← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
"Strolling Through Life's Harmony with Musician and Producer Charlie Peacock"
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Charlie Peacock
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Listen to Soul incarcerated on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. Hey sis, it's Dr. Joy from Therapy for Black Girls. We've had 400 episodes of Conversations, Growth and Healing, so we're celebrating. Join us for a special episode with internationally recognized yogi Chelsea Jackson Roberts as she shares wisdom on mindfulness, movement and motherhood. I waited later to have children and I still have exactly what I knew that I wanted. You don't want to miss this special episode. Listen to Therapy for Black Girls on the iHeartRadio app, Apple Podcasts or wherever you get your podcast. Sometimes as dads, I think we're too hard on ourselves. We get down on ourselves on not being able to, you know, we're the providers, but we also have to learn to take care of ourselves. Arapahoe way. You gotta pray for yourself as well as for everybody else, but never forget yourself. Self love made me a better dad because I realized my worth. Never stop being a dad. That's dedication. Find out more@fatherhood.gov brought to you by the U.S. department of Health and Human Services and the Ad Council. Tickets are on sale now, y'all, for our 2025 I Hard Country Festival, presented by Capital One, happening Saturday, May 3rd at the Moody center in Austin, Texas. Don't miss your chance to see Brooks and Dunn, Thomas Rhett, Rascal Flash, Cole Swindell, Sam Hutt, Megan Maroney, Bailey Zimmerman, Nate Smith. Tickets sale now@ticketmaster.com taking a walk we can look at Prince and we could go where Would Prince be without that drum machine sound in the beginning? Right. It is the sound of a time, but also you. Could you go back and you wish, man, I wish I could just listen to the essence of this song without this sort of pounding beat. And so I. I would say in my mind, that's the way we. We ruined records a bit, you know, in the 80s was the technology was playing us still at that time. Welcome to the Tankin a Walk podcast where Buzz Knight explores the paths that musicians and insiders explore in their musical journey. Today, Buzz is joined by a true innovator in the music world. Charlie Peacock is a renowned musician, producer, and songwriter who's left an indelible mark on the music industry. Charlie has authored a new memoir called Root and Rhythm. We now welcome Charlie Peacock to the Taking a Walk podcast with Buzz Knight. Hello, Charlie Peacock, and welcome to Taking a Walk. Thank you. Glad to be here with you, Buzz. So since it's called Taking a Walk, the first question I like to ask of folks is if you could take a walk with somebody, living or dead, doesn't have to be in the music side of things, but it could be, who would you choose and where would you like to take a walk with them? Wow. Yeah, I would. I'd probably take a walk with Miles Davis and probably choose Central Park, I guess. Stay in New York. Oh, man. Yeah. Wouldn't that be the best? Yeah, yeah. The. You know, the. The creator of. Of Central Park, Frederick Lawmstead, he knew my third great grandfather and wrote about them in his infamous. When he was a kind of a cub reporter for the New York Times, and he would do these horseback rides through the south and. And report, you know, back on. One of his things was he was an abolitionist, and he was reporting on the economic effects of slavery, and our family were free black cattle ranchers. And. And so he was quite interested in, you know, how they got their freedom and. And their mixed race and all of that. So, yeah, crazy. Yeah. Central Park, Miles Davis. That's wild. That's. That'd be wild. Central park, one of the greatest places to take on a walk. I've actually recorded a couple of. Couple of episodes there as well with my old boss and friend Mark Chernoff, who programmed WNEW FM in New York when I worked there, and also a DJ by the name of Nick Carter, who just started out a new chapter in his career at the legendary KLOS in Los Angeles. So those two folks and I sauntered through Central Park. Nice. I like it. I like it. And I have a feeling with Miles Davis it would be a saunter for sure. Oh yeah, yeah. He might even want to sit down for a bit. As long as he didn't turn his back to you as you were walking. But love Miles. Oh, amazing. So how did growing up in Northern California influence your musical style and what artists inspired you early on? Well, I mean, I'm, I'm pretty confident, you know, the, the history and like other metropolitan areas in New York in particular, but San Francisco, the whole Bay Area was a melting pot. And it was. Had an architect named Bill Graham. And so a concert bill that he would put together might include Miles Davis, Jefferson Airplane and Albert King, right? Yep. So you got blues and then you got, you know, the new rock, that rock and roll that was coming out of the Bay Area, and then you got the greatest jazz musician ever all on one bill. So