Browse Artists
Peacock, Charlie
Just when you think you have him figured out, producer, artist, songwriter,singer Charlie Peacock offers yet another unique glimpse of his musical gifts and erases the notions or styling that others would readily assign him.
'Throughout all of my solo albums, there are some flirtations with technology," Peacock explains, "some hybrids like what you hear on Strangelanguage. Sounds, collages, samples, programs. And for this I decided, 'You know, I don't want to do that again.' I'm fortunate to be the kind of artist who knows how to play. I know how to improvise, how to sit down in a room with people and make music without a whole lot of technology. So, l decided to make one of those kinds of records."
Peacock, who has worked with such a wide variety of musical styling in recent years, has had his songs recorded by artists like dc Talk and Amy Grant, and also produced records for artists ranging from Twila Paris to Switchfoot. Though lending his talent to diversity, Peacock's new project is focused on specific genres of musical styling.
"I think the way I've been able to contribute my abilities is through my records and my songs and the people I work with, to show a sort of lack of favoritism to any given style," Peacock said. "When all of the alternative crowd was saying, 'He belongs to us, he belongs to us!' That is when I was at a place where I wanted to be over here working on a Twila Paris or Cheri Keaggy record. I appreciate the support, but I want to support God's musical people in a lot of different areas. If I can do this within this little pond, that's fantastic."
Peacock's little pond is also expected to create great ripples within the entire church community as he addresses them specifically through this new project, Kingdom Come. Peacock's recent book, At The Crossroads, (1999, Broadman & Holman) also speaks of this as he encourages fellow musicians to pick a direction with their musical talent and follow it.
"My intent for this recording was to go out and reconnect with people, primarily the church. I wouldn't have made this record, lyrically, if I were going out specifically to be salt and light to the culture. I would have made different lyrical choices. This record is about using very simple language to help people see the enormity of the Kingdom," Peacock explains.
While the language is simple, it is housed in some of the most sophisticated music Peacock has created in his 15-year career. It is not the techno-hybrid of 1997's Strangelanguage, the jangly modern pop of his production work with an artist like Sarah Masen, nor is it the adult contemporary sheen he's helped put in place for artists like Avalon and Michelle Tumes. Instead, Peacock put his musical trusts in the hands, literally, of musicians in his own peer group such as Kenny Greenberg (Ashley Cleveland, Edwin McCain, Allison Moorer), bassist James Genus ( Michael Brecker, John Schofield), and banjo virtuoso Bela Fleck. With these musicians and more, Peacock was able to do something with Kingdom Come that he has wanted to accomplish for some time - get in a room and just make music.
This sense of musical realness filters through all of Kingdom Come's tracks, from the swampy groove of the title track to the delicate strains of grand piano, banjo and Darwin Hobbs' background vocal on "Is The Brightness Still In Me?" to the intricate mixtures on "Genius In The Details" and finally the straight-up poppy guitar goodness of "Don't Be Afraid."
"I tried to leave a lot of the jamming and improvisation there because it was a lot of fun when we were playing it," says Peacock. "Everybody who played on the record was a really strong player, so I wanted to leave those spaces where you could hear real people playing real music. I don't think I've ever made a record that is this pure in terms of songs and musicianship. There's not a sample on it, there's no sequencing, nothing."
Peacock goes on to explain, 'there's nothing calculated about the music. What you hear is what happens when you get some really great players to make music together. It's evidence of where we've traveled, where we've been on our own little musical journeys. It showcases these peoples' ability to articulate the musical language, not by any sort of calculation. I didn't write out any parts for people. On a lot of records I work on, I'll make choices for a guitar player or a bass player so that I steer the music in a certain direction. But on this record, I let the players steer."
Kingdom Come is also evidence of where Peacock has traveled on his journey of finding his place in the vast musical industry. Peacock ties this newly discovered understanding into Kingdom Come and into his new book as he dissects his experiences, - both good and bad, - within an industry whose roots lie in a time of revival, but whose present rests in the hands of a very different group of people.
"I've always been searching for meaning," Peacock said. "Why am I here? What should I be doing? How can I contribute to the body of Christ? The book has really been the last piece of that puzzle. Kingdom Come is not the soundtrack to the book, but more of the companion. I think God's musical people should definitely be involved in the church, and here are some songs about that."
Peacock and co-writer Doug McKelvey speak to a variety of challenges and realities facing the modern church and its inhabitants, from reminding the listener about the tapestry of the entirety of God's people in the title track to the restorations to relationships only true sacrifice can provide in "Sacrifice of Love." "Cheer Up Church" reminds us that all that we are indeed "worse off than we think," and Peacock also provides hope in the ironic, "Wouldn't It Be Strange."
Charlie Peacock's Kingdom perspective manifests itself in his role as a thinker, teacher, artist and caring custodian of both the music and the people God has blessed him with in life. And this is where it will remain - at least until he is directed to erase, revise, renew and perfect just like he's always done.
