I Remember It That Way - 'The Life of Chris Gaines' turns 20
Here’s the thing—if the concept of ‘Chris Gaines’ had been
done later on, it may have been better received—or at the very least, maybe a
little better understood.
If not better understood, maybe people would have humored it
a little more.
But because the idea of ‘Chris Gaines’—a character, or
caricature, if you will, personified by an already established artist in the
zeitgeist of the 1990s, came at the time that it did (the eve of the new
millennium), from what I can surmise, people were confused, and possibly
alienated by the entire project.
It was just too much—too difficult to follow, with too much
pomp and hype surrounding it.
Already established artists taking on characters, or other
identities, are not so much commonplace now, two decades later, but it’s an
artistic device that is, overall, a less difficult idea to wrap your head
around.
The entire idea surrounding ‘Chris Gaines,’ though, was
maybe just too ambitious—never really given a shot to do anything than buckle
under its own perplexing weight.
*
‘Chris Gaines,’ per the biographical information found on
the inside page of the liner notes to The
Life of Chris Gaines, is Australian. It’s a weird factoid—maybe weird isn’t
the right word to use; it’s specific. It’s a very specific fact about the
fictional musician portrayed by the very, very American Garth Brooks, who was
born in Oklahoma.
In the years between Brooks’ seventh album, aptly titled Sevens, released in 1997, and his
‘final’ album before retiring in the mid-2000s, Scarecrow, from 2001, Brooks found himself developing the character
of ‘Chris Gaines,’ a tormented and very successful pop musician, who was more
or less seeking redemption for his debauched lifestyle following a near-death
car wreck.
Brooks himself had created a very elaborate backstory for
Gaines, with the intent that he would then star in a film about Gaines’ life,
entitled The Lamb; in fact, printed
onto the inlay card, and visible through the clear tray of the CD’s jewel case,
reads the message “The pre-soundtrack to
the film The Lamb.”
The fact that The Life
of Chris Gaines was released as the soundtrack for a movie that wasn’t made
is something people often forget. ‘Chris Gaines,’ as an idea, or a character,
is something people, also, often forgotten, despite Brooks’ attempt at creating
a media frenzy surrounding it in the fall of 1999.
The project itself failed so spectacularly, and confounded
so many people that, presumably Garth Brooks himself would love it if the whole
thing could be forgotten; long out of print, any of the music from the album
has been scrubbed from YouTube, and as anticipated, it is not available to digitally
download1. Brooks only recently, and briefly, reflecting on Chris
Gaines after actor and singer Donald Glover chose to cover the minor hit from The Life of Chris Gaines, “Lost in You,”
for Australian radio station Triple J’s “Like A Version” series.
Brooks called it ‘very sweet,’ and said Glover didn’t just
cover the song—but that he ‘owned it.’
He also, apparently, discussed it at a press conference for
a 2015 concert, stating he’d make another Gaines album in a heartbeat, but
would never lose that much weight again.
The project could be looked at as a footnote in Brooks’
storied history—it was a perplexing move, or experiment that got out of hand,
that he was able to recover from given enough time2. Arguably, it
didn’t hurt his career that badly. And
outside of the occasional think piece—Stereogum ran something on it in 2016
during what they called ‘Weird 90s week’—the whole thing is an oddity of pop
culture from another time entirely.
Was The Life of Chris
Gaines a disaster because it was so confusing to people that a superstar
like Garth Brooks would adopt this additional persona, alleging that he would
star in a film about the character’s life; was it a disaster because it was
difficult, at the time, to see a musician from one genre attempt to—albeit
awkwardly and bombastically—crossover to another platform? This, two decades
later, is very common (e.g. Taylor Swift.)
Or, was it a disaster because musically, The Life of Chris Gaines is a difficult,
at times embarrassing, record to listen to?
