Spotlight: Kameron Corvet
Atlanta-based singer Kameron Corvet is known for acoustic rock-flavored soul as intimate as influence Prince. Like many other Atlanta University Center alums from the early aughties, I learned of Corvet during his tenure at Morehouse College. He was especially adept at the solo acoustic set and I thought initially reminiscent of D'Angelo but he's got a sound of his own. These days, he's generating traction from "Spelman Girl" but his re-released album SayingThings is available on iTunes or at his web site,
I caught up with Corvet via e-mail in between a stretch of live dates including the Temple Bar in Los Angeles and the Essence Festival in New Orleans. He discussed the differences between R&B and Soul, eschewing collaborations and destigmatizing the day job among other topics.
VIBE: Name 3 albums that influenced the music you make and how you make it?
Corvet: 1. OK Computer by Radiohead 2. Voodoo by D'Angelo 3. Purple Rain by Prince.
The combination of sounds, organic and orchestral elements as well a liberating freedom of creativity are amazing. These are the albums that I listen to 75% of the time and I'm still finding new musical elements to draw from each and every time I listen.
Are there any particular artists with whom you've collaborated or venues where you have frequently performed that are instrumental to the sound you've cultivated?
I strayed away from collaborations earlier on because I knew that I needed to know my sound and be confident in it. I felt like other artists and any current music would just take me away from where I needed to be. I would have to say that going to Nashville really changed my outlook on the power of an acoustic show. Between that city, Apache Café and Eddie's Attic in Atlanta. It's the venues that let you get in over and over again that really make the difference. I had to get to the point where I really just didn't care. That's when the artistry started to take over and I became authentically me.
I understand that you have/had a day job; this is a necessity that few artists discuss. Bill Withers famously held down a day job early in his career as he though the music industry was too fickle. Can you talk about the practical side of making music and pursuing your passion?
Yes, I have held down a job in times past and I am still working currently as a middle school French teacher in Atlanta. I used to be a little shy to discuss that element because I would feel as though I was acknowledging an aspect of my life that I was somehow seeking to run away from. I'm so cool with it now though because...there is a practical side of music. This practical side is what a lot of people are looking for in the music itself. I have no choice but to be practical because the glamorous life isn't one that I know nor is it one that I care to know at this point. From a business standpoint, you HAVE to do something on your own. Whether it's an EP or a single or something. Industry executives get thousands of packages a week and with the way the industry is, few people want to waste money or risk their careers on untested product. Therefore, having a job with some sort of substantial income makes it easier to green light your own endeavors. 90% of what I've done I've funded myself through paychecks, a bit of frugality and cereal from time to time. Some of my most meaningful material has come from being preoccupied with work and an idea slipping in that I never would have thought of if I were thinking too straight. Besides, if you haven't invested any money into yourself and what you would consider your passion (in the most artistically genuine form of the word), how do you expect someone else to?!
What are your greatest business and creative challenges as a soul singer in 2008?
When you've got soul, the challenge is how to describe yourself amidst a sub-genre that is suffering. R&B and soul music are not the same just like punk, indie, speed and heavy are not the same. I say that because creatively the R&B cats and soul cats don't often create in the same way or use the same sounds in the contemporary market, however, the industry machine is about numbers and in urban music, it's all about the producer...Soul music specifically relies on the artist being an integral part of the creative process.
Do you think the future of soul music will be in independent releases or major labels?
The future of anything heavily rooted in soul will be deeply rooted in the independent realm. A soul career has to be built in order not be breached or compromised by the sometimes ugly head of the industry. I think soul music can be large on the commercial level again but it's important to have a history and an audience which will have your back. The future of it though, is in the hands of the independent release.
What's the most significant lesson you've learned?
Do the "real" you from the beginning because the "real" you will always come out in the end. I've seen so many artists from close up and far away compromise just a bit too much in order to crack through with the belief that they can go back and reclaim themselves later. Compromise is necessary, however, it's so much easier when you have something of substance to work with, to bring to the table and to channel through the industry machine.
Any other thoughts? Feel free to share.
I just want to encourage the listening audience to take back the control when it comes to the music industry. I think sales and technology have shown us that the consumer wants to buy what they like and anything they don't like, they don't want. If that same attitude can be taken towards breaking an artist, we'll see and hear a lot more artists and music that can truly be a representation of our times and American music has to offer the world just like in heralded times past. The music industry is ultimately controlled by your decisions and your capital.
Shout out to Morehouse, Spelman and Clark. I've been equally as influenced by your halls, venues and students as any venue on this earth.
Tags: Interview, Kameron Corvet, Music, Soul, Spotlight
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Comments
1.
gypsygoddess says:
oh my. i remember this brotha.
very talented.
told me not to introduce him as a morehouse student, but as a real artist.
very real deal hollyfield talented indeed.
07/30/2008 at 12:46 AM