1
00:00:00,200 --> 00:00:03,080
Speaker 1: That is catchy as hell. That is Greedy. That's the

2
00:00:03,160 --> 00:00:05,320
name of the track. That is Cammy next, and we're

3
00:00:05,320 --> 00:00:08,199
going to talk with Cammy in just a moment. Welcome everybody.

4
00:00:08,199 --> 00:00:10,640
This is Matt Connorton Unleashed. We have entered our number

5
00:00:10,679 --> 00:00:15,240
three new Marrow Trace on this Saturday, July five, twenty

6
00:00:15,320 --> 00:00:18,440
twenty five. Thank you all for joining us. And Jenny

7
00:00:18,480 --> 00:00:21,079
is here, of course, is at the news table, presented

8
00:00:21,160 --> 00:00:24,399
accounted for. I think almost at news Desko seeing old school.

9
00:00:24,559 --> 00:00:28,079
It's a table and uh let's see Campy here. Bring

10
00:00:28,160 --> 00:00:30,120
Cammy on here. Cammy are you there?

11
00:00:31,399 --> 00:00:32,719
Speaker 2: Hi, Yes, I'm here.

12
00:00:32,880 --> 00:00:36,399
Speaker 1: Welcome to the program. We just started using Google Teams recently,

13
00:00:36,479 --> 00:00:38,159
so it's still a little bit of an adventure.

14
00:00:39,320 --> 00:00:40,359
Speaker 2: So okay, cool.

15
00:00:40,399 --> 00:00:42,920
Speaker 1: So I'm always relieved when the guest is connected and

16
00:00:42,960 --> 00:00:45,640
everything's good. Welcome to the show. I love that song Greedy.

17
00:00:45,719 --> 00:00:46,880
It's very very catchy.

18
00:00:47,920 --> 00:00:50,000
Speaker 2: Thank you so much, and thank you for having.

19
00:00:49,880 --> 00:00:54,600
Speaker 1: Me absolutely absolutely. Uh So, where are you from?

20
00:00:54,960 --> 00:00:57,840
Speaker 2: Originally Columbus, Ohio, but I live in Nashville.

21
00:00:57,880 --> 00:01:01,640
Speaker 1: Now, okay, okay, what's it like living in Nashville, Because

22
00:01:01,719 --> 00:01:04,000
you know, we've had we've had a lot of guests

23
00:01:04,000 --> 00:01:07,840
on the show who have traveled there, but you know,

24
00:01:07,879 --> 00:01:09,680
maybe to spend a weekend or a week there. But

25
00:01:09,799 --> 00:01:12,120
I don't think we've had anybody on the show who

26
00:01:12,200 --> 00:01:16,400
lives there currently. And obviously Nashville known for being for music.

27
00:01:16,400 --> 00:01:18,079
I mean, is is it a lot of pressure there

28
00:01:19,079 --> 00:01:21,359
living there and being a part of the scene there

29
00:01:21,400 --> 00:01:22,120
or what's that like?

30
00:01:23,079 --> 00:01:26,840
Speaker 2: It is definitely interesting, there's a lot of pressure, but

31
00:01:27,439 --> 00:01:31,439
more so I just say, it's very saturated, so it's

32
00:01:31,840 --> 00:01:34,159
really really difficult to get your foot in the door.

33
00:01:34,719 --> 00:01:37,040
But at the same time, because it's so saturated, there's

34
00:01:37,079 --> 00:01:39,200
so many people to work with and so many people

35
00:01:39,200 --> 00:01:42,799
to network with. Yeah, and it's such a good community

36
00:01:42,840 --> 00:01:47,480
of people, but it is very tricky to kind of

37
00:01:47,519 --> 00:01:49,719
get going and get a name for yourself.

38
00:01:50,159 --> 00:01:52,480
Speaker 1: Yeah, I would imagine. I would imagine it is. But

39
00:01:52,560 --> 00:01:55,040
that's that's a great place to be for what you're doing,

40
00:01:55,239 --> 00:01:58,519
and it's it might cut against some of the ideas,

41
00:01:58,519 --> 00:02:01,120
some of the preconceptions too that people about Nashville, because

42
00:02:01,400 --> 00:02:03,799
you know, a lot of people when they hear Nashville,

43
00:02:04,040 --> 00:02:06,519
especially people not in the industry, they think of country music.

44
00:02:06,560 --> 00:02:08,919
But it's more than just country music and obviously, you

45
00:02:08,919 --> 00:02:11,000
know what you're doing is in country. I don't know

46
00:02:11,039 --> 00:02:14,199
if you have any country songs, but but really, I

47
00:02:14,199 --> 00:02:16,080
mean there's all kinds of music happening there, and there's

48
00:02:16,080 --> 00:02:17,840
all kinds of connections you can make and people to

49
00:02:17,879 --> 00:02:18,240
work with.

50
00:02:18,360 --> 00:02:21,879
Speaker 2: Right, Yeah, definitely. I think it has the stigma that

51
00:02:21,919 --> 00:02:24,520
it's country music because that's what it started as. But

52
00:02:25,280 --> 00:02:28,120
it's really any and every genre, and it is more

53
00:02:28,159 --> 00:02:31,680
so just the music city, as people call it, and

54
00:02:32,280 --> 00:02:36,159
this is where everyone comes to record, even non country people.

