Eric Church
Mr. Misunderstood
* * * *
There’s a quote from Marty Stuart that says the most rebellious thing you can do in Nashville is play actual country music. I’d go on to add that the second most rebellious thing you can do in Nashville is to record and release an album of your own volition on a major label without any executives getting in your way.
For his fifth album, the spellbinding Mr. Misunderstood, Eric Church was able to accomplish that second feat. In a handwritten letter published upon the album’s surprise release last November, he relayed a touching story about finding inspiration through a guitar his son had named late last summer and the music that poured out of it as a result. In a brisk 30 days, Church had recorded the ten tracks that would comprise the strongest mainstream country album of the decade thus far.
Mr. Misunderstood triumphs on the strength of Church’s willingness to mature as an artist and songwriter. He’s letting the music speak for itself, forgoing egotistical pretense, and highlighting Jay Joyce’s strength at elevating lyrical compositions without bombarding the audience with needless noise.
Nowhere is the pair more masterful then on “Knives of New Orleans,” the album’s blistering centerpiece. Written by Church, Travis Meadows and Jeremy Spillman, the song tells the tale of a fugitive wanted for a brutal murder he mercilessly committed without remorse:
Yeah, tonight, every man with a TV
Is seeing a man with my clothes and my face
In the last thirty minutes
I’ve gone from a person of interest
To a full-blown manhunt underway
I did what I did
I have no regrets
When you cross the line
You get what you get
Tonight, a bleeding memory
Is tomorrow’s guilty vein
Your auburn hair on a faraway sea wall
Screams across the Pontchartrain
I’m haunted by headlights
And a crescent city breeze
One wrong turn on Bourbon
Cuts like the knives of New Orleans
It’s far and away my favorite song on the project. I also equally adore Church’s solo-penned “Holdin’ My Own,” an unapologetic acoustic masterclass in introspection. In just under four minutes, he brilliantly traces his career trajectory and stands firm against anyone who wants a piece of him:
Always been a fighter scrapper and a clawer
Used up some luck in lawyers
Like huck from tom sawyer jumped on my raft
And shoved off chasing my dreams
Reeling in big fishes
I had some hits a few big misses
I gave em hell and got a few stitches
And these days I show off my scars
With one arm around my baby
And one arm around my boys
A heart that’s still pretty crazy
And a head that hates the noise
If the world comes knockin
Tell em I’m not home
I’m finally holdin my own
I’ve burned up the fast lane
Dodging drugs and divorce
If I’m proof of anything
God sure loves troubadour
Sometimes late at night
I miss the smoke and neon
Sneak out of bed grab a six string
Play what’s still turnin me on
Like that tight old time rock n roll
Or that right down home country gold
I miss blues and soul
But not more than I miss being home
Also outstanding is “Three Year Old,” a tender ballad Church wrote about his son Boone with Casey Beathard and Monty Criswell. It follows “Holdin’ My Own” in showing a more mellow side of Church, the man behind the sunglasses and electric guitars. The trio relies on personal observances to frame the story:
Use every crayon color that you’ve got
A fishing pole sinks faster than a tackle box
Nothing turns a day around like licking a mixing bowl
I learned that from a three year old
A garbage can is a damn good spot to hide truck keys
Why go inside when you can go behind a tree?
Walking barefoot through the mud will knock the rust right off your soul
I learned that from a three year old
You can be a cowboy on the moon
Dig to China with a spoon
Talk to Jesus on the phone
Say “I love you” all day long
And when you’re wrong, you should just say so
I learned that from a three year old
Church balances the self-examination with some primed-for-radio hits. “Round Here Buzz” it’s about the self-destruction after she’s left the hometown he’s hell-bent on staying in. He’s also without his woman on “Record Year,” but instead of turning to alcohol he’s drowned his sorrows in a ‘three-foot stack of vinyl.’
On his last tour, Church won raves for including artistic-driven Roots and Americana artists as his opening acts. The mutual admiration continues with Rhiannon Giddens joining Church for powerful background vocals on “Kill A Word,” a slice of social commentary about destroying words that aren’t good for our society. “Mixed Drinks About Feelings” is a full-fledged duet with Susan Tedeschi that mixes blues and rock. It’s not my favorite track on the album, but it is very good.