*
‘Chris Gaines,’ per the biographical information found on
the inside page of the liner notes to The
Life of Chris Gaines, is an only child, and the son of two former Olympic
swimmers. Despite the character being born in Australia, Gaines grew up in Los
Angeles, developed his love of music, and dropped out of high school near the
end of the 1980s to form the band C.R.U.S.H, the fictional trio responsible for
one of the album’s strangest, and weakest moments, “My Love Tells Me So,” a
bizarre, in earnest pop song that Brooks doesn’t even sing lead on—Gordon
Kennedy, the guitarist in Brooks’ band for this record, does.
C.R.U.S.H. ends abruptly when one of its members dies in a
plane crash; from there, Gaines’ solo career begins to gestate.
As if all of this wasn’t difficult enough to process, this
is where things begin to a little harder to understand, at least from a
logistical point.
The liner notes feature mocked up album artwork for Gaines’
solo outings, including his debut, Straight
Jacket, and its ‘dark and angry’ follow up, Fornucopia. The covers feature someone who looks a little like
Garth Brooks as Chris Gaines, but it’s definitely somebody younger and much,
much slimmer.
The covers are also ludicrous in their sexually charged
imagery.
I remember the usage of a younger Chris Gaines in these
early album covers, for some reason, caused a lot of confusion for me as a
teenager—my mother, a longtime Brooks fan, bought The Life of Chris Gaines shortly after its release, but I can
recall her being very, very disappointed by it.
Somebody named Brian Vaughn is credited in the album’s liner
notes as standing in for Gaines from 1986 to 1992. And because The Lamb, as a film, was never developed
beyond this point, what I’m uncertain about is if Vaughn would have portrayed
the younger Gaines on screen—according to this increasingly elaborate
backstory, it’s in 1992 when Gaines is involved in a horrific car accident,
where he is hospitalized for six weeks, and requires a number of reconstructive
plastic surgeries on his face. The Gaines mythology says that during this time,
he releases an album in 1994, but does not allow himself to be seen or
photographed, and does no promotion of the record.
It’s in 1996 that Gaines reemerges, as Brooks, with a
R&B tinged album called Triangle—the
Gaines biography states that he was dubbed ‘the new Prince’ at this time. And
as the biography concludes, it says Gaines’ forthcoming record, The Lamb, is already expected to be the
‘definitive album of the new millennium.’
*
The thing about The
Life of Chris Gaines, an album that is presented as a 13 track ‘greatest
hits’ that spans Gaines’ career, is that it plays its hand entirely too soon.
Running nearly a hour, a bulk of the album is not
unlistenable—however there are a number of moments that will make you wince,
and perhaps in an effort to lure people in to the album as a whole, Brooks
sequenced the two best tracks, back to back, right out of the gate.
The album’s opening track, “That’s The Way I Remember It,”
truthfully, doesn’t seem all that out of place for Brooks, if he were playing
the role of himself. It also, 20 years later, doesn’t seem so far out of place
that it couldn’t fit in somewhere on the radio now—either as an adult
contemporary track, or, if you pushed it, country, even though there is little
that resembles this, or even what I came to know as ‘country’ music in the
1990s on the charts right now.
The song shuffles along with a soulful, warm electric piano,
and lightly brushed percussion that is accompanied by the use of drum
programming—again, a trademark of the late 1990s adult contemporary sound. It’s
a mid-tempo ballad, and I only say that because of the way Brooks just goes for
it in the song’s refrain—it walks a weird line between being restrained
(musically) but bombastic (vocally)—and he nails it.
There are songs on The
Life of Chris Gaines where Brooks tries to do some different things with
his voice, but here, he still sounds like himself as he belts the refrain—“That’s the way I remember it—I remember it
that way,” he sings, and I never said that the lyrics to the song weren’t
mildly insipid. “From the day I was
living there, I remember it that way. Some of our stories fade as we grow
older—some get sweeter every time they’re told. That’s the way—I remember you
that way.”
One of the most surprising things about “That’s The Way I
Remember It” is how quickly the song manages to pull itself together—it opens
with a muted acoustic guitar progression that then gives way to large,
expansive strumming, affected slightly by a flange if you listen closely. It’s
tough to know where the song is going before the rest of the instrumentation comes
tumbling in, including the drum programming and actual live percussion working
in tandem, and the inclusion of some dreamy guitar noodling, panned pretty
heavily to the right, during the refrain.