55
00:02:36,439 --> 00:02:38,680
They all record in the studios here or work with

56
00:02:38,759 --> 00:02:43,240
people here, or have session players from Nashville. Because these

57
00:02:43,240 --> 00:02:46,240
people are very talented and they can play any genre.

58
00:02:46,280 --> 00:02:50,159
They can do anything. So yeah, it's it's any genre really.

59
00:02:50,400 --> 00:02:52,000
Speaker 1: Absolutely. How long have you lived there?

60
00:02:53,080 --> 00:02:55,360
Speaker 2: This is my sixth year living here?

61
00:02:55,560 --> 00:02:58,280
Speaker 1: Oh believe, Oh you've been there a long time? Okay? Great?

62
00:02:58,400 --> 00:03:03,199
Speaker 2: Great to college here. So I moved when I was seventeen?

63
00:03:03,439 --> 00:03:09,120
Speaker 1: Oh outstanding? Okay? Was greedy? Was that recorded there? See?

64
00:03:09,199 --> 00:03:10,000
Speaker 2: It was? Yeah?

65
00:03:10,120 --> 00:03:14,479
Speaker 1: Okay, okay, very cool? Now what about so you started

66
00:03:14,520 --> 00:03:18,479
pretty young? I would imagine you're from Ohio originally you said, right, yes,

67
00:03:18,840 --> 00:03:22,599
were you involved in music before moving to Nashville, I assume.

68
00:03:22,639 --> 00:03:24,159
I mean, I know you moved there for school, but

69
00:03:24,520 --> 00:03:27,280
growing up you said, was a Columbus, Ohio.

70
00:03:27,319 --> 00:03:31,439
Speaker 2: You said, yeah, Columbus, Ohio. I grew up there and

71
00:03:32,319 --> 00:03:36,159
was definitely involved in music, and specifically musical theater. I

72
00:03:36,199 --> 00:03:37,919
did a lot of that as a kid in like

73
00:03:38,159 --> 00:03:41,520
growing up and in all throughout my life. In high

74
00:03:41,560 --> 00:03:44,599
school everything I was known as like the musical kid

75
00:03:44,639 --> 00:03:48,039
in my town. And I ran all the music programs.

76
00:03:48,080 --> 00:03:51,159
I was the president of all these different choirs and

77
00:03:51,199 --> 00:03:54,960
small ensembles, and I did all the community theater shows

78
00:03:55,080 --> 00:03:57,639
and this, that and the other. So I was definitely

79
00:03:57,759 --> 00:04:01,639
musically inclined from a very young age, and that just

80
00:04:01,719 --> 00:04:05,400
kind of became my thing. And I didn't really do sports.

81
00:04:05,479 --> 00:04:08,360
It was always just music. And so I made the

82
00:04:08,400 --> 00:04:11,080
decision to Originally I was going to go to college

83
00:04:11,080 --> 00:04:13,800
for musical theater because I thought that I liked that,

84
00:04:14,319 --> 00:04:17,920
but I then quickly realized I just liked the singing

85
00:04:17,959 --> 00:04:20,439
part of it. I didn't care about the acting or

86
00:04:20,439 --> 00:04:23,120
the dancing. I just wanted some like someplace to sing

87
00:04:23,160 --> 00:04:26,639
in front of people. Sure, So then I pivoted and

88
00:04:26,680 --> 00:04:29,360
moved to Nashville to do music no, that makes sense.

89
00:04:29,560 --> 00:04:32,720
Speaker 1: But yeah, I mean doing music that was clearly inevitable,

90
00:04:33,000 --> 00:04:35,000
you know, given you your background and everything that you

91
00:04:35,040 --> 00:04:39,120
did growing up. So that's that's great. Now, how many?

92
00:04:39,360 --> 00:04:42,079
So you have several singles out? I know, have you

93
00:04:42,240 --> 00:04:44,360
have you recorded an album or an EP yet or

94
00:04:44,439 --> 00:04:46,000
is that on your radar?

95
00:04:47,600 --> 00:04:50,839
Speaker 2: It's not currently on my radar. I have four singles

96
00:04:50,879 --> 00:04:54,199
out right now, and I'm kind of just riding the

97
00:04:54,279 --> 00:04:59,720
singles wave because I think as a smaller independent artist,

98
00:05:00,000 --> 00:05:03,040
it's pretty difficult to put out an EP or an

99
00:05:03,079 --> 00:05:07,279
album and expect people to listen to the whole thing. Yeah,

100
00:05:07,360 --> 00:05:10,000
because that's a lot easier when you have a big

101
00:05:10,040 --> 00:05:12,160
following and people want to sit down and listen to it.

102
00:05:12,560 --> 00:05:15,519
But I would rather create singles and put them out

103
00:05:15,560 --> 00:05:17,399
one at a time and give them a bunch of

104
00:05:17,879 --> 00:05:20,480
attention or as much as I can, and that way

105
00:05:20,519 --> 00:05:23,560
they get kind of the spotlight for a second, rather

106
00:05:23,639 --> 00:05:26,759
than putting out like a forty five minute long album

107
00:05:27,160 --> 00:05:29,160
and hoping that people will listen to it.