that set the tone for like, us as teenagers coming up. That that was our musical destiny, that we. Eclecticism would be what we did. And so there's a whole generation of us from Northern California that are deeply influenced by that ethos. Right. And, and ultimately what it became, especially with me moving to the south, was that I just became, you know, as a writer or producer, just someone who could play every form of American. And so it really started in Northern California. Huge influence, and especially the black music influence, either through the blues or funk or soul and R B. And then that for me, mixed with anything that Miles Davis was doing and then all the casting that he was doing in terms of discovering every great new jazz musician to come and then the singer songwriters of Southern California like JD Souther and Jackson Brown, and, and just everything that was coming out of there. I mean, that, that for me, I kept two dreams alive at the same time. One being a singer songwriter and the other being a jazz musician. And then gigging wise, just playing, you know, learning to play every kind of music. And because my father was an academic and had also been, you know, and was a working musician and through. In into his 50s as far as playing gigs, I just had this background where I was as much keyed into sort of neoclassical music that was being made and that smaller symphonic ensembles would play so I could hear that music and create that music in addition to the singer songwriter stuff, in addition to the R B and soul and, and, and jazz. So I really think that's what led to me becoming a producer, you know, because it was just that adaptability to be able to contribute to so many different kinds of music. But I didn't dream that up. I mean, that's. That happened to me. It just happened. Well, what's so cool about this is the fact that now more frequently you hear musicians, artists embrace the notion of crossing multiple genres. Right? That's kind of a cool, hip thing that artists really embrace. But you've had that approach, it sounds like your entire life. Yes, yes, most definitely. Yeah. And the other. The other part of that ethos, I think that makes the generation that I come from unique is that we respected sort of what your neighbor was creating, but you never wanted to emulate it, which is one of the reasons why Boomer alert here, that it's one of the reasons why that generation has so many distinctive sounds and styles, Right. That you can have people within an age group of two or three years difference. Right. And you get Joanie Mitchell, which is completely unique to Led Zeppelin, which is completely unique to Keith Jarrett, you know, and so on and so forth. You could go on forever in terms of these very defined, unique lanes that these people occupy. And so originalism and individualism were also just really important values, I think. You know, you respected your neighbor and you maybe borrowed a few things from them, you know, like the sort of the era like when the Beach Boys and the Beatles were sort of like trying to one up each other by copying little bits of each other, you know, I mean, there. There was that, but there was still. The overriding dream was to make something that hadn't been heard before. So does that feed into how you typically approach songwriting and how you work in terms of, you know. It does. Creation. Yeah, it does. I mean, I. I sort of leave the most purest form for my own shenanigans because they're not bound by economics, you know, because I've been so much more successful in helping others make music. Right. And although I will say, I mean, as far as my own music, I have the biggest audience today at 68 years old, as I've ever had in my. My life, you know, But. But no, I. I think I would probably use that more in moderation with. With writing with others and producing others, where for me it was like, okay, here's 100% of a song, and if we just have 10% of it that is highly unique, there's. There's a few elements of it that people haven't heard before. Then we're working with this idea of familiarity where we're. And that's the invitation to come in. And then we change history a little bit by having some percentage of it be production elements or intervals that we use that people don't Normally use, sounds, etc. Etc. Taking a completely different lyric direction from where society is at that time, whatever it is, but doing it in a smaller percentage so that people can receive it and they're not alienated by something that is just completely foreign to their ears. So let's go a little deeper there because you've had this significant success producing for artists such as Amy Grant and the Civil Wars. What do you look for in a project and then maybe give some examples on how you collaborate with. With artists? Yeah, it's different every time. I mean, there were. If you take even those two. Those two artists right there or another. Let's also, like, throw in, like, someone like Chris Cornell, who has much more on the rock side and has this huge history of. Of music. And so it would be