I also have mixed emotions about “Mistress Named Music,” which Church also wrote with Beathard. The vibe of the track is very good, Church gives a powerful vocal performance and the use of organ wonderfully sets the tone for the moody ballad. I just don’t seem to go back to it that often. The same goes for “Chattanooga Lucy,” which I flat out don’t get. It’s easily the most esoteric track on the whole album. I don’t hate the title track, either, but it has grown repetitive on repeated listenings. That said, I fully stand behind the song’s message.
The only thing truly misunderstood about Church is the whole point of his musical journey over the past ten years. He hasn’t won any favors with country purists nor has he gone out of his way to please those put off by his egotism. But he has built a career on real music that bucks every trend. He stands out because he knows exactly what he’s doing.
Church isn’t dumb nor is he a maniac. At the end of the day he’s an authentic artist releasing his own music. He’s getting massive airplay for songs that shouldn’t even be breaking through at all. He’s the last real country singer standing in mainstream Nashville. He may have an edge, but he can stand tall with the best of them. Mr. Misunderstood proves that in spades.
Three more names cemented in bronze: the class of 2012
March 7, 2012The importance of this commemoration knows no bounds as the past and present collide to bestow an honor upon three worthy individuals whose contributions have been revolutionary.
This recognition, which concludes with a medallion ceremony later in the year, elevates greatness, yet sparks fierce debate among those who object to this honor coming too soon or far too late.
But one ideal will always rise victor – the highest professional honor in country music is induction into the Hall of Fame. And in 2012, that prestigious mark of upmost respect shines a light on Hargus, “Pig” Robbins, Connie Smith, and Garth Brooks.
In three unique and different ways, each inductee has left a stamp on country music not likely to be erased with time. Through his paino-playing on iconic songs such as “Don’t It Make My Brown Eyes Blue” and “White Lightning,” Robbins has redefined the essence of the studio musician.
With “Once A Day,” a little tune pinned by Bill Anderson, Smith did the impossible – becoming the first female artist to log eight consecutive weeks at #1. That feat, accomplished more than forty years ago, has yet to be topped.
And Brooks took our notion of what a concert tour could be, turned it on its head, and ran with it.
Hargus “Pig” Robbins
Especially this day and age, with digital sales rendering the dust jacket obsolete, the ideal of the studio musican has nearly gone out the window. No longer do we care who backs up our favorite singer as long as said artist releases new music.
But the studio musician is the backbone of all music. Without session players, as they’re also called, albums would never be released. We need these professional musicians who can learn a song on a dime (often without sheet music, thanks Kix) and execute them flawlessly.
Robbins was one of those such people and arguably one of the best the genre has ever seen.
Connie Smith
At 70, Smith sounds better today than most female singers in the business. I was recently scanning the television channels when I came across The Marty Stuart Show on RFD-TV. A homage to all the great variety shows from the 60s and 70s, The Marty Stuart Show is a shining example for classic country music in a world in which country rock knows no bounds.
Marty’s guest that evening was none other than Smith, his wife. For half an hour she took to the stage and sang from Heartaches. She performed more than half of the album and even brought her three daughters on stage for “Take My Hand.”
The show can be “hicky” at times, but Smith’s voice shined loud and clear. It was so nice to have an outlet from which to see her perform and I knew I was witnessing something special.
My first vivid memory of Smith came in 1997 when I watched her perform on the Grand Ole Opry from my grandparent’s living room. I don’t remember what she sang, but I remember it airing after she married Stuart. Being young and naive, I didn’t understand what I was watching and thought she looked “tough.”
The next time I remember paying attention to her was during a duet of “Once A Day” live on the Opry with Martina McBride in 2005. That performance is on YouTube and very good, although Smith steals the show (as she should have).
Like Jean Shepard last year, Smith’s induction is long overdue. Her importance to country music may be quiet in comparison to the likes of Loretta Lynn, Tammy Wynette, and Dolly Parton, but she belongs with them in a class of her own.
With a better understanding of her importance, and a deep love of Heartaches, I now can say I’m a bonafide fan.
Garth Brooks
I remember, once, not “getting” him. This idea of his popularity being something overblown. I don’t know when I woke up and got a clue but it came pretty fast.
In 1997, when I was also first learning about Smith, my grandfather turned 75. So my mom had an idea – I would sing “Much Too Young (To Feel This Damn Old)” at the party. I’m not a singer or guitar player, so I did my best to pull it off. I remember having to learn the song for weeks before hand and feeling pretty cool that I could use the word “damn.” It was a special moment and I can still see myself sitting on the stool in the middle of the dance floor.
