Charlie Peacock is one the most accomplished musicians in my lifetime, and his name will likely be unfamiliar to many. Who’s Charlie Peacock? He’s the type of artist whose work is more famous than he is. Ever listened to Amy Grant’s “Heart In Motion”? Switchfoot? “In The Light” by DC Talk? The Lone Bellow? The Civil Wars (the band, not the conflict between Sulla and Marius)? Then you have heard Charlie Peacock. He’s won multiple Grammys and is recognized in musical circles as one of the best musicians and producers of his generation.
Peacock is an exceptional musician and artist in his own right, with several solo releases under his belt, but he’s best known for his contributions as a producer and songwriter for other artist’s projects. He has also played a key role in significant kingdom work, including efforts to address the African AIDS crisis, being one of the first artists to perform in the former Soviet republics, and his role in developing Art House America.
Given my time in the music industry, I’m acquainted with Peacock. In fact, he was the executive producer on one of my band’s records (which makes a cameo in the discography appendix), though I’m not sure if he ever actually listened to the final album we made. Despite knowing him to some extent, I didn’t fully appreciate the depth of his life, work, and background until I read his new autobiography, “Roots and Rhythm.” It’s both interesting and impressive.
A Practical Theology of Music
Peacock is an exceptionally thoughtful Christian who has been creating exceptional art for a very long time. There are insights and understandings that come only gradually, like the growth of a tree—not the sudden flash of lightning. Peacock spends a significant portion of the book taking you along with him as he arrives at these crucial lessons. I found myself benefiting from this book’s wisdom.
He also presents solid practical theology. In the music world, Christians can sometimes fall into the trap of a truncated understanding of the gospel. You are tempted to believe that if the music isn’t evangelizing or leading people in worship, then it’s not honoring God. Peacock has long advocated and modeled the Reformed principle that all of life is to be brought comprehensively under the lordship of Christ.
For anyone interested in seeing a living example of how a Reformed understanding of the gospel’s sufficiency shapes someone’s work and life, this book is about as good as it gets. When I hear non-musician theologians talk about music and creativity it sounds like a foreign language to me. When Peacock (who has some seminary training) talks about it, it comes from a place of lived experience, not academic conjecture.
Another reason to read this book is not just for the wisdom it offers, but for how interesting and entertaining it is. Peacock is a brilliant producer, and his approach to producing is fascinating when he lets you in on it. I wish he included more details about how he approached certain projects. He’s lived an adventurous, risky life, and it’s worth reading about. He partnered with Bono on the One Campaign and opened for Bob Marley in the 1970s. There’s simply too much to list in a brief review. Just trust me: the guy is a fountain of great stories.
The Shape of Music
Every musician is the same. You don’t know them until you’ve listened to both the music they’ve made and the music that made them. To get the most out of the book, I recommend reading it with your favorite music streaming service open. Peacock makes countless references to songs, albums, and artists throughout the book, either because he worked with them or they influenced him. If you want to truly understand this musician, you’ve got to listen to the music.
When Peacock references his early solo records, stop and listen to them. Revel in their bass-slapping, prog-pop glory. When he mentions the band 77s, give them a listen. Like me, you’ll say, “This is a pretty cool track.”
When he talks about The Civil Wars and how he rescued one of their albums with creative studio heroics, you’ll hear Charlie’s fingerprints on it and appreciate the absolute genius that turned a salvage project into Grammy awards. Listening as you read makes for a rich experience and is a great way to discover new musical gems. Before reading this book, I wasn’t familiar with The Lone Bellow, but now I’m diving into their entire catalog with enthusiasm.
For some, the “jazzy” structure of the book—its non-sequential history, Kerouacian riffs, rabbit trails off of rabbit trails, and multiple first-time introductions to the same people and places—can be difficult to follow. I found this format challenging at times, but it’s to be expected from a guy who’s been pulled in two directions: progressive jazz, which is improvisational and exploratory, and, on the other side, sharp, bright pop songs.
As a reader, I wish Peacock had followed some of his pop instincts and made the book a bit more concise. He has a habit of not only telling you about the people he’s crossed paths with in the music world, but about people they’ve worked with, the songs they’ve played on, the studio where those songs were recorded, the noodle shop next to the studio, etc.
There is so much meandering in the book that it can sometimes read like an encyclopedia. Of course, there’s a reason for this: one of the themes of “Roots and Rhythm” is that no musician emerges fully formed. Rather, they are the product of a family history, a place, a culture, and a time. Everyone they’ve crossed paths with has helped to shape them. This is a key theme, and certainly interesting, but I would have preferred a more succinct presentation.
This book is a must-read, of course, for anyone who enjoys Charlie Peacock’s work as an artist or producer. It’s also for all musicians or anyone passionate about music. Sitting down to listen to an artist of Peacock’s wisdom and caliber is captivating and enriching. Additionally, anyone interested in how the gospel shapes work, creativity, and spiritual formation will find value in this book. It’s a well-written account of a living legend, and it’s definitely worth reading.
Matt Morginsky serves as pastor of Grace and Peace Church in Denver, Colorado.