The different once the chorus comes in, just for let us say the name.
H oh, I ain't grow up in the hood, but I'm good
damn. Try to walk in my shoes, not the good path. Steal
ball on a hougain and one from the father with a game understand some move
with the work, sort of like a tan dump. I'm about to take
the rat cap for ransom. Different meetings when we greet them and say hands
up, kills me it pancake. Charles Manson putin get a boy pen.
Don't you know that is she spinds. I'm just trying to touch the world.
Paper was my middle man. Ma'maa send no rid of limb. They
go not the way you think. I was trying to buy some hope.
Not in the track. People problems come up plate trying to get them in
a c pull tim. I was healing beats, pullamas in the set still
a dollar only. I was making sense, trying to get this money straight
just about commendess call it this dride like I'm chout. Can't count the times
I came from Coachhoulters hit me in the rocks a week and make bold to
my son gole put squares like PlayStation control of pols up. They pray that
I retired, but I got it like Trump when I spent five till the
wall to run the prophet. Call it how you want it. I'm gonna
treat them how they treat me. Start it from the bottom. Never said
it would be easy. And I remember when DMX used to come in in
those prayers church and hon we're gonna have to and this one with a prayer.
I hope y'all win me, Heavenly Father, I feel remorse for the
pain of costs on my grind. Stable lives in my hand. The boss
many times close my eyes. It ain't for the stars. Remember, it's
gonna take friction if you want to spark to see the church and when the
night starts. But ain't he a man who could like dark my God?
He helped bouncy park is trying to turn the bag and for a park and
swarp it man escaped and bounce Lordy and street to have mom. You're not
next to me. I read the gold hung and with the way in like
an eight can I myself every day? I dreaded nine b he drowned ro
five can't be h and read walking in the poetry, then walking in some
and Nazi face read nicety to an old feel too. If I know I
can't DestinE, read nicy u sap if I do, and feed by side
I rensteeping in by lone and street to hay month in nine next. Good
morning, everybody, welcome, here we go. It is that time again,
Matt Connerton unleashed and we are live from the studios of wm NH ninety
five point three FM, Inglorious, Manchester, New Hampshire, here on Canal
Street. Today is Saturday, June thirteen, twenty twenty four. We have
a very very busy show for you today. We opened, of course with
the brand new single from Hope the Rapper that what is called Heavenly Father.
Is we are in week five of our ten world radio premieres of new singles
from Hope the Rapper. Ten weeks of world radio premieres, and that is
the fifth one in the series. That is Heavenly Father by our friend Hope
the Rapper, really really great stuff. And the track that we heard after
that is called if I Can't Be with You and that is by mister Cameron
Suttfinn who is here with us on this this very humid Saturday morning. Welcome
Cameron. Yeah, thanks for having me. Great to have you here,
and I'm looking forward to hearing you play. You did bring your guitar.
And by the way, so congratulations are in order. I believe you're about
to get married. Yes, I'm getting married. So we're less than a
week so I'm getting married next Friday. Oh very good. Yeah, I
saw I saw your Facebook post. This is your last public performance before the
wedding. So I'm doing the Sanddown Summer Concert Series on Tuesday. Oh.
Fiance and I are both working right up until the wedding. Oh no kidding.
Yeah, yeah, good for you. Good for you. Well,
I'm dying to hear you play something if you want to. Yeah. Thanks.
Yeah. So this is this first track on the album. It was
put out last month and it's called John Henry. This was my attempt at
writing a John Henry song because being a Folks singer, I wanted one because
everyone else has one, all right. John Henry was a steel driving main.
John Henry was a steel driving main. He never worked for Call because
they tortured land. John Henry was a steel dripping Paine the mountains. I
be torn down the mountains. I be torn down faster than John Henry ever
slung his hand around the mountains. I be torn down. There's dirty water
in the streams. There's dirty water in the streams. Very good for man.
But the only car out machines. There's dirty water in the streams.
John Henry beat the steam drill with only a hamper in his hand. Bloody.
It'll take more than that to red coal from this lane. The air
in the mountains ain't clean. The air in the mountains aint clean. And
you can't beat us steam drill. If Camberine the AA in the mountains at
John Henry was a steel trapping Maine. John Henry was a steel driving main.
He never looked far because they told you then. John Henry was a
steel draving main. John Henry was a steam trapping main. Oh, I
love it. I love it. Cameron Sutfit is with us a live in
studio here, and uh, you sound great. Your voice is unique.
I can't think of I can't think of anyone who sounds quite like you.
