Description
Strangelanguage is the sixth studio album by the American singer, songwriter, keyboardist, and producer Charlie Peacock, independently released on his own label re:think in 1996, distributed by Chordant Distribution Group as well as EMI Music Distribution. The album was recorded by Shane D. Wilson at re:think in Nashville and at The Bennett House in Franklin, Tennessee; with Charlie Peacock producing. Mixed by Peacock and Wilson assisted by Chuck Linder at Secret Sound and re:think. In a note printed on the back of the CD, Charlie Peacock states that “Strangelanguage is a funhouse mirror of all the music I’ve ever admired and loved: quirky jazz, noisy cranky guitars, pop singles, world music, old school analog treatments and more.” According to All Music Guide it is “one of the most ambitious CCM albums of the mid-’90s, as well as one of most rewarding,” and, in the words of the re:think records promo ad; “a bold hybrid of modern rock, jazz, syncopated rhythms, and ambient sounds with stirring, contemplative lyrics.”
Featuring Charlie Peacock on lead vocals and keyboards (as well as programming), Jerry McPherson – and occasionally George Cocchini of Joe English Band fame – on guitars, and a rhythm section consisting of Tommy Sims on bass and Chris McHugh on drums (on a few tracks replaced by bassist Mark Hill and drummer Steve Brewster), with Eric Darken on percussion. Background vocals provided by Brent Bourgeois among others. “Rocket” features harmony vocals by Sarah Masen.
Message to Charlie Peacock purists – those who believe the talented producer/songwriter/artist has yet to do an album as good as his first two (‘Lie Down In the Grass‘ and ‘Charlie Peacock‘) – it’s time to stop holding your breath. Run out and pick up ‘strangelanguage’. Starting his own label has given Peacock both the license to be more inventive with his own choices, and the challenge to rise to the new standard set by some of the younger talent he has signed. Peacock has negotiated both tricky paths without stumbling, in the process creating an album which will stand alongside the aforementioned classics.
Peacock and frequent lyric collaborator Doug McKelvey have a singular method of putting a unique twist on a phrase without seeming too clever for their own good. That approach begins with the title track itself. The elusive nature of God’s word dictates that, whether in parable, sermon or song, you “might think you undertand it, just before it disappears.” A stuttering jazz track echoes those same thoughts musically, re-introducing a part of Peacock’s musical nature many feared might have vanished from his repertoire. Fusion, ethnic and world beat influences can be felt throughout the album, mixed with sparkling pop phrases and Peacock’s own take on blue-eyed soul.
«Insult Like the Truth», for example, is striking both in its musical simplicity and music daring. Over a sampled riff that sounds like Led Zeppelin, Peacock sings lyrics like, “I’ve railed against a mountain with a pickax and a file,” in an almost dirge-like fashion, to demonstrate how the truth is often an offense, even a barrier to our faith. Tom Howard‘s Middle Eastern string arrangement, Tony Miracle’s keyboard colorations and Jerry McPherson’s exotic guitar and bouzouki parts make «Insult» an exception among outstanding tracks. «Rocket», while of much more conventional tone musically, also ranks among Peacock’s best songs. As Peacock tells of a friend who’s destined to crash and burn, he laments, “I am curious and compelled to follow/ Watch my brother swallow the bitter pill.” But in repentance, he sings “When I’ve finished my little song/ Maybe I’ll love mercy more than being right.”
The album’s “heaviest” and “lightest” songs come back-to-back at mid-point, and illustrate the parts of Peacock’s nature that one is always glad to find on an album. «The Harvest is the End of the World», draw from Jeremiah 31, finds the Lord telling us through Rachel that, even though time of weeping and mourning befall us, He will bring great joy with His latter day harvest. On the other end of the spectrum, «Lady Soul» finds Peacock waking up one morning and simply indulging his love for Aretha Franklin’s music, because, he says, “I had forgotten how wonderful it can feel to be human.” Thanks for reminding us, Chuck. Those looking for more personal insight on the songs will find a multi-media section on the CD with video clips of Peacock talking about each track. [Bruce A. Brown, CCM, July 1996]
Charles William Ashworth, otherwise known as Charlie Peacock, has long been an impossible-to-pin-down eclectic these 15 years or more, continually reinventing himself musically while producing albums and writing songs in seemingly any style required of him. Now with his own label he is able to explore his musical passions with aplomb and, as the sleevenote tells us, “this…is a fun house mirror of all the music I’ve ever admired and loved: quirky jazz, noisy, cranky guitars, pop singles, world music, old school analogue treatments and more.” Add to that list blue-eyed soul. Charlie’s Smokey Robinson-ish voice can squeeze maximum meaning out of his lyrical musings. There’s much here to thrill. On «Insult Like The Truth» over a sampled, neo-Led Zeppelin riff Charlie intones, “I’ve railed against a mountain with a pick axe and a file” with telling passion while Tom Howard‘s Middle Eastern string arrangement, Tony Miracle’s keyboard colourations and Jerry McPherson’s exotic bouzouki parts make a riveting listen. If the latter is a tad too avant-garde try «Rocket», one of Charlie’s best songs for years. He sings of a sin-racked friend concluding with the telling lines. “When I’ve finished my little song/ Maybe I’ll love mercy more than being right.” [Tony Cummings, Cross Rhythms, June 1997]
> Apple Music (https://music.apple.com/us/album/strangelanguage/728410151)
CD tracklist:
01. Strangelanguage – 5:20
02. That’s The Point – 4:43
03. Insult Like The Truth – 4:23
04. Sneakin’ Up On Me – 3:50
05. Rocket – 5:23
06. The Harvest Is The End Of The World – 5:56
07. Lady Soul (Aretha In The A.M.) – 3:56
08. Struck Blind – 5:11
09. Tumble Down – 4:09
10. Liquid Days – 4:19
11. Strangerlanguage – 0:59
Note: Simultaneously released on cassette and CD by re:think, with the enhanced CD containing video footage, interviews and extended liner notes as well as the full audio program.
A full-page advertisement for various releases on the newly established label re:think records – the multi-artist sampler one point oh: the re:think collection, Sarah Masen’s self-titled debut album, as well as label owner Charlie Peacock’s Strangelanguage – was featured in the July 1996 issue of CCM Magazine.
re:think to link consumers with AOL on enhanced CDs. (Billboard Magazine, April 13, 1996, page 6+96)
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