A Quote by Sam Hunt

I didn't really know you could make a living in songwriting. I was just very fortunate to have the opportunity to play a few songs for a guy there named Jimmy Ritchey. Through that meeting, I met another couple guys and ended up getting a publishing deal in Nashville.
My publishing deal is out of Nashville, my management is split between Nashville and Texas, but we are also getting to play eight other states as well as Canada and Europe this year. I don't want to pigeon-hole myself. When people ask me if I'm Texas or Nashville, I tell them I am just Cody Johnson.
As far as in my adult life, it kinda started (with) writing first 'cause I went to school in Nashville. I mean, not Nashville but close to Nashville, and I met my managers in L.A. at a convention randomly. And then, it kinda just started from there. And then, I got my publishing deal.
I don't consider myself a songwriter, I've tried, I've written a few with friends but that's an art form I'm gonna leave to guys like Jimmy Ritchey and Kevin Fowler.
When I went, I hadn't had very much time to have hopes or expectations. I knew very little about Nashville, and I think that was probably good. When I was there, I got really lucky - I ended up with people that just were amazing musicians, and that's the Nashville that I experienced. That is a big part of Nashville - there's a lot of musicians, and that makes it a very special place and shapes the city.
I ended up [doing video] meeting Gillian [Grassie] at the same time that we were getting together a book. We ended up working on it, and she recognized that I had a flair for certain things, and we've worked through it together so that the writing could be really good. It was the perfect partnership, just finding my literary voice and figuring out how comedy translates to the written word.
In Nashville, everybody just wants to write the best songs. So it's a very inviting songwriting community.
I decided I was going to be an artist who wrote my own songs, and turned down the publishing deal. That meant that the first few years here were really tough financially. I didn't know if I was going to have gas to get home sometimes or could put gas in the car.
I didn't move to Nashville with any inkling or dreams of getting a record deal. I didn't have those stars in my eyes. I just wanted to take a break, relax, and figure out songwriting.
You had one guy who was a slave, and another who wasn't. And I actually know what happened to them. [Juan ] Garrido ended up getting good jobs and a pension in Mexico which was the center of New Spain, as it was called. Esteban ended up being killed by the Zuni Indians.
The nice way to meet a guy is through getting to know them first. Then you can really judge their personality. What I can't take is meeting someone, going on a date, getting to know them, then finding out they're a complete psycho - 'Great, I've just wasted all this time on you!'
It was just like a dream. I could have ended up with an album that's not all that different from anything else coming out of Nashville. Mutt made the difference. He took these songs, my attitude, my creativity, and colored them in a way that is unique.
At the beginning of my career, I saw an opportunity to forge new ground and focus on songwriting. Not many people were doing that at the time. Pretty much nobody. I thought I could write some really cool songs that would rise above all these dozens of genres that exist within dance music. I'd make it more about the songs. For the last 20 years, I've been sharing stories of my life through music. I've been writing songs about my life.
I got to playing villains-I don't know how. I think it's like anything else, in the movies in particular that if you establish yourself as something and you're lucky enough to keep getting hired. You know, there are guys who play the guy who gets the girl, guys who are the best friend of that guy, there's the funny guy, the villain.
I could play a cop, I could play a crook, I could play a lawyer, I could play a dentist, I could play an art critic-I could play the guy next door. I am the guy next door. I could play Catholic, Jewish, Protestant. As a matter of fact, when I did The Odd Couple, I would do it a different way each night. On Monday I'd be Jewish, Tuesday Italian, Wednesday Irish-German-and I would mix them up. I did that to amuse myself, and it always worked.
I'm very lucky that people are able to say, 'Oh, that's that Moody Blues guy!' I'm very fortunate with that. That's all. Without the songs, I think, I'd just be a pretty average karaoke singer. In the end, it comes down to the songs: the strength of the songs.
Songwriting is a really fortunate skill to have to frame living and to find new ways to observe things you're going through.
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