108
00:05:29,759 --> 00:05:32,399
Speaker 1: Yeah, I think that makes sense. It's a lot of

109
00:05:32,519 --> 00:05:35,759
artists it's very important to them to do albums. But

110
00:05:36,000 --> 00:05:38,639
there's I don't remember who it was we were talking

111
00:05:38,680 --> 00:05:40,160
to about this, but we had a guest on the

112
00:05:40,199 --> 00:05:43,959
show recently talking about how when you put out an album,

113
00:05:44,160 --> 00:05:48,319
it's like, you know, in terms of algorithms, like on Spotify,

114
00:05:48,399 --> 00:05:51,680
for example, you get that initial boost of okay, here's

115
00:05:51,680 --> 00:05:54,519
something new. You know, it might show up in your suggestions,

116
00:05:54,519 --> 00:05:56,639
here's something you might like, whether it be Spotify or

117
00:05:56,639 --> 00:05:59,720
even on YouTube or wherever. But but you get that

118
00:05:59,759 --> 00:06:02,279
big bump, that little not even a big bump, but

119
00:06:02,279 --> 00:06:05,759
you get that little extra push once with the album

120
00:06:05,800 --> 00:06:09,160
and then that's it. Whereas if you just release a

121
00:06:09,199 --> 00:06:11,639
series of singles. With every single you get that little

122
00:06:11,720 --> 00:06:17,319
push algorithmically speaking, and so that ends up being a

123
00:06:17,319 --> 00:06:22,519
little bit of a more sustainable strategy. Although some of

124
00:06:22,519 --> 00:06:24,000
the guests too that we've had on the show recently,

125
00:06:24,040 --> 00:06:27,240
they've kind of inverted, you know, because the old approach,

126
00:06:27,439 --> 00:06:29,519
you know, sort of pre internet, was you release an

127
00:06:29,519 --> 00:06:32,160
album and then a series of singles to radio. And

128
00:06:32,160 --> 00:06:34,360
some artists now they release a series of singles that

129
00:06:34,439 --> 00:06:38,759
eventually coalesce into an album or any exactly. Yeah, but

130
00:06:38,839 --> 00:06:41,839
what you're doing, I think that's.

131
00:06:40,879 --> 00:06:43,199
Speaker 2: More than norm I think now as people putting out

132
00:06:43,240 --> 00:06:46,000
singles and then they release like an EP, but it's

133
00:06:46,079 --> 00:06:47,800
just all of the singles they've already put out.

134
00:06:48,040 --> 00:06:52,399
Speaker 1: Yeah. Yeah, absolutely. Now in terms of you, uh, in

135
00:06:52,480 --> 00:06:54,639
terms of your songs, the songs that you've put out,

136
00:06:54,720 --> 00:06:56,720
are these all written by you or do you have

137
00:06:57,040 --> 00:07:00,839
I'm really curious about this, especially given where you are geographically,

138
00:07:00,879 --> 00:07:04,120
because you have so many you know, you're just surrounded

139
00:07:04,160 --> 00:07:07,000
by all kinds of talent. So I'm curious about your

140
00:07:07,040 --> 00:07:09,800
process and who you collaborate with or maybe you do

141
00:07:09,839 --> 00:07:11,800
it all your own. I don't know, but I'm really

142
00:07:11,839 --> 00:07:12,519
interested in that.

143
00:07:13,839 --> 00:07:17,000
Speaker 2: Yeah. I write all of my own songs that are

144
00:07:17,120 --> 00:07:21,480
currently out. I've some of them have co writers on them,

145
00:07:21,560 --> 00:07:25,240
so people that I worked with, but a few of

146
00:07:25,279 --> 00:07:28,879
them were fully just written by me. Start to finish,

147
00:07:29,079 --> 00:07:33,439
and then I have a recording studio in town. There's

148
00:07:33,480 --> 00:07:36,839
two producers there that I work with, and I bring

149
00:07:36,879 --> 00:07:39,399
them my songs, play it for them and see what

150
00:07:39,439 --> 00:07:41,439
they think, and then they help me bring it to

151
00:07:41,519 --> 00:07:44,160
life and make it what it ends up being. And

152
00:07:44,680 --> 00:07:48,240
we do everything in house. It's all real instruments, like

153
00:07:48,759 --> 00:07:51,800
we play. It's the two guys and then myself I

154
00:07:51,839 --> 00:07:54,720
play a few instruments and so we between the three

155
00:07:54,720 --> 00:07:57,319
of us can play every instrument that we need for

156
00:07:57,399 --> 00:08:01,199
the track. We record it live and have real instruments,

157
00:08:01,279 --> 00:08:05,240
real players, everything, and then they mix and master it

158
00:08:05,279 --> 00:08:08,199
for me. And that's kind of been our process for

159
00:08:08,240 --> 00:08:12,279
a while. However, I have a single coming out in August,

160
00:08:12,639 --> 00:08:15,839
and it's the first time I'm releasing a song that

161
00:08:16,040 --> 00:08:19,399
I had no part in writing. I took a cut

162
00:08:19,519 --> 00:08:23,079
from some friends that I have that are professional songwriters,

163
00:08:23,639 --> 00:08:26,839
and I kind of started to explore this idea of

164
00:08:27,360 --> 00:08:30,279
I don't have to do everything myself. I can just

165
00:08:30,920 --> 00:08:33,440
be the artist or just be the performer. And there

166
00:08:33,480 --> 00:08:38,279
are many talented songwriters here, obviously, and that's what people

167
00:08:38,279 --> 00:08:42,799
in the real industry do. These huge, famous people are

168
00:08:42,840 --> 00:08:46,960
not writing their songs themselves. They have ten fifteen people

169
00:08:47,000 --> 00:08:49,200
helping them write songs, or they don't even write them

170
00:08:49,240 --> 00:08:53,440
at all, and they get these cuts from very talented songwriters.

