This past week, Atlanta Film and TV interviewed singer, songwriter and guitarist Kameron
Corvet. Kameron “has traveled the world with his guitar as a solo/acoustic act, with the likes of Adele, Chaka Khan, Marsha Ambrosius, Bilal, Dwele, Tamia, and countless others.”
Atlanta Film and TV: How did you end up composing and writing for Sting and Shaggy?
Kameron Corvet: It started with a song I wrote. Once the basic song structure was created I began to collaborate with different creatives that I know within the music industry, one of whom had a relationship with Shaggy. Once Shaggy heard the song I wrote, he loved it! Shaggy ended up in Los Angeles doing a reggae feature on another artist, which was orchestrated through Sting’s manager. During a break in the session, Sting’s manager asked Shaggy what he was working on. Shaggy then played the demo I’d constructed and that’s when he thought that Sting would be perfect to add to the song. After the session, Sting’s manager sent the song over to him and they began to add their elements to the song to make it complete.
Atlanta Film and TV: Some artists rush to get signed by a record label. Why have you remained independent? How can an artist leverage their behavior for independence to
expand their reach?
Kameron Corvet: There are many factors as to why I remained an independent artist.
That’s not to say that I haven’t entertained the idea of pursuing a major record label. When I tried to pursue record executives, it was just bad timing. Not everyone will see your vision the same way you see it. The business of music is something that over the years has become less and less about talent, and more about the other miscellaneous factors that don’t go well for an artist desiring to have a long career in the music industry. I’ve gotten reactions such as “Oh, my God! You’re super talented! We can swing you in this direction” (which wasn’t my direction at all.) I’ve also heard, “He’s super talented, we don’t know what to do with him”. That’s when I decided to craft my own narrative for people to truly understand who Kameron Korvet was. I have never been anti-label, but I have discovered that labels aren’t always right. However, I don’t want them to do any wrong at my expense.
To answer the last part of the question, some indie artists can expand their reach by collaborating. Artists can also be innovative about how they choose to present their talent to the masses. They should focus on their craft by making great music, and not concerning themselves on what their peers are doing. Lastly, they should reach inwardly to pull the best of themselves and their talent out for the world to see.
Atlanta Film and TV: How have you managed to keep such an original sound? Do you ever feel pressure to adopt a more mainstream sound?
Kameron Corvet: There is always the pressure of adopting whatever the flavor of the month. This usually comes from people who only look at existing numbers. However, the overall goal of an artist is to have a long-lasting career. Those same artists who have long-lasting careers have a specific type of sound they’ve curated, which doesn’t happen overnight. A lot of labels aren’t interested in making a long-term investment in an artist that they believe in. What they’re looking for is something that’s already making waves in the marketplace. The concept of mainstream just depends on whether you have a lot of views or a lot of plays, at any given moment. All the fluff that’s added is usually based on whatever the sonic fad is at the moment. I’m big on making sure the guitar is the central element in what I am doing, so at any point, I can strip the digital elements away from the music. It can be just me, the guitar and the audience. I feel like my sound is always going to be relevant.
Atlanta Film and TV: How can aspiring songwriters market themselves while protecting their intellectual property?
Kameron Corvet: In today’s market, it’s easier to track your music than it has been in the past. You should, however, choose wisely who you trust with your materials. Also, it is wise to be sure what you’ve created is protected and never send out anything before it is. In the past, I would pay the $35 to register the music I created with the Library of Congress. In this day and time, it is sometimes difficult to establish ownership. You can send an email to yourself, with an mp3 attached. This would be the same as back in the day, where you created either a tape or a CD, mail it to yourself and not open it up so it could have an official government postmark which would indicate the date in which it was created. A lot of times the way files are created, you can establish the date encrypted into a file. In regards to intellectual property, copyrighting what you’ve created is still a good idea. Again, be sure who you’re wise who you send your material to. To have a record of what you send and who you send it to, be sure to either blind copy yourself. There are times where I will send records via texts - and with those types of situations, I won’t delete them. I believe that the heavy lifting is getting out there meeting people face-to-face to have quality conversations. This will ensure that people whom you encounter actually have the access they say they do before you start sending your songs out. A lot of the early parts of songwriting include just taking a shot in the dark and seeing what happens. I honestly don't want to discourage people from taking that opportunity to put their names in certain hats. But, I wouldn’t encourage it if it’s material you want to keep for yourself. If it’s something you feel personal about, just create more songs. The more you create and the more you put out there, the more opportunities you have for people to hear what you’ve created. And, you can definitely tell when someone has copied something of yours.
Atlanta Film and TV: Can you tell us what’s next for you and how artists can connect with you?
Kameron Corvet: I’ve been working on an acoustic-based project and want to be sure there’s a line of connection between how people experience my recorded music and my live performance. The connection between the recorded experience and the live experience is key. In the past, there’s been a lot of opportunities I’ve had being an acoustic-based artist. I’ve opened for artists such as Chaka Khan, Adele and Robert Glasper. Afterward, people wanted to purchase my products. But, you always wonder if they’ll like the product? I ask this question because those wanting your products just finished watching me play live for 45 minutes. But, once they purchase a CD and realize the songs are interpreted differently, will they enjoy the recorded music as much. But, for me, it’s important to be sure that there is a connection between how I’m presenting my music to a live audience and how they experience a recorded project. My day-to-day activities include actively songwriting for other artists. Artists can connect with me on Facebook, Twitter @Kameron Corvet and Instagram @KameronCorvet and be sure to check out his website at Kameroncorvet.com