You get compared to anybody that I'm maybe not thinking of sometimes Bob Dylan,
because I like I like Bob Dylan, and I also I'm a big Neil
Young fan, Okay, but I don't have a tie of voices Neil Young
does. Yeah, No, that's that's true. Yeah. Are those are
those guys big influences of yours? Oh? Yeah, yeah, I got
into I got into Bob Dylan when I was a teenager. So my first
Bob Dylan record, because I'm in my thirties, was Modern Times from the
two thousands, and then I had to go backwards. Oh okay, and
you know figure out that there was the Free Wheel and Bob Dylan, you
know, Blonde on Blonde and Nashville Skyline and all the other ones. Did
did going back and listening to those earlier releases did that kind of change?
Like? Did you? Did you appreciate those more? Because you know,
artists who've been around for you know, decades, like Bob Dylan, who've
had that kind of a career. You know, everybody always says, oh,
I like the earlier stuff better. But I'm curious if from your perspective,
because you you really discovered him late in his career, I'm curious if
if you feel that same way or I mean, I I like the early
stuff. It's you know, I think I think most everything Bob Dylan does
is genius. But I remember going I saw Bob Dylan many years ago with
my family in Amherst, Massachusetts, and I was sitting next to So I
went with my mom and my dad and my brother, and I was sitting
next to my mom and he started playing stuff from Modern Times on up to
Temptest, which was the latest record at that point, and my mom looks
at me goes, how do you know these songs because he's not doing anything
from the seventies. I think at the end he did Tangled Up in Blue,
and my mom was like, oh, okay, I know that one.
Yeah, yeah, I know. I've heard that he'll do that,
Like he'll kind he doesn't necessarily want to load up his set with a lot
of the earlier material, which is interesting because there were probably people, I
mean, they might not have shown it, but there were probably people in
that audience who were actually not pleased that he wasn't leaning more on the earlier
stuff, you know what I mean. There were behind us where the band
DAWs was opening for him, so there were some There was a couple guys
there who I thought were older. They were probably my age or mid twenties.
I was a teenager I was at the time, and they were there
for DAWs and for the modern times up so there was about about half and
half of the crowd, yes younger than half was was you know, wanted
the you know seventies eighties material, right right, that's interesting, And tell
us about this album. So you sent me. Now this is your debut
album, not your debut release, because you have an EP that you have
put out previously, but the song that we played at the top of the
show, and we're gonna play another one of course later. But these are
from your thirteen track full full length album. Yep. Yeah, yes,
yep, it's a ten track and yeah, okay, yep. I made
it in a Rocking Horse studio in Pasfield, New Hampshire. I'm bad at
math. Rocking Horse, that's a name that comes up a lot on the
show. Yep, they're really great. And then I so I went there
and recorded with my guitar, and then I outsourced because I know some musicians
in Nashville. I used to live in Nashville, Tennessee, and so I
so I had the bass player. The upright bass player was from upstate New
York and he comes down to Rocking Horse once a month and does a whole
bunch of set. And then the steel players from Nashville. The fiddle player
Amy Alvey now lives in Nashville, but she used to live in Boston.
She's in a bluegrass duo called Golden Shoals, and I met her on a
tour called the Massachusetts Walking Tour many years ago. And then I had my
friend Kat Kennedy sing on a couple of tracks and she's out in l A.
And then my my friend Mary Hastings, who's out of Conquered New Hampshire,
where I am technically out of until August first, but after the wedding
will be there anymore. She sang backing vocals in Rocking Horse, so okay,
And we used to play in a duo called New Leaves, and we
stopped that duo last year because Mary went back to school full time. Is
that who I'm here? Because because there's a couple of songs where yeah,
I hear this female backing vocal that it's just beautiful or actually on what track
is it? Oh? I think it's Mansion on the Hill. Yeah,
that's she she sings with you, Yeah, and you sound amazing together.
Thank you? Yep. So so yeah, and that's that song I wrote
in That's the only song I played that I wrote in college really because the
because when you go to Nashville about your first writer's round, you realize you
have to throw you Oh shoot, that's not good, you know, I
have to yeah, start over. What is that a writer's round For people
who don't know, it's where you play you get up with with. It's
you and two or three other writers. Yeah, and you play three to
four songs and you just go around, so you just go right down the
line. Is that unique to Nashville? Do you know? Or do they?
I don't know. Maybe I think maybe I've heard of that happening in
New York too, But it seems like it's kind of an unusual thing.
I started in Nashville. There's a couple of places that do it. In
There was a place prior to twenty twenty called the Open Door Cafe and I
played there that was in near like Hillsborough, New Hampshire. They would move
locations so they played basement of an old church that played on a farm,
and they would have one feature that would get forty five minutes and then they
would have a couple rounds of people. Okay, so yeah, people have
you know, taken that, but that was a Nashville model that moved its
way up to New York. And Okay, is that intimidating the first time
you do that? Because I mean, you're in Nashville, you know you're
you're among some heavy hitters. Is that nerve racking or it? It was?