171
00:08:53,639 --> 00:08:56,840
So I tried that out and I really liked how

172
00:08:56,879 --> 00:09:00,159
the song turned out. So my next single is fully

173
00:09:00,919 --> 00:09:02,360
just written by other people.

174
00:09:02,720 --> 00:09:06,639
Speaker 1: Okay, interesting, was it hard to take that step? I mean,

175
00:09:06,840 --> 00:09:10,240
was that something did you? Did you go into that

176
00:09:10,320 --> 00:09:13,320
saying no, Maybe maybe I will try this and see

177
00:09:13,320 --> 00:09:15,159
what happens or was it more like, like, did you

178
00:09:15,200 --> 00:09:17,240
have to be kind of coaxed into it? Because that's

179
00:09:17,279 --> 00:09:19,399
got to be because that's a big shift, right because,

180
00:09:19,440 --> 00:09:21,440
like you said, you were used to doing everything yourself,

181
00:09:21,720 --> 00:09:24,080
which gives you a lot of autonomy and control over

182
00:09:24,120 --> 00:09:27,360
your material. And to take that step and do something

183
00:09:27,360 --> 00:09:30,200
that someone else wrote, was was that difficult or did it?

184
00:09:30,240 --> 00:09:31,759
Did it come naturally or what was that?

185
00:09:31,919 --> 00:09:35,879
Speaker 2: Like? I think it really came naturally. It was my idea.

186
00:09:36,000 --> 00:09:38,919
I kind of put feelers out and let people in

187
00:09:38,960 --> 00:09:42,039
the industry know, hey, I'm open to cuts. If you

188
00:09:42,159 --> 00:09:44,799
have songs that you aren't going to cut or you

189
00:09:44,840 --> 00:09:47,440
don't have anybody to cut them, send them my way

190
00:09:47,440 --> 00:09:51,159
and I'll listen to them and if they fit my vibe,

191
00:09:51,679 --> 00:09:55,559
my overall kind of genre that I'm building for myself.

192
00:09:57,039 --> 00:09:59,120
And I took them to my producers too, and we

193
00:09:59,200 --> 00:10:00,919
kind of listened to them to together because they know

194
00:10:01,039 --> 00:10:05,080
my style, and we decided which ones fit me, which

195
00:10:05,120 --> 00:10:07,639
ones didn't fit me, and then narrowed it down to

196
00:10:07,919 --> 00:10:11,080
the song that's gonna come out. And I honestly think

197
00:10:11,279 --> 00:10:14,320
it wasn't that difficult because I grew up my whole

198
00:10:14,360 --> 00:10:18,399
life obviously doing theater, and I was in lots of

199
00:10:18,480 --> 00:10:20,480
cover bands and things like that, so I grew up

200
00:10:20,519 --> 00:10:24,720
singing other people's songs my whole life. It really wasn't

201
00:10:24,759 --> 00:10:27,399
that different, and if it's a good song at the

202
00:10:27,480 --> 00:10:29,200
end of the day, I think that's all that matters.

203
00:10:29,919 --> 00:10:34,559
And yeah, it wasn't. It really wasn't a hard process.

204
00:10:34,600 --> 00:10:36,600
It was. It kind of made it more enjoyable because

205
00:10:36,639 --> 00:10:40,080
I wasn't scrutinizing it as much as if it were

206
00:10:40,080 --> 00:10:43,279
my own songwriting. I'm much more like, oh, does this

207
00:10:43,360 --> 00:10:46,159
sound stupid? I wrote this, these words are probably dumb.

208
00:10:46,919 --> 00:10:49,320
But since somebody else wrote it and I very much

209
00:10:49,559 --> 00:10:54,440
enjoyed their songwriting already, I just sang it and liked

210
00:10:54,440 --> 00:10:54,879
it from the.

211
00:10:54,840 --> 00:10:56,799
Speaker 1: Start, that makes sense. So it sounds like it was

212
00:10:56,840 --> 00:11:00,799
kind of liberating in a way. Yeah, yeah, that's very cool.

213
00:11:02,039 --> 00:11:03,919
You mentioned too, So I noticed you went out of

214
00:11:03,960 --> 00:11:06,639
your way to put extra emphasis on talking about how

215
00:11:06,720 --> 00:11:11,600
everything that you do it's played by real people, real musicians.

