. We worked 12- to 14-hour days, slept very little, but kept each other going through it all. On working with Giotta, Langlois and Miller, they backed the recording 200 percent, and they enjoyed being a part of it. That made me very happy.

We tracked the record live and tracked each song until we got it right. After that, we’d patch up some of the rough spots, thanks to modern technology, and then move on to the next tune. Once we had the best takes down for every song, we would go back in and add just a few little “diamonds,” as Joshua Keith would call them. Once finished with all of the instrument tracks, it was then time for all of the vocals. This added a huge stress to my voice, and I’m still not sure how I was able to pull it all off, but we did it. I did have background vocal help on a few of the tracks from Belmont students Joel Heumann and Mackenzie Elliot, and also from old friend, Belmont alumni, and also former “Idol” contestant, Ricky Braddy.

e: How do you think recording in Nashville, rather than at home, affected the album?
JEC: It took me out of “my” norm. It put me in a new place to let my creativity really flourish in a city where having high ambitions is smiled upon. It also made me want to be better, as a singer and musician, working with [that] caliber of talent. It made me better, and in turn, I think, made the album truly what it is.

e: Until you win a Grammy, you’ll probably be asked about “American Idol” in nearly every interview. So I gotta know—how did it feel to be selected—any bit of validation for your hard work? What did the contest teach you?
JEC: It was a three-year journey. I progressed each year that I tried out and when I finally got that sought-after golden ticket, it was absolute euphoria. Over that three-year period, I met some incredible people, artists and industry alike. What did I learn from it? There are a whole lot of people that can sing much better than I can. It also taught me that dreams can materialize in an instant, or die just as quickly. Whichever of those two happen, it is ultimately up to me to decide what happens next.

e: Your MO seems to be “Don’t give up.” Have you ever felt like quitting? And what keeps you going?
JEC: Of course I’ve felt like quitting, who wouldn’t! I mean, if we’re looking at statistics here, only a very small amount of musicians make it in today’s world. What keeps me going is sincerely my love for what I do. There’s nothing that makes me happier than connecting with an audience on a personal level through songs that I’ve written. What keeps me going, as cliché as it sounds, is the fans. I love what I do and wouldn’t trade it for the world. - Bethany Turner, Encore Magazine

James Ethan Clark is determined to find the answers to his questions himself in his first, full-length recording, “Southern Hotel,” an intrepid collection of songs about a young man’s coming of age in a bleak, southern landscape. Clark has shared his time between Elizabeth City and Wilmington, North Carolina, becoming a fixture in each city’s prospective music scenes. He has performed as a singer/songwriter, as well as bandleader of the beginning stages of “James Ethan Clark and the Renegades,” but has truly come into his own with his new group of stellar, Nashville musicians: Joe Giotta on percussion, Wes Langlois playing lead guitar and pedal steel, Chris Miller on bass, Joel Heumann singing background vocals, Kristin Weber on Violin. Ricky Dale Braddy and Mackenzie Elliot contributed background vocals on “Stories.” These musicians back Clark’s songs with fierce arrangements akin to Neil Young’s Crazy Horse.

From the first notes of Clark’s fuzzy Gretsch guitar, the album swells to the opening “Destination,” a rock and roll prayer for those who “need some peace” in a world of “thieves and fallen angels.” He declares “Face the day with fire / and passion in your eyes and soul” because “they can’t tear you down.” Soft electric guitars start “So I Can See,” a lament of a singer watching “Everything I had / Everything I knew / Everyone of influence has faded into blue, blue, blue, blue.” Here, Clark isn’t sure of “what is real” in this life, but cries out for fulfillment by the sun and stars.

“Forbidden Fruit” reaches to Clark’s back-story of learning how to love a woman, but not having the sentiment returned. Clark’s love sees him, but doesn’t concern herself with him as a true partner. This confusion “somehow seemed to paralyze my mind,” Clark sings. The song is ripe with hazy guitar tones singularly mindful of southern rock idol, Ryan Adams. “God Knows When” is “Southern Hotel’s” barnburner. “I ain’t seen the light in God knows when, / I ain’t seen the day in God knows when” sings Clark, begging for clarity in his life as a musician. In “Coalmine,” Clark invites us in to hear the story of why we are all here. In one of the more poetic songs on the record, Clark reminisces about a bittersweet time of a love now lost: “I’m sure that woman has found her a man by now, / but I’m sure that man aint’ nothing but a boy on a cloud.”

