Living the Eclectic Life
Charlie Peacock has seen it all—and done it all—in his 20 years in Christian music.
by Russ Breimeier and Michael Herman | posted 6/21/2004
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Twenty years ago, a born-again believer named Charlie Peacock emerged within a fledgling Christian music industry. It's unlikely that anyone at the time could have guessed what deep influence the young musician would have in the years to come, serving others in so many ways—as an artist, songwriter, producer, mentor, record label executive, author, and visionary. In early 2004, Peacock released Full Circle through Sparrow/EMI, an album that celebrates his musical legacy with the artists whose lives he's most affected over his career. Also in stores is his new book, New Way to Be Human, which challenges readers to live an authentic Christian life the way God intended it to be. We were graciously invited to visit Peacock's home to talk about his artistic career and the direction of the music industry today.
Congratulations on 20 years in Christian music. Let's start with Full Circle. Most artists aren't usually involved in their own tribute album, but you were a part of the production and performance of every track. What inspired that decision?
Charlie PeacockI kind of bristle at the idea of a record company rehashing old material to sell it again. And I don't think I'm done making or producing music anymore. So it just made more sense for me to participate in the album as a collaborative process with the people that I love and respect—both people that I've influenced and those that have influenced me. It's more celebratory that way, and [it allows] us to celebrate as a community both the grace that God extends to us all, as well as the privilege of creating music.
Tell us something you know now that you wish you knew 20 years ago.
PeacockI wish I did a better job combining my pursuit of artistic independence with a stronger sense of community and caring for others. In the early days, I was so focused on experimentation and being adventurous, I'd tell people, "If you like it, great. If you don't, tough." But as I grew older, I began to care more about people. It wasn't as if I didn't care before, but I didn't have a really fleshed out musical theology about how to love people through my music. As I've come to understand all of this "human enterprise," I realize now that it needs to start with what it means to love.
How has the music industry changed the most over your career?
PeacockIt has in so many ways! I think the loss of eclecticism is No. 1—partially due to issues like branding and marketing, so that people are expecting just one thing musically.
In that context, how are you defining "eclecticism"?
PeacockIt's basically that which draws from a number of sources to make up many new kinds of music. When I was growing up in the '60s and '70s, an artist like James Taylor would have been clearly pigeonholed as folk pop artist. But then he'd have [jazz saxophonist] Michael Brecker do a solo on his record, or maybe [jazz guitarist] John McLaughlin play. He'd mix up the genres.
We don't live in an environment anymore that values the mixing of musical styles and genres. That celebration of diversity inside of music making has been lost, and any remaining diversity is left up to individual styles. For example, if you're going to do hip-hop, it should be clearly done like Jay-Z. If you're going to do rock, you need to follow the popular sound of Creed. If you depart from that, then you're not doing that genre.
But I grew up with an environment where you weren't bound by these shackles of genre that have very narrow conventions about what is or isn't that kind of music.
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