216
00:11:11,639 --> 00:11:14,120
And it makes me curious because one of the things

217
00:11:14,159 --> 00:11:16,320
that we talk about on the show a lot, because

218
00:11:16,320 --> 00:11:18,960
we have a lot of sort of industry centric, shall

219
00:11:19,000 --> 00:11:22,519
we say, conversations on the show is we talk a

220
00:11:22,559 --> 00:11:26,159
lot about AI, the use of AI and music and whatnot,

221
00:11:26,200 --> 00:11:30,320
and I'm curious. I suspect based on what you've said

222
00:11:30,320 --> 00:11:34,639
that this might be something that you're concerned about, So

223
00:11:34,759 --> 00:11:37,399
I'd like to get your thoughts on that, or maybe

224
00:11:37,440 --> 00:11:40,039
there's another dimension to it. But I'm really interested because,

225
00:11:40,080 --> 00:11:41,879
like I said, you went out of your way to

226
00:11:42,799 --> 00:11:45,879
tell us you know this is all real, so obviously

227
00:11:45,919 --> 00:11:48,600
there's no none of these parts were created by AI

228
00:11:48,679 --> 00:11:50,480
and any of your songs. So I'm curious if you

229
00:11:50,759 --> 00:11:52,799
if you have further thoughts on that that you like

230
00:11:52,840 --> 00:11:53,240
to share.

231
00:11:54,480 --> 00:11:57,879
Speaker 2: Yeah, it's interesting because my kind of stance on that

232
00:11:58,120 --> 00:12:03,320
started even before A kind of joined the picture. I

233
00:12:03,360 --> 00:12:08,000
was always looking for what my niche was in the industry,

234
00:12:08,159 --> 00:12:11,360
Like I think everybody has their thing that makes them

235
00:12:11,480 --> 00:12:15,840
unique and their genre or it's their sound or this,

236
00:12:15,879 --> 00:12:19,080
that and the other. And I realized that I think

237
00:12:19,120 --> 00:12:23,120
what makes me unique is that our music is very commercial,

238
00:12:23,320 --> 00:12:30,840
it's very commercially successful, but it's all real. And in

239
00:12:30,879 --> 00:12:34,559
today's day, most music is not real. It's all done

240
00:12:34,639 --> 00:12:39,320
digitally or it can be done digitally. And I went

241
00:12:39,360 --> 00:12:42,399
to college here and there were so many people at

242
00:12:42,440 --> 00:12:45,799
my school who made full songs in their dorm rooms

243
00:12:45,799 --> 00:12:48,240
on their laptop and you would never know that they

244
00:12:49,279 --> 00:12:52,519
did it by themselves at midnight, just on their computer.

245
00:12:53,240 --> 00:12:57,519
And I wanted something that made us stand out. And

246
00:12:57,960 --> 00:13:00,919
I realized, like, hey, we play all this for real,

247
00:13:01,120 --> 00:13:02,799
and I don't think a lot of people do that,

248
00:13:02,919 --> 00:13:06,080
and I think that's something we should emphasize and tell people,

249
00:13:06,200 --> 00:13:09,320
is like this is real. Like this there's someone sitting

250
00:13:09,320 --> 00:13:12,440
there actually playing the drums. Every single beat that you hear,

251
00:13:12,559 --> 00:13:16,039
he played it, and that's impressive. And I went to

252
00:13:16,080 --> 00:13:19,000
school with so many talented musicians, and I was starting

253
00:13:19,039 --> 00:13:22,440
to realize these people like won't be needed if we

254
00:13:22,519 --> 00:13:26,639
continue down this path. And I think there's something special

255
00:13:26,639 --> 00:13:31,919
about someone actually playing it, and especially live. You can't

256
00:13:31,919 --> 00:13:34,559
have a live show if someone's not actually playing the instrument,

257
00:13:34,600 --> 00:13:39,320
you know. And now it's turned to AI and it

258
00:13:39,399 --> 00:13:44,679
is insane what they can do and make, you know,

259
00:13:45,120 --> 00:13:48,679
a whole song or parts of a song. So yeah,

260
00:13:48,679 --> 00:13:52,480
that's kind of become my shtick and my nichees saying like, hey,

261
00:13:53,320 --> 00:13:56,120
this is real, so just keep that in consideration when

262
00:13:56,159 --> 00:13:58,320
you're listening to it, Like some guy sat down and

263
00:13:58,360 --> 00:14:00,879
played every note on that guitar that you're hearing. So

264
00:14:01,720 --> 00:14:05,600
I think that deserves some it deserves to be shouted out,

265
00:14:05,639 --> 00:14:08,399
and you know, yeah, get the credit.

266
00:14:08,639 --> 00:14:10,360
Speaker 1: And so even the drums are live.

267
00:14:11,720 --> 00:14:15,120
Speaker 2: The drums are live, the bass, the guitar, everything. We

268
00:14:15,519 --> 00:14:19,879
usually stack it from the bottom, so he'll will record

269
00:14:19,919 --> 00:14:23,080
the drums first, and he does that fully with no

270
00:14:23,200 --> 00:14:25,960
other instruments, Like he sits down and will play the

271
00:14:26,080 --> 00:14:29,200
entire song from start to finish, just on the drums,

272
00:14:29,320 --> 00:14:33,000
and with a really crappy demo that we made, and

273
00:14:33,039 --> 00:14:36,240
he can pull out an entire song on the drums,

274
00:14:36,279 --> 00:14:39,080
and then we build it from the bottom up. So bass, guitar.