I think the second time. Oh no, no, no, the
first time I did it. I did it. It was called the Commodore
Hotel and the feature. I didn't know who the feature was, and I
was going after the feature. I was in the last round of the night
because I was new. And the feature gets up and he says, this
song is a song that I wrote and it's currently in the top thirty on
the country charts and plays it and they goes, this song was a top
twenty two years ago, and I went, can I not? Like,
why couldn't you put me on earlier? I don't want to follow that,
Like this guy's got hits, he has kids. And then so he played
like three or four hits and then he's like, this is a new song.
I went, thank goodness, that's intimidating it. I can imagine,
I can imagine. Well, I'm dying to hear you play another one.
If you're just joining us. We have Cameron Suttfin here with us live in
studio. By the way, is this the earliest in the day you've ever
played live? Anywhere? Did when I moved back to when I moved back
to New England in twenty nineteen, I think I did a radio interview near
Pittsfield, Massachusetts. I believe that one was seven thirty or eight in the
morning. Okay, yeah, that think that was the earliest, yeah,
ever I've ever played. Yeah, yeah, or It's not so much the
plan, right, it's the singing that's the challenge. In the morning.
You sound great though, thank you. I've had my coffee. Yeah yeah,
I mean I can wake up and play guitar, you know, yeah,
anytime in the morning, So we'll do this. One's cold without her,
all right? Every sunrise and set, every chord that I fret,
it doesn't matter. It's all a wayste without her. Every line that I
write doesn't matter. On a lonesome night, there are all aways without her.
When I walk down the street, there's no one beside me. I'm
alone in a crowd without her. When I turn out my lights, there's
no one to haul me through the night. When I get up in the
morning, come there all along. And when I dream there's only darkness.
It seems I can't see the lie without her. When I go to the
bar, it doesn't feel right at all, because I try to forget I'm
without her, and I lay my head to rest. All I feel is
empty. As when I get up with the sun. Nothing matters now that
she's gone. Every sun rise and set, every chord that I fret,
it doesn't matter. It's all a wayst without her. When I laid down
to sleep and Lord calls me, will I still be without her? Oh
that's beautiful, that's beautiful. I love it. If you're just joining us,
Cameron Sutfin is here with a live in studio on this Saturday morning.
It is, of course, Saturday, July thirteen, twenty twenty four.
And are you playing out a lot? Do you play a lot of shows?
Yeah? So I'm lucky. So this is my full time job,
and so like this afternoon and sometimes mornings a little in this about ten thirty
I play, I play nursing homes and that's my quote unquote day job.
Yeah, and then I play a lot of folk venues, a lot of
coffee houses and library lawn concerts. I've got a couple of those coming up
in August. And you know, Farmers' Market's really any community event type thing
where they want, you know, classic country and folk music. Yeah.
Yeah. How long were you in Nashville when you lived down there? Three
years? Three years? Yeah? Years? What brought you back? There's
no I wasn't making any money. Yeah. It's tough, right because it's
you know, you're surrounded by all this great talent, but you're surrounded by
all this great talent kind of a double edged sword in Nashville, right,
Yeah. And so my roommate was a guy who played on the EP that
I made named Ashton Lee, and he taught me a lot, and he
moved out to Colorado, and then the following year I moved back up to
New Hampshire. You know, I moved back to New England. I'm from
Connecticut originally. Oh, okay, okay, yeah, Because you know,
it's a it's a hard scene. The rent is insanely expensive, because Nashville
is it's a booming city, and I do a lot better in New England.
Yeah, in Nashville. So I'm quite happy here, Yeah, no
doubt. But I bet you wouldn't trade the experience, right, because I'm
sure you learned a ton. Oh, I learned a ton. I got
to make it out, you know, I got to make three songs CD
down there, and that was really nice. And I learned how to go
into a studio. Yeah. So the second time I did it here,
I wasn't as intimidated because I knew what I was getting into, right,
right, that makes sense, That makes sense. Did you have mentors in
Nashville? Did you have peop who kind of took you under their wings?
I mean the main guy, And I just met him because I needed,
you know, I needed a roommate. Was my roommate, Ashton Lee,
and he's my age and he went to school for music and he knew way
more than I did. Yeah, and he really helped me. And then
I had this woman I met at a writer's round who was who was,
you know, significantly old than me, had been writing Nashville for about,
I think at the time seven years, and her name was deb Ziem's and
she helped me learn how to lay a song out on a page and how
to write, and we did a couple of co writes and that really helped.
