Excerpt from Clive's book about Clay: I met with Ruben and Clay together, along with the two other finalists that year, at my bungalow at the Beverly Hills Hotel. ... Clay, too, was much like the character he portrayed on the show, a very likable nerd who was shedding his awkwardness as styling and the confidence of his appeal to audiences started to shape who he was. ... Clay was the only one at the meeting who really spoke up with a definite point of view. He wanted to make sure that there was no off-color language in any of his material or any sexual innuendo. He didn't care what it took to have a hit. He did not want material that did not speak for his values or that made him feel uncomfortable in any way. ... while I understood that the American Idol audience was not exactly cutting-edge, one way of providing an artist with an identity separate from the show was to roughen the edges of their songs, as our experience with Kelly Clarkson proved. Clay made it clear that that could never be the strategy with him, which raised the bar of difficulty in that regard. Still, he had a large, rabid following that had already begun to dub themselves "Claymates" and "Claymaniacs," and they would provide a strong base. ... I invited Clay to my weekend home in Poundridge to hear the songs we'd selected [for MOAM] and to get his feedback. ... It went as smoothly as could be. Clay had not been the most expressive or open person in the world, but he made it clear that he liked all the songs. He said he was very apprehensive in approaching listening to the material, but honestly felt we really had done a good job. ... I do believe Clay could have made an even stronger showing [with MOAM] if we had not been hamstrung by the type of material he would be willing to record. He quoted me in Time as saying that I wanted him to put "some balls" on the album, and while I don't specifically recall putting it quite that way, it's close enough. I often sent back to the studio to rerecord his vocals in the effort to get something that was honest, strong, and deep, not mechanical. As so many of the Idol singers have done, when I pushed Clay to try something with a bit more edge, he pointed out that 12 million people had voted for him on Idol for doing just what he wanted to do, just for being who he was. Fair enough. But selling an album is not a popularity contest. There's a big difference between motivating someone to vote for you in a talent show and inspiring them to open up their wallets and buy your album. "This Is the Night" is a very strong song, but it was a souvenir of the show and he had to get beyond that for the album. When you're aspiring to become a career recording artist, the stakes automatically become different. ... People want to see you stretch and evolve. They definitely want to know if you have some edge. I explained to him that you can't be paralyzed by what the Idol audience expects of you. You're now competing against many other artists in a much different context, and if you allow the television audience to program your music, you will not be on the radio and you won't be on MTV. And then where are you? You have to be ahead of the curve. Clay, for his part, made it very clear that was not how he viewed himself. ... In his geek-to-chic transformation he very much viewed himself as the underdog who had triumphed. That was find and, I thought, accurate. But you can't pigeonhole yourself to do only sweet songs or love songs or uplifting songs. I didn't need really suggestive songs, but I did need songs with edge. ... Given all the issues in play working with Clay, it was decided his next project, scheduled for 2004, would be a holiday album. It was as safe a choice as could be and would not bruise anyone's sensibility or raise controversial issues. Indeed, Clay's album nuzzled close to the contemporary-Christian audience, a following that Clay encouraged without ultimately wanting to be limited to that niche category. ... More than merely a placeholder, the album sustained the aura of success surrounding Clay, which is precisely what it was meant to do. ... But to use a biblical reference that Clay would likely recognize, the writing was on the wall. The more Clay toured and gave interviews expounding his views, the less likely it was that he would ever be perceived as a Top 40 artist again. Despite still being in his twenties, he had become an adult contemporary artist, and our best bet would be to treat him as such. It's not a category that triggers explosive sales, but whatever we were going to get from him we would get on that basis. Top 40 radio was not even a consideration at that point. The album A Thousand Different Ways came out in 2006 ... The album sold more than 200,000 copies in its first week and was eventually certified gold. Clay was still successful but attrition had clearly set in, and by the time Clay began working on his 2008 album On My Way Here it was evident tht he personally was not at all interested in any further guidance. Clay wanted to oversee this album on his own ... The album, his last for RCA, sold fewer than 200,000 copies, and his next album, Tried and True, a 2010 release on Decca, sold fewer than half that. Of course, Clay has stayed active as a recording artist; he released an album on Verve on 2012 titled Steadfast, but by this time his audience had almost entirely disappeared. He has done television work, and he performed in the Broadway production of Monty Python's Spamalot., He is active in causes that are important to him, like antibullying, AIDS relief, gay rights, and various children's issues. Like many performers who enjoy early success before they are knowledgeable enough or emotionally ready for it, Clay still seems to be searching for what he truly wants to do.