275
00:14:39,759 --> 00:14:42,960
Speaker 1: Yeah, no, that's great, and that's you know, that's how

276
00:14:42,960 --> 00:14:45,480
it used to always be done. Although the reason I

277
00:14:45,519 --> 00:14:48,200
asked said about the drums specifically is because I've been

278
00:14:48,279 --> 00:14:53,000
surprised at various points when you know, even even stuff

279
00:14:53,000 --> 00:14:56,360
that was recorded in the eighties that I assumed, you know,

280
00:14:56,799 --> 00:15:00,600
just you know, hard rock songs that you know, a

281
00:15:00,639 --> 00:15:03,360
little research, and I learned that you know, this was

282
00:15:03,399 --> 00:15:06,879
pre AI, but obviously this was you know, we're talking

283
00:15:06,879 --> 00:15:10,720
about eighties even early nineties rock where it's like, oh no,

284
00:15:10,840 --> 00:15:13,960
they actually did that with a with a drum machine.

285
00:15:14,000 --> 00:15:17,120
Those weren't real drums, and it's like, wow, that's uh,

286
00:15:17,200 --> 00:15:18,840
you know, it's kind of impressive in a way that

287
00:15:19,120 --> 00:15:21,320
they were able to create something so real. But at

288
00:15:21,320 --> 00:15:25,000
the same time, it's like sometimes it's sometimes if you

289
00:15:25,039 --> 00:15:27,120
do a little digging, you'll be really surprised at how

290
00:15:27,200 --> 00:15:31,080
much was was not real drums. Yeah, and of course

291
00:15:31,120 --> 00:15:32,279
now you can do that with everything.

292
00:15:32,399 --> 00:15:37,159
Speaker 2: Yeah, yeah, it is. I think it is insane, you know,

293
00:15:37,200 --> 00:15:39,200
you would assume those things were all real. But yeah,

294
00:15:39,240 --> 00:15:41,559
drum machines were huge in the eighties. So a lot

295
00:15:41,559 --> 00:15:45,600
of those songs are just programmed and we play everything

296
00:15:45,679 --> 00:15:48,840
live maybe here and there they'll get he well, actually,

297
00:15:48,919 --> 00:15:51,320
I mean we use samples, but there's samples that they'll

298
00:15:51,320 --> 00:15:54,799
make themselves. So yeah, if a tom that he hit

299
00:15:54,919 --> 00:15:58,120
during the track wasn't strong enough, he'll go hit the

300
00:15:58,159 --> 00:16:01,600
tom one time, take that recording and put it right

301
00:16:01,679 --> 00:16:04,320
over the one that maybe he flubbed a little bit,

302
00:16:04,399 --> 00:16:07,200
so it's still him playing it. But oh yeah, yeah,

303
00:16:07,519 --> 00:16:09,879
that's how you like have to really fix stuff if

304
00:16:09,919 --> 00:16:10,720
it's real, you know.

305
00:16:11,240 --> 00:16:13,440
Speaker 1: Oh yeah, yeah, you gotta do overdubs. I mean, there's

306
00:16:13,480 --> 00:16:17,480
no get there's no getting it. Yeah. Absolutely, but that's

307
00:16:17,519 --> 00:16:20,799
just that's just part of the process. Has it been

308
00:16:20,919 --> 00:16:22,879
so has it been done that way with every all

309
00:16:22,919 --> 00:16:24,879
of the singles that you've released, it's all been done

310
00:16:25,039 --> 00:16:25,840
done that same way.

311
00:16:27,120 --> 00:16:29,840
Speaker 2: Yes, everything I have out is real.

312
00:16:30,159 --> 00:16:30,679
Speaker 1: That's great.

313
00:16:31,960 --> 00:16:35,159
Speaker 2: Yeah, that's kind of we It kind of started that

314
00:16:35,200 --> 00:16:39,279
way on accident, and then I started telling people, Hey,

315
00:16:39,279 --> 00:16:41,960
this song is real, and then we were like, well,

316
00:16:42,000 --> 00:16:43,879
if we're going to keep putting out songs, maybe we

317
00:16:43,879 --> 00:16:45,759
should do them all like that and that way they

318
00:16:45,840 --> 00:16:48,960
kind of have a cohesive sound. But then also we

319
00:16:49,000 --> 00:16:52,320
can continue to tell people and showcase like this is real,

320
00:16:52,399 --> 00:16:54,919
Like these are real people that are have years of

321
00:16:55,159 --> 00:16:57,440
training and talent that they can showcase.

322
00:16:57,799 --> 00:17:01,360
Speaker 1: Yeah. Absolutely, No, I think that's great. And then what's

323
00:17:01,399 --> 00:17:03,919
the live situation, Like are you playing these songs out?

324
00:17:03,960 --> 00:17:06,799
Do you play out a lot? Obviously there's a lot

325
00:17:06,839 --> 00:17:08,359
of I know there's a lot of places to play

326
00:17:08,400 --> 00:17:11,519
in Nashville, but it's also probably pretty crowded in some ways.

327
00:17:11,559 --> 00:17:15,039
But what's that like as far as the live scene

328
00:17:15,039 --> 00:17:17,119
and do you get out and tour or how are

329
00:17:17,160 --> 00:17:17,720
you doing with that?

330
00:17:18,759 --> 00:17:23,039
Speaker 2: I this is my third summer that I am playing.