Yeah, excellent. How did you get into playing at nursing homes?
So I started playing in a church folk group. It was Holy Family Church
at the time in Nfield, Connecticut, my hometown, and there were three
nursing homes in the town. And every Christmas one of the guitar players with
the Lions Club would have us go play. And I asked somebody, I
said, hey, could I just play here because I was like thirteen and
one at any gig and said, yeah, you can play. And then
I found out that they pay you for it. Yeah, And I was
like, oh, oh, it doesn't just have to be volunteers, like,
yeah, we'll give you some money. Yeah, and it just you
know, and then I started calling more up and then I figured out,
well, I can go make a living at it and you know, not
have to get quote unquote a real job. Yeah, that's fantastic. Just
go play a bunch of shows and then at night you can do all the
folk type venues. Yep, that's fantastic. There's a lot of musicians.
There's a guy who met playing the Biggie I played there a couple of years
of CONNECTU building gun named Sean Taylor who's out of Connecticut, and we were
playing, you know, late afternoon, and we discovered we did the same
so we were doing the same thing. He's like, oh, yeah,
I was doing that the other day and now I'm here, you know,
doing you know, twelve to two and I was doing two to four after
him, and yeah, oh wowsgover. We did the same type of thing.
That's awesome. Uh, you want to play another one? Yeah,
we'll do one off of the We'll do one off the Nashville one. Oh
cool? This this this one, So this song called Drive and I put
this out so seven years ago this uh, the Nashville EP came out called
Heartbreaktown, and it was my fiance's suggestion. I'll give Millicent all the credit
for this. She heard the songs and I told her that I was going
to put out this new ten track and she said, well, be a
shame if you know, because they had like no streams. Oh yeah,
And she said, well, you know, be a shame if if you
know the good songs, should do something with one of them. And so
she said, you know, should make a video, and so I made
a lyric video to this song Drive, and I had someone in La uh
make it you know for me, and it was lyrics and uh tour pictures
of all the tours I'd done with friends and camping. We camped all across
the country with a couple friends. And it now has eleven thousand views on
YouTube, which is my first, my first first video to have over ten
thousand views. I was quite grateful to Milicent, my fiance, for making
that suggestion, cause it worked. So yeah, it's called Drive. It's
about driving around the country. I've been to now thirty two states in d
C. No kidding. Wow. The only one I flew to was California.
That was last year to go to music festival with my brother. So
we both flew in and then flew out. Oh okay, I didn't.
So it was like, oh, you're gonna drive. I said, no,
that's a hike. I was playing the Merymack Public Library a few years
ago and I played this song and this woman bought the CD and she said
she was doing a cross country trip and she was going to listen to it
the entire time. And I said, well, it's only three minutes,
so that might might want to throw in other songs, right, that's going
to be a that's gonna be able to repeat for a lot. Yeah,
I think she was going to either Nevada or Arizona. She said she's driving
out. Okay, so it's called drive here, TRYI van drive. Don't
you ever sleep counting down the exit signs like promises you can't keep, Like
promises you can't keep. Try evan drive. Watch night turn into day.
As long as you keep moving, you won't feel the pain. No,
you won't feel the pain further long. There's a new place to go.
You burn through your line life, watch it go up being smoke, But
there's always a new roads. You just shrive handdrivan tron, triving round than
New York City town like a desperado. Y'll never settled down. You'll never
settled down. You sing your songs, hit your guitar, burn nor fens
of the candle like you don't care if you fall, like you don't care
if fall further lot, there's a new place to go. You burn through
your life, watch it go up being smoke, But there's always a new
roads. You just shrive hand try Evan tron further lot. There's a new
place to go, and you've burned through your life. W't you go up
in smoke? But there's always eight new roads. You just try pantry,
Evan trot, try Evan drop. Don't you have sleep counting down the exit
signs like promises you can't keep. Like promises you can't keep. Like promises
you can't keep. I like it, Thank you, I like it.
Cameron Sutfin is here with us, alive in studio here and uh sounding sounding
great? And yeah, I can see where I can see where someone that
is a I can see where someone would think that that was a good driving
song. I can, I can. I can kind of picture it.