However, quickly after such a dirge, Clark captures the morning after such a hellish night. The electric guitar is lite and the pedal steel delicately furnishes a perfect texture for hope. “I’d go to sleep when the sun came up, / the moon was my sun / I’d wake up at three in the afternoon, / Then I’d have my fun.” The drums hit in just right the time as Clark sings of an afternoon after church on Sunday. The song is eloquently captured with a melodically played pedal steel and twinkling electric guitar leads. The true gem is the choir of voices singing with him the final verse. “Anna Mae” turns the volume to eleven with rumbling, pacing drumbeats and more fuzzy, southern guitar work. The singer has found darkness, seen the light he needs to find and now, finds himself desiring to save what is left of another love’s life. “Oh, Anna, / Let me carry your burdens for you / oh, Anna Mae, you know if I could, I’d be there today.”

“Flowers Die at Night” returns to a singer, regretful for holding onto a bittersweet love. Clark returns to similar, soft tones as “Stories” as he tells of spending too much time on dark thoughts and poor choices for friends. In honest chorus, Clark sings, “Oh, its such a shame when you realize / You are alone / And, oh, I’ve lost track of time / I can’t see that clock through the cigarette smoke, / My smoke.” The pedal steel continues to soar, drawing the song closer to a hopeful realization.

“Seattleville” finds Clark telling a story of a man who worked on a farm he encountered who could “write any song that he heard in his head, / and the words would come out / like a beautiful woman resting on a bed.” Relying on the acoustic guitar, the song is a beautiful narrative for a major influence in Clark’s life. And I believe it is here where the album starts flourishing as he relates this story to a young man wanting more out of life than working on a farm. Other instrumentation is sparse except for playful brush strokes underneath the warm acoustic and a perfectly placed fiddle.

The last song on “Southern Hotel” is a cover from Greg Kendall, which was written for the film “Bandwagon.” Clark’s version stays true to the version played in the film, but Clark delivers his vocal having experience the song’s true moment of doubt and confusion. This is a fantastic way to close “Southern Hotel” because from Clark’s experiences he still holds out hope for his lost love, but there is a truth in his voice. He doesn’t have to run after her anymore, but knows it is good to follow your heart. Captured in Prime Recording in Nashville, TN, Clark intentionally relocate - Mike Blair, M.F.A., VCFA

Wilmington-based singer-songwriter James Ethan Clark is releasing a new album this spring called “Southern Hotel.” A local show celebrating the release is scheduled for April 5 at the Brooklyn Arts Center. The one-time “American Idol” hopeful and local performer has a strong album under his belt.

Recorded in Nashville last year, “Southern Hotel” sounds like a ’70s country rock album with one heel in the present. Its mix of alt-country and rock ‘n’ roll is like a convergence of Crazy Horse meets James Taylor or The Eagles.

Clark is his own man, his own singer, carrying a fragile hoarseness bathed in light and shadow. “Southern Hotel” is an album entrenched in both caustic and genteel rural sounds with deep-rooted themes of heartache and maturity. Some songs are soaked in cigarette smoke and drink; others are painted with tears and sweat. The album moves back and forth like a bad dream to comforting thoughts, oscillating between tender rock songs and those that heat up with raw, scorching sounds.

“So I Can See” brings both of these styles together, a song building from calm into being fraught with strain. “Stories” is a country flavored number, one that moves with ease like a country stroll. Clark, along with some pedal steel guitar, creates a mood like an early morning coming into view.

“Seattleville,” a singer and guitar only number, is a salt-of-the-earth poem about a dream, a guitar and a singer wanting to show “the world what he knew he was made to be.” “Flowers Die at Night” is a lengthy track, echoing the clam of “Stories,” but its music becomes an emotionally explosive presence that seems to be going for epic versus indulgence.

Clark seems to have fun with barn-burning songs like “God Knows When” (the album’s first single), one that shows his side for turning up the volume and getting hips shaking. The song is down and dirty, a cave rattler with wailing vocals, a song that should go over well in a live setting. The same vibe, albeit more driving, is found in the haunting “Destination” and even more distant on “Anna Mae.”

“Southern Hotel” is a solid album, not a bad track to be found. It also has an interesting cover, “It Couldn’t Be Ann,” from 1996’s “Bandwagon,” a movie made in Raleigh by filmmaker John Schultz (The Connells). - Brian Tucker