331
00:17:23,319 --> 00:17:27,759
I primarily play in the summers just because winter kind

332
00:17:27,799 --> 00:17:31,119
of slows down a little bit, and I use that

333
00:17:31,200 --> 00:17:34,319
time more so for recording and writing and getting stuff

334
00:17:34,720 --> 00:17:39,279
ready to release and whatnot. And like I said, I'm

335
00:17:39,279 --> 00:17:43,519
from Columbus, Ohio. All of my family still lives there,

336
00:17:43,559 --> 00:17:46,759
Like every single family member lives there. All of my

337
00:17:47,160 --> 00:17:50,559
old friends from high school and before all still live there.

338
00:17:51,039 --> 00:17:55,319
So I visit there very frequently. I've built a very

339
00:17:55,359 --> 00:17:59,920
good community of people and kind of a following back there,

340
00:18:00,680 --> 00:18:04,160
and so I go back there very very frequently and

341
00:18:04,200 --> 00:18:09,039
play festivals and fairs in the surrounding area. Just because

342
00:18:09,079 --> 00:18:12,599
I've created a good community and I have lots of

343
00:18:12,599 --> 00:18:15,759
good contacts back there that it's easier, or it's gotten

344
00:18:15,759 --> 00:18:17,440
easier for me to get my foot in the door

345
00:18:17,759 --> 00:18:22,039
there rather than here. So yes, I play all my

346
00:18:22,119 --> 00:18:25,839
songs there and it's so much fun. I have a

347
00:18:25,880 --> 00:18:29,160
band that lives in Columbus, so I just go there

348
00:18:29,240 --> 00:18:31,400
and they're ready for me. They practice on their own

349
00:18:31,480 --> 00:18:34,160
and we kind of just show up and rip it,

350
00:18:34,279 --> 00:18:37,039
and then I head back to Nashville and work on

351
00:18:37,119 --> 00:18:41,400
stuff and then go back there. I definitely love to

352
00:18:42,240 --> 00:18:45,480
expand get out of just playing in Ohio. I've played

353
00:18:45,519 --> 00:18:49,240
in Nashville a handful of times, but it's really not

354
00:18:49,359 --> 00:18:53,720
that fun because it's so saturated. It's just not the

355
00:18:53,759 --> 00:18:58,039
same energy as going to Columbus and the people there

356
00:18:58,039 --> 00:19:01,279
are like, oh my gosh, this is incredible music, like

357
00:19:01,319 --> 00:19:03,839
thank you so much for playing for us, or this

358
00:19:03,920 --> 00:19:07,000
is people actually stand up and are singing along and

359
00:19:07,160 --> 00:19:09,200
these people have no idea who I am, but they'll

360
00:19:09,519 --> 00:19:14,920
really get into it. So trying to expand, but it's

361
00:19:15,000 --> 00:19:15,960
one step at a time.

362
00:19:16,440 --> 00:19:18,839
Speaker 1: Yeah, no, that's really cool. That's really cool. Have you

363
00:19:18,880 --> 00:19:20,759
done any videos for these songs?

364
00:19:21,759 --> 00:19:26,960
Speaker 2: I have one video out. Actually, I have a couple out.

365
00:19:27,200 --> 00:19:30,240
I love making videos. I love every once in a

366
00:19:30,279 --> 00:19:33,319
while I vlog like our shows that we go to.

367
00:19:33,480 --> 00:19:36,440
So when we play at festivals and whatnot, I'll bring

368
00:19:36,480 --> 00:19:39,279
a camera or a guy that will come and video

369
00:19:39,440 --> 00:19:42,160
kind of the whole process because it's just fun to

370
00:19:42,200 --> 00:19:45,039
have for memories. But then it also turns into like

371
00:19:45,079 --> 00:19:48,319
a fun little video for people to see what we

372
00:19:48,440 --> 00:19:52,880
do and what it's like to go play. And honestly,

373
00:19:53,200 --> 00:19:57,240
I started reaching out to radio stations because it seemed

374
00:19:57,279 --> 00:20:01,519
like a good way for me to kind of talk

375
00:20:01,559 --> 00:20:04,920
to people that weren't in Tennessee or Ohio. It is

376
00:20:04,960 --> 00:20:09,480
a way for me to kind of get myself started

377
00:20:09,680 --> 00:20:10,599
in new places.

378
00:20:11,599 --> 00:20:16,200
Speaker 1: Oh yeah, absolutely absolutely So now what's the uh so

379
00:20:16,319 --> 00:20:19,400
the single Greedy now that's been out a couple months.

380
00:20:20,119 --> 00:20:21,400
Speaker 2: Yeah, it came out in April.

381
00:20:21,599 --> 00:20:24,079
Speaker 1: Okay, now you're working on the next one already or

382
00:20:24,119 --> 00:20:27,480
are you? Are you focusing on uh more on other

383
00:20:27,559 --> 00:20:31,079
things or what's like, what what's the current uh trajectory?

384
00:20:31,160 --> 00:20:32,880
Because you did mention that other one.

385
00:20:32,720 --> 00:20:39,559
Speaker 2: That Yes, yeah, I have a song. It's called su

386
00:20:39,680 --> 00:20:42,920
Venirs and it comes out August first, and that's the

387
00:20:42,920 --> 00:20:45,200
one that was not written by me. We're just kind

388
00:20:45,200 --> 00:20:46,400
of trying something new out.