But like you said, you know, not necessarily listening to it over and
over and over. But that's I did even want to calculate it all the
times you have to repete to get from here to Midwest? Now, how
did you how did you wind up working with Rocky Horse? Like I said,
that's a name that comes up a lot on the show and a very
popular studio. How did you connect? It's Brian right, yes, Brian,
yes, Brian Uh? I forget his last name? Now? I
know him too, and I'm blanking. I know a lot of Brian's I'm
blanking on too. It's on the back of the album. That's all right,
Brian from Rocky Horse. How did you connect with him? I ended
up, you know, googling studios in uh in New Hampshire and it's about
twenty minutes from where I live. And they had you know, samples in
their website. And when I was making it, I was playing with Mary
Hastings. When when we were playing with the duo, we're playing market Days
and the guy's running sound. We're in this band called Club Soda and they
their female singer was having a hip surgery and they said to Mary, they
said, we're doing this gig in Maine. Can you fill in on a
couple of songs? And then they said to me, oh, could you
play two on some songs? And we were in front of those twenty one
outside I think it was they said, just under a thousand people. It's
really nice of them. And as we're getting set up in sound checking,
I mentioned I was making an album and they said, oh, where,
and I said Rocking Corse. They said, oh, my gosh, we've
been there. They're great, and they really are great guys. So I
didn't know, you know, the reputation. I just heard the tracks they
were doing and he said, oh, this sounds great, I'll go there.
Oh it's Cooms, right, Brian Coom. Yes, right, I
knew it would come to me eventually. They were great. They were great.
Yeah, yeah, fantastic. Yeah, I've been to that studio.
It's it's very impressive. Are you going to uh now, do you have
more? I don't know how long has this album been out? Is this
relative June fourth? June and fourth? So this is brand news, brand
new, ye June fourth, So you're probably not even thinking about the next
one yet, or maybe you are. I don't know. I've got I've
got I've got a handful of songs. Yeah, yeah, that I could.
You know that I could put out you probably you strike me as someone
who probably writes a lot. You write a lot of Yeah. Yeah,
yeah, I just wrote last month. I wrote two and so I don't
have those memorized yet because I'm promoting a new album. Yeah you know,
I said, well, i've got these two I've got you know, like,
well, got those two? I got three over here? I said,
Okay, that's half a record. Yeah. Yeah, when you're working
with Brian, because a lot of people have described this experience to me,
does he become I mean obviously he's you know, he's engineering, he's recording
you. But does he also become sort of a de facto producer because I
know he's got a lot of ideas he does. Yeah, he does.
And that was really apparent when so I did my guitar and vocals, and
then I went in, I redid some vocals, a couple of tracks,
and then when when Mary Hastings was in the studio, she sings on four
of the tracks, and yeah, he was very much you know, saying
try this here and try that there, and and then he you know,
cut it together and okay, you know that sounds good over here, and
we'll move it around and yeah, yeah, then we've got, you know,
a good track. Doesn't surprise me. He's known for being kind of
a wizard. He can you know, he's got a lot of ideas and
oh yeah, he's very very creative guy himself. Yeah. Absolutely, you
want to play another one? Yeah, well, doud, this is this
is one of so I had a friend of mine suggests, so there's when
I told him I was making a record and he I told him I was
having you know, backing vocals and fiddle, and he said, you should
probably have one or two tracks because I play solo so much that are sparse
and so this one's foolish game. So this is one of the two.
Oh, I have to tell you, this is one of my favorites.
I was listening to the whole thing last night. This much. I appreciate
that this is one of my favorites. This one, this one really really
kind of hit me in a certain way. Yeah. Thanks. I wrote
it about sort of running away from relationships. Yeah, that's when I was
much younger. Yes, yes, I was much younger. And you know,
twenty year old me was not smart. A twenty year old anybody isn't
smart. Don't feel bad, all right, Cameron sutthan live. He just
see a friend fly into the sun only to get burned in the end.
You study, so just lack of chain, but there aint no shape even
lying in the bed your main Can you fight the urge to run? Would
you make it further? If you stay? Can you lie by my side
for one more day? When you learn the loves fulish game maybe you're right.
I put my heart on a shelf so high no one can tear it
down, because I remember a lie I was told time will ease your pain
and lie and your loan. Can you fight anything urge to run? Would
you make it further if you stayed? Can you lie by my side for
one more day? When you learn the loves Foolish Game? You hear the
sound of a slimming door and you know you've heard it in your past before.
Will you shooting me now like a cannon barn? Will I see your
face when the night turns down? Can you fight the urge to run?
Would you make it further if you stay? Can you live by my side?
One Monday? When you learn loves a foolish game? When you learn
loves a foolish Game? Where you learn loves a foolish game? Very nice?
Cameron Sutfinn live in studio with us this morning. Yeah, I really
like that song. Thanks, I appreciate that a lot. Absolutely, Absolutely,
we should uh for those just joining us, we should plug. So
you've got you've got one more live show before the wedding. Yep, that's
the Sandown Concert Series next Tuesday, and that's in Sandown, New Hampshire.
Now what do you now Sanddown? That is? Is that your Keene?