like with. With someone like Amy, you're dealing with someone who is. Who has been a superstar, who has two different audiences as a pop audience, as a contemporary Christian audience. And so it's more about asking, what kind of record, Amy, are you. Are you hoping to make at this time? You know, so I've worked with her both on the pop side and both on. On the contemporary Christian music side. And each one of those sort of ask different questions. But when somebody reaches a certain level and has millions of fans, then you're more apt to. To say to lean into them and. And really get your guidance from them and then help them make that record that they want to make. And then still there may be those elements, like I said, where you're like, okay, we are making this record, which is, in a sense, a record you've made before. So what can we do? What little bit of a twist of difference can we make to this? And then when you're looking at some. Someone like Chris, who is, you know, was a huge innovator, and in my mind, one of the greatest voices ever. It's a lot about just capturing the essence and getting out of the way, making sure that you don't interfere with greatness. And then you have a new group which were new at the time, just breaking on the scene like the Civil Wars. And that was very similar in terms of, okay, this is something very, very special, so don't screw this up. And part of it is, is that some artists have so much essence just in their voice. Like, let's take someone from history to someone like an Al Green, another person that I recorded. So it's just like, really, you could make a record just with Al's voice. Right. I mean, it really could. You could, like, just drop a chord in and then just let him sing for three minutes. Sure. Because the essence is so strong. Well, when I heard the Civil Wars, I. I realized that's what I was encountering, too. So for me, it was like, you know, I had to. To paint, like a minimalist painter, you know, from. From the 1950s, Ad Reinhardt or someone, you know, it just had to be so simple. And whenever we were overdubb on the Civil War's records, it was like I. I found this language of just like, we just have to touch it, is what I kept saying. You just. Just touch it, you know, but don't. Don't keep your hand there for long, you know, Just touch it. And so we would do overdubs with extraordinary musicians, you know, here in Nashville, and I literally would erase, like, 70% of it because I would just. The music was just telling us, like, just touch it, you know, don't get in the way of anything. That's brilliant advice on so many levels. Yeah. Not just in terms of music. Yeah, I can see what you mean. Yeah. Really? I mean, I'm not a golfer, but people have. Have often said, you know, let the ball come to you, you know, that whole thing. Yes, yes, yes. And. And you know what the thing is, is that not everyone's music does that. And it doesn't mean that it's not good music. It's. There's just more. More craft involved, you know, where. And in those cases, that's when you. You would see me, like, entering into it more, being multifunctional, co writing, creating the string chart, whatever it might be, programming drum parts, you know, depending on the kind of music it would be. It's just so production. If you are an eclectic like me and someone who's trained in a lot of different kinds of music and production, then you're just. You're not bringing it to bear on every project. It's a readiness, and, like, all those gifts and abilities are just. They're in the shadows. You can never bring them all to bear upon a project. And. And that's what you do when you're a young producer, you know, so it's like I could give you a whole list of records that I ruined in the 1980s because I wanted to hear every. I wanted to hear on tape every thought I was having and so much. Okay, well, now. Now you have me curious. Is there one. Is there one you want to call? Well, I don't. I don't. I Don't know. I would probably, like, choose my own song solo records. I mean, you know, I made one for. In the 80s. I made one for island, one for a M. And I would say, you know, both of those are in us. I mean, they. They're products of their time, but it. But also, it's like when you've got a $15,000 sampler synthesizer with a soprano sax sound on it. You put it on a record, and when you're doing it, you're saying, that sounds just like a soprano sax. And yes, it does, without all the artistry. And. And so it's kind of like that in the same way, when we first started using drum machines in the late 70s and early 80s, you know, we can look at prints and we can go, well, where would Prince be without that drum machine sound in the beginning, right? And it is the sound of a time. But also, you. Could you go back and you wish, man, I wish I could just listen to the essence of this song without this sort of pounding beat, right? Like where every snare drum beat is exactly the same volume, exactly the same width. And so I. I would say in my mind, that's the way we. We ruined records a bit, you know, in the 80s was the technology was