Visit Official Website.
'Throughout all of my solo albums, there are some flirtations with technology," Peacock explains, "some hybrids like what you hear on Strangelanguage. Sounds, collages, samples, programs. And for this I decided, 'You know, I don't want to do that again.' I'm fortunate to be the kind of artist who knows how to play. I know how to improvise, how to sit down in a room with people and make music without a whole lot of technology. So, l decided to make one of those kinds of records."
Peacock, who has worked with such a wide variety of musical styling in recent years, has had his songs recorded by artists like dc Talk and Amy Grant, and also produced records for artists ranging from Twila Paris to Switchfoot. Though lending his talent to diversity, Peacock's new project is focused on specific genres of musical styling.
"I think the way I've been able to contribute my abilities is through my records and my songs and the people I work with, to show a sort of lack of favoritism to any given style," Peacock said. "When all of the alternative crowd was saying, 'He belongs to us, he belongs to us!' That is when I was at a place where I wanted to be over here working on a Twila Paris or Cheri Keaggy record. I appreciate the support, but I want to support God's musical people in a lot of different areas. If I can do this within this little pond, that's fantastic."
Peacock's little pond is also expected to create great ripples within the entire church community as he addresses them specifically through this new project, Kingdom Come. Peacock's recent book, At The Crossroads, (1999, Broadman & Holman) also speaks of this as he encourages fellow musicians to pick a direction with their musical talent and follow it.
"My intent for this recording was to go out and reconnect with people, primarily the church. I wouldn't have made this record, lyrically, if I were going out specifically to be salt and light to the culture. I would have made different lyrical choices. This record is about using very simple language to help people see the enormity of the Kingdom," Peacock explains.
While the language is simple, it is housed in some of the most sophisticated music Peacock has created in his 15-year career. It is not the techno-hybrid of 1997's Strangelanguage, the jangly modern pop of his production work with an artist like Sarah Masen, nor is it the adult contemporary sheen he's helped put in place for artists like Avalon and Michelle Tumes. Instead, Peacock put his musical trusts in the hands, literally, of musicians in his own peer group such as Kenny Greenberg (Ashley Cleveland, Edwin McCain, Allison Moorer), bassist James Genus ( Michael Brecker, John Schofield), and banjo virtuoso Bela Fleck. With these musicians and more, Peacock was able to do something with Kingdom Come that he has wanted to accomplish for some time - get in a room and just make music.
This sense of musical realness filters through all of Kingdom Come's tracks, from the swampy groove of the title track to the delicate strains of grand piano, banjo and Darwin Hobbs' background vocal on "Is The Brightness Still In Me?" to the intricate mixtures on "Genius In The Details" and finally the straight-up poppy guitar goodness of "Don't Be Afraid."
"I tried to leave a lot of the jamming and improvisation there because it was a lot of fun when we were playing it," says Peacock. "Everybody who played on the record was a really strong player, so I wanted to leave those spaces where you could hear real people playing real music. I don't think I've ever made a record that is this pure in terms of songs and musicianship. There's not a sample on it, there's no sequencing, nothing."
Peacock goes on to explain, 'there's nothing calculated about the music. What you hear is what happens when you get some really great players to make music together. It's evidence of where we've traveled, where we've been on our own little musical journeys. It showcases these peoples' ability to articulate the musical language, not by any sort of calculation. I didn't write out any parts for people. On a lot of records I work on, I'll make choices for a guitar player or a bass player so that I steer the music in a certain direction. But on this record, I let the players steer."
Kingdom Come is also evidence of where Peacock has traveled on his journey of finding his place in the vast musical industry. Peacock ties this newly discovered understanding into Kingdom Come and into his new book as he dissects his experiences, - both good and bad, - within an industry whose roots lie in a time of revival, but whose present rests in the hands of a very different group of people.
"I've always been searching for meaning," Peacock said. "Why am I here? What should I be doing? How can I contribute to the body of Christ? The book has really been the last piece of that puzzle. Kingdom Come is not the soundtrack to the book, but more of the companion. I think God's musical people should definitely be involved in the church, and here are some songs about that."
Peacock and co-writer Doug McKelvey speak to a variety of challenges and realities facing the modern church and its inhabitants, from reminding the listener about the tapestry of the entirety of God's people in the title track to the restorations to relationships only true sacrifice can provide in "Sacrifice of Love." "Cheer Up Church" reminds us that all that we are indeed "worse off than we think," and Peacock also provides hope in the ironic, "Wouldn't It Be Strange."
Charlie Peacock's Kingdom perspective manifests itself in his role as a thinker, teacher, artist and caring custodian of both the music and the people God has blessed him with in life. And this is where it will remain - at least until he is directed to erase, revise, renew and perfect just like he's always done.
Visit Official Website.
Albums
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Full Circle: A Celebration of Songs And Friends
Lie Down in the Grass
Secret of Time, The
Strangelanguage
Everything That's on My Mind