That's that's yeah. Okay. Someone was posting on a Facebook form that they
wanted musicians for this concert series. Yeah, and my message you know,
I just sent a private message to the people booking it and with you know,
a track from the album and just my name and my bio. And
they said, yeah, you know, every Tuesday, and gave me a
list of availability. Oh excellent, excellent. So is that something they do
throughout the summer every time? Yeah, yeah, that's so they have the
so it's on Tuesdays and they have a farmer's market on Tuesdays with the musician
and then that shuts down and then they have their concert series at night.
Oh very cool, awesome, awesome And I've never heard of it before too
this year and I was I can't wait to play it. Excellent. By
the way, I can confirm a new fan for you, Hope the Rapper,
who, of course we open the Today's show with this brand new single,
Heavenly Father, because we're doing ten weeks of new Hope the Rapper singles
world radio premieeres and he messaged me and was complimenting you. Oh, thank
you. I appreciate that. Says you sound really good. So and if
you missed Heavenly Father, the new single from Hope the Rapper, we'll play
that again in a bit on the show as well. So but try to
hit that. I try to hit that every hour with the New with the
World radio premieres here on Matt connorton Unleashed. Have these studio tracks? Have
these been playing on the radio before? So some of them have. Yeah.
So I was on the show just where they all came out, called
the Folk Revival. That's at a Wooster Okay, So, yep, that's
a Nick Nobles show, so yeah, he he played a couple of them.
I'll have to look that up. That's not a show that I'm familiar
with, but that's that's on. Yeah, that's at a Wooster Okay,
Okay, interesting all right, very cool, Very cool. By the way,
So when you play out, do you ever is it always just you
solo? Or do you ever have other musicians to join you? It's it's
pretty much now it's always me solo. So I played in a duo with
my friend Mary Hastings also played and do it with my friend Mary proto that
that's many more years ago. I do have a the bass player actually at
Saint John Jugon Church in the folk group. He told me to message in
the tracks and he said, if you ever played locally, I'll play.
So we might do something, you know, after after I'm married. Yeah,
and I'll have him backing me. But he doesn't want to travel too
far. He's like just local Connecticut, you know. Yeah, but it's
mainly me. One of my favorite singer songwriters, Guy Clark, who said,
you know, you can make a living if you can play solo because
there's very little overhead exactly. So it's yeah, it's mainly been just me,
but you know that might change. I might have a you know,
backing musician or two. Sure, sure come along with me. But there
is there are advantages of course, you know, practically and logistically to be
a solo act. You know, I myself, I'm a musician, but
I've only ever played in bands, so I know that. You know,
with bands, it's always there's the challenges of working around even just for rehearsals,
you know, working around everyone's schedules, and then when you're trying to
book shows, Okay, you got to find out is everybody available to do
it? And this and that. So when it's just you and a guitar,
you know you can. You know, that part's pretty easy in that
in Nashville because there's you know, so many bands and so my So I'll
give the example my roommate, Ashton Lee. So when he would book a
show with his band, he had a guitar player, bass drummer, he
and he would sing and play guitar as well. And if the drummer couldn't
make it, because oh I've got another gig. Yeah, he'd start calling
around and then he'd send the new drummer for that night the set list,
no kidding, and go here you know, here's here's the covers, here's
the originals. Listen to the track be ready to go, and you're expected
to just go, no kidding. Same thing for bass player guitar. You
know, here's the charts, here's the covers, here's the originals. Listen
to him, and this is the set list for the two or three hour
show. I'll be damned, no kidding. Wow, I suppose if there's
a city where you know you could you can pull that kind of system off.
It's Nashville, right, I mean maybe they do that other places too.
But they found a they were playing tourist spot lower Broadway, and they'd
got done and then this guy from a different honky tunk over. He says,
can you guys come play another three hours because our band, just the
band there just they can't make it. Something happened yeah, and I said,
well we can, but our bass player can't. He's got to go
play over there. So they ran around, found a bass player and went,
here's the set. Wow. And they removed the originals because the bass
player had never heard, so they just said, here's the set and we'll
do the substitute of these covers. Can you do it? And he said,
think so, that's wild, that's incredible. And they did another three
hours and he said yeah, he said it went okay, bass player knew
ninety percent of you know, it's the same country covers. Yeah, they
do ninety percent of the set, and there may be one song he's like,
oh, I don't know that one. They just tell them what key
it's in. Yeah, okay, this key feels like that, and the
drummer counts it off in a way. They go, that's amazing. But
so you've really got to have your chops though in that kind of a situation,
right, because if you're in a scenario, or if a scenario might
arise, I should say, where you're going to be called upon. You
know, you got to either know these songs or you got to learn them
really fast, like you've you've really got to be on your game. Oh
yeah, I've seen I. You know, I premierently went down there to
song right, So I was not you know, I was not playing in
you know, a ton of bands and doing Lower Broadway much at all.