playing us still at that time. Now, like, I use a lot of the same technology and all of the new technology, but my goal is for you to never hear it unless I intend you to hear it. Fascinating. Fascinating. We'll be right back with more of the Taking a Walk podcast. All you homeowners have unique needs. Some feel the need to paint their door a vibrant shade of blue. Others have the need to decorate their bathroom with fish anchors and other nautical items. And because each homeowner has unique needs, GEICO helps you get the right coverage for your home and what's in it. That way, you get exactly what's right for you, even if your needs are unique. Get more with Geico. September 1979. Virginia's top prison band, Edge of Daybreak, is about to record their debut album, Behind Bars, in just five hours. Okay, we're rolling. One, two, three, four. I'm Jamie Petras, music and culture writer. For the past five years, I've been talking to the band's three surviving members. They're out of prison now and in their 70s, their past behind them. But they also have some unfinished business. The edited day break, Eyes of Love was supposed to been followed up by another album. It's a story about the liberating power of music, the American justice system and ultimately, second chances. Listen to Soul incarcerated on the iHeartRadio app, Apple Podcasts or wherever you get your podcast. Hey, this is Mel Reid, LPGA Tour winner and six time Ladies European Tour winner. And Kira K. Dixon, NBC sports reporter and host. You forgot to say warmer. Miss America, by the way. And we've got a new podcast, Quiet Please with Mel and Kira. We are bringing you spicy takes on sports and pop culture, some golf haps and interviews with incredible people who have figured out how to make golf their superpower or just people we like. Plus tales from the road and everything in between. By the way, golf isn't just for the dads, brads and chads. Yeah, it's actually life's cheat code. And we're not going to be quiet about it on or off the course. We're bringing on some of our friends like Michelle We, Heather McMahon, Amanda Baliotis. So if you want to keep up with us, and here is yap, tune into our new podcast, Listen to Quiet Please with Mel and Kira, an iHeart women's sports production in partnership with Deep Blue Sports, Sports and Entertainment. You can find us on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Presented by Capital One, founding partner of iHeart Women's Sports. Sometimes as dads, I think we're too hard on ourselves. We get down on ourselves on not being able to, you know, we're the providers, but we also have to learn to take care of ourselves a rap away. You gotta pray for yourself as well as for everybody else. But never forget yourself. Self love made me a better dad because I realized my worth. Never stop being a dad. That's dedication. Find out more@fatherhood.gov brought to you by the U.S. department of Health and Human Services and the Ad Council. Welcome to the Criminalia Podcast. I'm Maria Tremarke. And I'm Holly Fry. Together we invite you into the dark and winding corridors of historical true crime. Each season we explore a new theme. Everything from poisoners and pirates to art thieves and snake oil products and those who made and sold them. We uncover the stories and secrets of some of history's most compelling criminal figures, including a man who built a submarine as a getaway vehicle. Yep, that's a fact. We also look at what kinds of societal forces were at play at the time of the crime, from legal injustices to the ethics of body snatching, to see what, if anything, might look different through today's perspective. And be sure to tune in at the end of each episode as we indulge in custom made cocktails and mocktails inspired by the stories. There's one for every story we tell. Listen to criminalia on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Welcome back to the Taking a Walk podcast. Congrats on your memo. Thank you. Roots and Rhythm exploring your, your life in music. What inspired you to, to write it and what do you want listeners and yeah, readers to take away about roots and rhythm? Well, it is the story of the music and it's also the story of family. It's a story of communities and, you know, how we know what we know and how we develop into the people we are and how our vocations develop. And, and so on one level, it's a book that, you know, a long time fan of popular music can read and, and enjoy, but it's also something a young person can read and see, like, oh, wow, there are thousands of choices, thousands of people and thousands of places that go into making a sustainable music career and that you can have a 50 year career and have instances where you flirt with fame, but you can also be kind of a blue collar worker and you can kind of go into the foreground and out of the foreground and have a career. Like the joke from the book where my daughter says, you know, her friend asks, is your dad famous? And my daughter says, nah, just well known. But in some ways as a family, you know, because I will be married 50 years in