That same year, like the rest of the world, I tuned into the famous Central Park concert. Being young, I really had no idea the magnitude of what that show really symbolized for country music. I remember how happy everyone was that Garth was sticking only to old material.
Watching from my grandfather’s basement, I can see clear as day, his inability to get the VCR to work so we could tape the show. I was mad but it was just so cool to be able to watch it. Funny thing, when he brought Billy Joel on to sing “New York State of Mind” I had never heard of him (or at least really knew who he was). I always thought he should’ve been wearing a cowboy hat.
Apart from his concerts, yes I also saw his 1998 show from Ireland, and a concert of my own in 1996, I have vivid memories of Brooks’ music. More than any other artist, he was a true marketing genius.
Getting a new Garth Brooks album was always a treat because there would be multiple covers and “first editions” to choose from. I have first edition copies of Sevens, Double Live, The Magic of Christmas, and Scarecrow.
I remember listening to a radio show, in 1998, when they played every cut off of The Limited Series with commentary from Brooks. It was so cool, at that time, to think he was releasing a boxed set of his material with one new cut on each album.
I also rushed out and bought everything he had for sale during his “Wal-Mart Only” years. Sure, you could say I’m a sad sap for buying into all this, but for some reason you had to – it’s Garth Brooks. (Along those same principles – I also own In The Life of Chris Ganes).
In his day, Brooks had it all. The mammoth concert tours, hit singles, and everything in between. And with Trisha Yearwood he had the tabloid love affair we all love to speculate about (did they hook up in the 90s or not?).
But the truly remarkable aspect of Brooks’ career are the songs. It isn’t very often that an artist can back up their success with such memorable and iconic records. There isn’t a single superstar today – from Kenny Chesney, Carrie Underwood, and Taylor Swift, to Brad Paisley, Keith Urban, or Tim McGraw who can match Brooks song for song. His is music of substance, class, and grace.
For instance, on 9/11, I remember singing “The Dance” to myself on the way home from school. When I got home, the first song I turned to was “The Change.”
There isn’t anyone who can match him. I remember people would take the day off from school or work to stand in line at their local CD store on Garth Brooks release day. His albums were events.
But Brooks’ induction came so soon, ahead of the more deserving Randy Travis and Ricky Skaggs (who he singled out in his speech), because of one aspect – touring. His concerts were revolutionary for elevating the stage show to heights previously unknown in country music. Like his albums, his shows were happenings.
Before Brooks, you didn’t have fans rushing online at 10:00am to secure their seats to a show. Country artists may have seen sellouts aplenty, but never in places like the Staples Center and Madison Square Garden. He brought country music to a whole new level; one not surpassed until Chesney’s stadium shows in the 21st century. Brooks drew the blueprint that made the mammoth country shows we all go to today, possible.
All and all, If Brooks is anything, he’s his own man. He was the first to announce a retirement (via a silver covered Country Weekly cover in 2000) at the height of his fame, and remains the staunch holdout for a presence digitally. He doesn’t even have any vintage clips on YouTube.
But like any great artist, the songs will always live on. I was listening to my local country station just last week and what came on? None other than “If Tomorrow Never Comes.” Singing along to his first #1, it felt comfortable, right. Just like his entrance into the Hall of Fame.
Looking Ahead
As we look back at the legacy Robbins, Smith, and Brooks bring to the Hall, the debate over future inductees rages on. Brooks may have gotten in ahead of his time, but no one exemplifies the “90s boom” better and as the forefather of the country spectacle, he made the stadium shows of today doable.
But here’s my list of who should welcome the exit of winter’s chill in some upcoming March and allow us to have a celebration in their honor:
Modern Era Category (In order of importance):
Veteran Era Category (In order of importance):
Tags:Alan Jackson, Alison Krauss, Anne Murray, Brooks & Dunn, Clint Black, Connie Smith, David Allan Coe, Dwight Yoakam, Garth Brooks, Gene Watson, Hank Williams Jr, Hargus "Pig" Robbins, Jim Ed Brown, John Anderson, Johnny Paycheck, June Carter Cash, Kenny Rogers, Marty Stuart, Patty Loveless, Randy Travis, Ricky Skaggs, Ronnie Milsap, Rose Maddox, Tanya Tucker, The Browns, The Judds
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