But you know I went down there do the writers' rounds and try the song
right. But yees, this session players there are incredible as to as to
what they can do on the fly. Yeah. Yeah, that's if you
want a guitar solo. You said, well, there's a guitar solo right
there. They'll play you three guitar solos. Go, okay, pick one,
yeah, and it'll be in one, take one, two, three,
okay, pick one, yep, yep, that's amazing, and it's
onto the next, on to the next thing. Yeah. Yeah, that's
incredible. That's amazing. Do you want to you want to play one more?
Live one. Yeah, we'll do. Yeah, let's see which one
we can do. Here we do And if you're just joining us, Cameron
Sutton is here with us, live in studio, sounding amazing. Get the
guitar tune first. Yeah. Yeah. What's the name of the album?
By the way, it's called part of Me, Part of Any any story
behind the title. So that's the that's the title track. And I just
I named it that because I felt the album was pretty personal. Yeah,
we'll do so, I said. I play nursing homes. That's my day
job. Yeah, this song, this is the only pandemic song on the
record. I promise I didn't overloaded. I know we're four years out,
but this song came from I was visiting a particular sister living in Kennebunk,
Maine in twenty twenty. They let me inside, which was incredible, and
this woman after the show and by came up to me, I meant eighteen
feet away because the staff wouldn't let anyone go near anybody. Yeah yeah,
and she said, you know, I understand that there's this virus out there,
but I'm in my eighties and I always just want to see my family
and I don't care because honestly, how long do I have to live?
And there's no end to this? And I went home that night thinking about
it, and I wrote this song from her perspective and everyone there because there
was absolutely no end in sight. And in twenty twenty one, when everything
starts to open up, those nursing homes were dead last to open up.
Yep, oh yeah, and people didn't. They're like, it's back to
normal. I'm like, what, there's this one population that they won't let
do much still and even in gosh, it was just last year, some
of them said no more masking in nursing homes. Yeah, oh yeah,
yeah, they were pretty Yeah, they waited, They waited for a long
time and navigating that. And I knew a lot of people that were working
in, you know, in those places that ended up, you know,
moving on to other jobs because yeah, and that was never mind the residents
living, that was just the employees that just said, I've had enough with
healthcare. I'm going to go. I've got a new career. So this
is my you know, this is the last time you'll be seeing me.
I knew a lot of activities directors that just was was that stressful for you?
By the way, I didn't it because until you brought this up,
it didn't even occur to me, like during the you know, at the
height of the pandemic, playing these nursing homes because in a lot of these
nursing homes, like you know, once once COVID got in there, it
just you know, obviously it spread like wildfire, because that's the most vulnerable
among us, you know, eighty year old people. So the first show
was I'll remember to day for it was April twenty ninth, was the first
show back, and we did something outside in Yeah. So those started happening,
and then I did a ton of shows over zoom and I pre recorded
stuff and oh okay, and then Marry my friend and I we we made
because we couldn't do Christmas shows, so we made Christmas DVDs. Yeah.
I paid my rent in Christmas DVD sales and I would so we recorded,
burned them, and I'd go down a post office every day a five or
ten of them stacked going to Massachusetts, New Hampshire, Nashville. I'd want
in Wyoming that didn't have the technology but wanted one, you know, to
do a virtual show. And so I paid my rent that December and DVD
sails. Interesting. Yeah, so I made it work. Yes, yes,
it was scary for a bit, but then it you know, the
you know, the zoom shows came out and it was okay, and then
you know, it was well, okay, I can. I can pay
all my bills and you know, if this is the way they want it
forever, I can pay my bills. Once the public shows, you know,
open up more, you know I'll do those. Yeah. Yes,
it's called from a distance from the dicetan. That's how it's been for six
months. Now knows when their sins can hold my son, my grandkids.
All I get is a window over, is it? They told me if
I'm hugging them, how mad get sicking die. But right now I'll give
my life to hold them one more time. Don't know how I am going
to make it through. This is lone so like I never knew. They
can't tell me, you know, I can kiss my son. They just
tell me to be strong. It gets long leger every day I don't see
anyone's face, and old man risking my love to old my family one more
time from adstans. That's allienspan for a year. Now no ones win.
This sends hand hold Mass, Margarinekids Mass supposed to live Black Things very nice.
Cameron sut Finn live in studio with us, beautiful, beautiful, Thank
you so much. Hey Cameron, before we run out of time, please
let everyone know how they can find you online. Where's the best places to
go to keep up with everything that you're doing. Get your music, check
out your live dates. Yep. So it's Cameron sutf and music on Facebook
and Instagram and the days are posted, the July days are posted there.