just a couple of months. But as a family who our whole, you know, family is in music business, it's been more about taking care of the music and the music will take care of you rather than a pursuit of fame or pursuit of celebrity. So being behind the scenes and just functioning in all of these different kinds of roles with people that you've never heard of and people that are very well known are very famous. That's not the point. The point is the opportunity and privilege of creating in some small part the music that the whole world sings. That's really the honor. Oh, I love how you are carrying it tradition wise and bringing it forward. Yeah, you know, my kids are, you know, I don't know if you know my son Sam Ashworth, but a very accomplished Grammy and Oscar nominated songwriter and, and you know, my grandkids are artists and musicians too. And I think we're on, you know, going back to my great grandfather on my dad's side, I think we're at like six generations of music musicians in a room. That's amazing. So it's kind of more like, you know, the corner grocery store, the family farm. Yeah. You know, and you can be content with that, and you can have a good and beautiful life with that without having to be caught up in a lot of the craziness of a life where every single thing is trying to be monetized and. Or every. Every opportunity is an opportunity to publicize. And all of that kind of ethos is, you know, name making that. It just destroys your soul, you know, it's just not good for people. Can you talk about some of the issues that are important to you because you've been an advocate for, you know, key issues and, and organizations? Can you. Can you talk about that? Yeah, I mean, I have a. A view of. Of what it means to, you know, occupy the planet. You know, I'm certainly an American, but my, my cares and commitments are to the cosmos in a sense, you know, where, like, my neighbor is. Is the person next door. But it's also, you know, someone in Rwanda. I think I was fortunate to have a good teacher in Bono from YouTube in that he was really the person, you know, 25 years ago that. That really began to use his celebrity platform as what he calls currency and so kind of cultural currency to. To be able to, like, get people to listen for a moment. And I was fortunate enough to be a part of. Of some of that and getting people to listen to the really pressing emergency needs of HIV and debt and trade and all sorts of issues around the continent of Africa. But that's just one. One piece of it. I mean, I, you know, I do want justice for all, and I, I do, you know, I wake every day and, you know, I believe in a creator with us and not against us. And so I do wake every day and have a conversation that is about, you know, who. Who's who out there doesn't have water out there, doesn't have food, who out there doesn't have shelter, all those things. You know, my hope is that there's someone right now thinking about how. How can I get them that water, how can I get them that food in that shelter? That's a big part of the creative life for me. You know, I don't see any disconnect between that and the making of anything else, you know, because I think we make the world that we want to live in. I'll have health challenges in your life, impacted your creative process, and, and how do you stay so motivated? Well, yeah, for your listeners, I. I have this thing called Dysautonomia. And central sensitization, which is a central nervous system disorder. And so for the last eight years I've lived with a intractable kind of migraine level headache. So that, that literally a headache for eight years. And yeah, it's changed me a lot. It's helped me see myself in the scale of the universe, you know, as this one teeny tiny little dot. Right. That can't be seen from space. Right. And yet because of, of the imagination, I can actually affect things that happen in space. You know, our ability as humans, our imaginations, our, are so extraordinary that in one minute we can dream up, imagine enough work, you know, for a thousand people to work for 30 years. That's how powerful the imagination is. And so I'm both this really small, tiny, weak, broken person, but also a, a kind of glory too, where, where the, the imagination is how I contribute to the world that I want to live in. And so I, I'm busy every day making things. The difference is, is that the, the suffering of the, of the constant headache has changed me. Whereas I don't have no interest in empire building anymore. It's, it's almost like my weakness has allowed me to be more human and less. I guess it's kind of an imagination moderation if, if you will. Whereas I don't have to make everything I can dream of. It's beautiful. I know you're working on some other projects. Do you want to highlight maybe one or two or 300 of them? Yeah, well, I do, I do release music, my own music quite a bit and, and do a lot of collaborations. And so one of the ways that I keep up with those and my, my assistant, my granddaughter Bridget helps in that is that we, we always post new music in a discography that's@charlie