389
00:20:46,640 --> 00:20:49,960
Speaker 1: Okay, is that that one's all all recorded and ready

390
00:20:50,079 --> 00:20:50,480
coming out.

391
00:20:50,720 --> 00:20:56,160
Speaker 2: It's done, it's up, it's uploaded, so it's kind of

392
00:20:56,200 --> 00:21:00,480
just sitting there waiting to come out. So, oh yeah,

393
00:21:00,559 --> 00:21:04,240
that'll be the next one, and we're starting Actually, funny enough,

394
00:21:04,279 --> 00:21:08,200
we took a pause on making my music and we

395
00:21:08,279 --> 00:21:12,400
really want to do like a fun Christmas song in

396
00:21:12,680 --> 00:21:16,200
obviously like November December, but you have to start them

397
00:21:16,440 --> 00:21:19,759
so early, so we're starting a Christmas song next week.

398
00:21:21,240 --> 00:21:23,599
So we kind of took a pause. This other song

399
00:21:23,640 --> 00:21:27,039
will come out, and while that one is being processed

400
00:21:27,039 --> 00:21:29,440
and coming out, we're working on a Christmas song to

401
00:21:29,519 --> 00:21:32,319
do later, and then we'll get back to the normal stuff.

402
00:21:32,680 --> 00:21:36,319
Speaker 1: Oh, very cool, very cool, but souvenirs August first.

403
00:21:36,079 --> 00:21:39,039
Speaker 2: You said, right, August first, Yes, very.

404
00:21:38,839 --> 00:21:42,799
Speaker 1: Cool, excellent, excellent. Yeah, be sure to be sure to

405
00:21:42,839 --> 00:21:45,160
send that to us too. You know, we'll spin it here.

406
00:21:45,279 --> 00:21:47,200
Speaker 2: Absolutely definitely, I will.

407
00:21:47,279 --> 00:21:50,880
Speaker 1: Absolutely absolutely, Now, where should people go online to keep

408
00:21:50,960 --> 00:21:52,799
up with everything that you're doing. Where's the best place

409
00:21:52,839 --> 00:21:53,119
to go?

410
00:21:54,319 --> 00:21:58,759
Speaker 2: Yeah, I would say probably Instagram, Facebook, TikTok, all those

411
00:21:58,799 --> 00:22:03,440
places I post every day. Yeah, my name's the Cammi

412
00:22:03,519 --> 00:22:05,839
Knicks t A G, C A, M I N y X.

413
00:22:06,480 --> 00:22:12,400
And then I also have a website, the kammiecks dot com. Yes,

414
00:22:12,559 --> 00:22:16,319
and yeah, I post everything kind of all over those places,

415
00:22:16,400 --> 00:22:19,400
just what I'm doing and where I'm playing and what's

416
00:22:19,440 --> 00:22:22,160
coming out. And yeah, very good, very good.

417
00:22:22,240 --> 00:22:24,759
Speaker 1: Yeah. I encourage everyone to follow you keep track of

418
00:22:24,759 --> 00:22:27,720
what you're doing as you're releasing new music. And I

419
00:22:27,759 --> 00:22:29,799
was thinking, so we'll let you go in a moment, Cammy,

420
00:22:29,839 --> 00:22:31,440
but I was thinking about ending the segment. You know,

421
00:22:31,480 --> 00:22:33,839
we played reedy to open up. I was thinking about

422
00:22:33,960 --> 00:22:37,119
ending with this track good Things, which is also very catchy.

423
00:22:37,240 --> 00:22:39,920
I really like this a lot. Thank you. Yeah, absolutely so.

424
00:22:40,000 --> 00:22:42,119
I was thinking, well, we'll close out the segment with this,

425
00:22:42,599 --> 00:22:44,799
but yeah, thank you so much for joining us today.

426
00:22:44,839 --> 00:22:46,480
Are you in Nashville right now? Is that where you're

427
00:22:46,519 --> 00:22:47,319
joining us from.

428
00:22:48,200 --> 00:22:50,880
Speaker 2: Yes, I'm calling in from Nashville. I'll be here for

429
00:22:51,359 --> 00:22:53,119
I think two more weeks and then I have a

430
00:22:53,160 --> 00:22:57,000
show the third week of July back in Ohio, so

431
00:22:57,039 --> 00:23:01,200
I'll be heading out there. Yeah, and then back back

432
00:23:01,200 --> 00:23:01,880
to it. Oh.

433
00:23:02,039 --> 00:23:05,240
Speaker 1: Very cool, very cool. All right, well, Cammy, I appreciate

434
00:23:05,240 --> 00:23:06,839
you joining us today. We'll let you go. I'm gonna

435
00:23:06,880 --> 00:23:10,039
hit this track good Things, but Cammy Nicks, thank you

436
00:23:10,079 --> 00:23:10,680
so much.

437
00:23:11,160 --> 00:23:12,160
Speaker 2: Thank you so much.

438
00:23:12,359 --> 00:23:14,079
Speaker 1: You got it. We'll talk to you soon. Bye bye

439
00:23:14,839 --> 00:23:15,200
bye