We'll have the August dates up soon. And then Cameron setfin on Spotify and
iTunes. And for the spelling impaired of course, s U T F I'm
sorry, no, yes, okay, I'm spelling impaired. S U t
p h I N correct yep, okay. Then once you have that,
you type that into Google you can find everything about me. Yes, there
you go, there you go. Yeah, it's not a not a particularly
common last name. So no. Once once you have that spelling down,
that's it. It's it's all there. Yeah, yeah, exactly, And
and congratulations again on the on the nuptials. Thank you. Yep. We're
excited, we're less than a week away. So that's exciting. Well,
we're gonna close the We're gonna close out the hour with one more studio track
from Cameron. This is called what Makes It Great? Any anything we should
know about this before we before we play it? No? So, so
I wrote it, so it all the way back in I was twenty seventeen,
and everybody in twenty sixteen. There were a lot of musicians running protest
songs with the line we don't need to be made great. And I gave
myself a challenge to use that line, but to not be specific, because
Bob Dylan, when he wrote protest songs, was not specific. Anyone could
use them for anything. That's true, you know. The time blowing in
the wind was not specific times they are changing, was not specific as to
what the senators or congressmen were for or against. It was just general,
Yeah, you're right. And so so I gave myself that challenge, Actually,
can I write a song with that phrase in it and not make it
specific? Yeah? And it was about old car I used to own that
got up to two hundred and ninety five thousand miles and it got trading for
it. Oh my god, and the car out there just hit over two
hundred thousand miles and it's still running. I've been very, very lucky with
cars. What kind of car is I'm curious now? So the car out
there is a niece on Versa. Okay, and then the car and the
song was a twenty Twelveday Sonata, no kidding. Wow? All right,
well, very good. So we will close with this. This is called
what makes It Great? The Great Cameron Sutton, and we'll have to have
you back again. Thank you so much. This was really wonderful, and
check this out and if you are listening live on Saturday, there's plenty more
to come. But what makes it great? Cameron Sutton? I've got this
car twenty twelve Hyunday bumps, missing headlines, ound, but it runs the
same. The windshields cracked, bun, It's still drives. It's not what
you see that makes it shine, Bunny. It used on Broadway almost a
year going to the day. It's traveled fifty thousand miles sin so then it's
ready traveled them again. You don't need that flashing shine. You just need
something to get you buy heap the details, you crawl men things. It's
what sudden need to make said great. Some men are rich, and they'll
let you know when on this leaves put on show. But I know things
man keep inside late at night they turned out lights. You don't need that
flashing shine. You just need something too gety. By keep detis you crawlman
flames. It's what Sunday need to makes it grade. It ain't fast,
it's rusty, though it doesn't shine, it doesn't look new. I don't
need something fresh off the blot. I'll stick with what I got. You
don't need that flashing shine. You just need something too gety. By keep
deting, you crawlm in flames. It's what Sunday need. The makeshick grade.
It's want you to not what says what sounded makes it May you know
it's different. Once the chorus comes in, just for let us say the
name. H oh he he. I ain't grow up in the hood,
but I'm good damn trying to walk in my shoes not the good path.
Still ball on the hoogin and one come the father with a game understands some
move with the work sort of like a tandemp I'm about to take the rap
tap for Bransome different meetings when we greet them and say, hands kills me.
It's pain. Came Charles, me a son, put in gat a
boy pen. Don't you know that this she spent. I'm just trying to
touch the world. Paper was my mental man. I'm gonna send them rid
of limb. They gonna not the way you think. I was trying to
find some hope, not in the tre people problems on my plate, trying
to get them in a safe full time. I was healing peats, pulled
them on, was in a sent still. Look w was making sense,
trying to get this money straight. Just a bend. Call it this drivee
like I'm a chauffeur. Can't count the times I came from coach shoulders,
hand me in the rocks a week and make bold of my son. Gonnaut
squads like PlayStation control holds up. They pray that I retired, but I
got it like Trump when I spent five till the wall a round the prophet.
Call that how you want it. I'm gonna treat them how they treat
me. Sign it from the bottom. Never said it would be easy.
And I remember when DMX used to come in it off prayers church and we're
gonna have to and this one with a prayer fell women, heavenly Father.
I feel remorse for the pain of cost on my grind, stayble, lots
of my handle boss, many times pull my eyes attle thoughts. Remember,
it's gonna take friction if you want to spark to stay the church and win
the night's thoughts. But ain't he a man who could? Like dark?
My God, he help me balas the bird is trying to turn the baggage
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