peacock.com and it's sequential, so you can always just go on the website and see. Oh well, they've, they've added a new project and then go to whatever, either if it's available to purchase on vinyl or CD or if it's just digital on the dsps, then you can go and, and check that out. But yeah, I'm, I'm actually getting ready to release several singles and, and an EP coming up. But, and, but right now I think the main thing I'm going to do probably the rest of this year when I'm working on music is probably go back, you know, to the hard drives and, and look at several projects that didn't get finished. You know, I have some live performance things that I'd love to put out. And it's just a matter of me sitting and doing a little bit of editing and mixing and then, and then getting them out. But mainly I'm writing. I don't know whether I'm writing another book or what because it's mostly I'm studying. But I'm very interested in the intersection of modern or contemporary physics, quantum physics, and I think it's like epistemology, like basically like how we know what we know and the intersection of the arts and also as faith as well. So those four components are things that really interest me right now. And I've been trying to study a lot and then write in the intersection of those things and hopefully a unique way. I like to tell, you know, people say, well, you stay in your lane, you know, I mean, you're a musician. I said, hey, hang on, you know, because my dad was a musician, my mom was a wordsmith, and I like to remind people that my very first paying gig was in sixth grade when I wrote an essay and won a essay contest. Third place though, but I was paid $5 for it. So I've been a working writer for a long time. Oh, man. May I call you Professor Peacock? You know, the kids, I, when I, I did design the commercial music program at Lipscomb University here in, in Nashville and the kids were, were always like, wanted to call me Professor Peacock, you know, and I was like, I don't know, it feels like the game Clue a little bit. And it also, you know, I don't know, I don't know how they let me in, you know, like, because I'm an autodidact, you know, long time self learner bouncing in and out of higher education. But somehow they put me in, in control of it and I ran the school of music for a bit, but did so without the appropriate accreditation. So thankfully, thankfully, every university is allowed to have one crazy character come and, and, and run the show for a bit. You just can't have too many of them. I'm gonna stick with it. Professor Charlie Peacock, thank you so much. Congratulations on Roots and Rhythm. It's been a joy to speak with you and thanks for all you continue to, to give us. It really means so much to the world. Oh, thank you, Buzz. I wish you well. Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts and wherever you get your podcasts. 45 years ago, a Virginia soul band called the Edge of Daybreak recorded their debut album Behind Bars. Record collectors consider it a masterpiece. The band's surviving members are long out of prison, but they say they have some unfinished business. The Edge of Daybreak Hours of Love was supposed to have been followed up by another app. Listen to Soul incarcerated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Sometimes as dads, I think we're too hard on ourselves. We get down on ourselves on not being able to, you know, we're the providers, but we also have to learn to take care of ourselves. A rap away. You got to pray for yourself as well as for everybody else. But never forget yourself. Self Love made me a better dad because I realized my worth. Never stop being a dad. That's dedication. Find out more@fatherhood.gov brought to you by the US Department of Health and Human Services and the Ad Council. Hey sis, it's Dr. Joy from Therapy for Black Girls. We've had 400 episodes of Conversations, Growth and Healing, so we're celebrating. Join us for a special episode with internationally recognized yogi Chelsea Jackson Roberts as she shares wisdom on mindfulness, movement and motherhood. I waited later to have children and I still have exactly what I knew that I wanted. You don't want to miss this special episode. Listen to Therapy for Black Girls on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Tickets are on sale now, y'all, for our 2025 I Heart Country Festival presented by Capital one, happening Saturday, May 3rd at the Moody center in Austin, Texas. Don't miss your chance to see Brooks and Dunn, Thomas Rhett, Rascal Flash, Cole Swindell, Sam Hutt, Megan Maroney, Bailey Zimmerman, Nate Smith. Tickets are on sale now@ticketmaster.com hey, you're listening to On Purpose with Jay Shetty. And today my guests are are none other than Selena Gomez and Benny Blanco. What I felt for Benny, it was everything about him was honest. He'll tell me anything that he's feeling, and it made me feel like I could do the same. If we would have met each other when we were younger, it would have never worked. Listen to On Purpose with Jay Shetty on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.