Not every song on The
Life of Chris Gaines pulls itself together like this, though. There are a
number of times when the song never pulls itself together at all, turning into
what could be looked at as a bit of a train wreck.
*
If you do an internet search for ‘Babyface,’ as in Kenneth
“Babyface” Edmonds, and ‘Chris Gaines,’ there is very little record of this
alleged factoid about the ill fated projected film The Lamb—that Babyface was going to serve as an executive producer
of the film, but he, surprisingly, has nothing to do with The Life of Chris Gaines.
This is surprising because, as a legendary producer and
songwriter, you would think that Edmonds would have had a hand in the
prospective film’s ‘pre-soundtrack.’
It’s also surprising because the album’s first single, and
its second track, “Lost in You,” sound an awful like it was written by Edmonds.
It wasn’t.
Sounding like an amalgamation of “When Can I See You Again”
and “Change The World”—which, as it turns out, Edmonds only produced, and did
not write, “Lost in You,” released a number of months in advance of the full
album, managed to crack the top 10 on the Billboard Hot 100 charts, and is
possibly, the one tangible thing that people remember when they think of ‘Chris
Gaines.’
Fascinatingly, and coincidentally enough, though perhaps not
all that surprising, it turns out that the trio of songwriters responsible for
“Change The World”—Gordon Kennedy, Wayne Kirkpatrick, and Tommy Sims, are the
three names credited with penning “Lost in You.”
A flirtation with acoustically based R&B—and really
sounding like nothing else on The Life of
Chris Gaines, Brooks seems almost at home, or at least like he’s
comfortable, singing something moderately soulful in a higher range. A far cry
from the absolutely bombastic, energetic country music he is known for, “Lost
in You” is an exercise in restraint—it’s structured so that there’s really even
no place for it take off, even if it wanted to; even with the inclusion of a
number of soulful back up singers to come through on the song’s incredibly
impactful (if not borderline insipid) refrain, it always remains at cruising
altitude—a slinking, slow burning love song that, surprisingly, manages to do
quite a bit with the three minutes it lasts for.
As insipid as the refrain might be, it’s also surprisingly
clever in one place—“Heaven knows, I’m
head over heels and it shows,” it begins. “I’ve played every field, I suppose. But there’s something about you,
when you’re around, baby I have found I get lost in you.” And maybe I’m a
sucker for saccharine pop lyrics, but the contrast between being found, and
then lost, works, and works well within the context of the song.
“Lost in You” is three minutes, which is the perfect length
for a pop song (see also Taylor Swift’s “Cruel Summer”) because it both leaves
the listener wanting more—or at least thinking they want more, but three
minutes is also a smart enough length not to overstay its welcome, or give the
listener too much of a good thing.
Brooks, despite his stable of songwriters and players, and
his best efforts, is unable to top these first two tracks—“The Way I Remember
It” within the Gaines mythology, is from the album Triangle, the album the character released in 1996 after four years
of self-imposed exile; “Lost in You” is one of two ‘new’ Gaines songs to be
included on what is billed as a Greatest Hits effort—even a fictional character
still falls into the gimmick that began in the early 1990s with artists
including one or two new songs on a Hits collection in an effort to get you to
buy things you already had.
In most cases, at least in the ‘album’ era (before digital
downloads) it worked.
Even sold as a ‘Greatest Hits’ collection for a fictional
character, after you get beyond “Lost in You,” the album, as a whole, is of
diminishing returns, and contains little, if any, cohesion in sound—all kind of
just barely held together by Brooks’ voice, and some familiar instrumentation
here and there. Some of it is just simply forgettable—too middle of the road
and boring to make you wince; some of it is a little surprising at times; some
of it is just absolutely unlistenable.
*
Outside of the vague memory of this entire debacle
happening, and possibly recalling “Lost in You” being released as a single, the
one thing people will more than likely actually remember about Garth Brooks as
Chris Gaines is when he hosted an episode of “Saturday Night Live” in the fall
of 1999.
Brooks was the host; Gaines was the night’s musical act
(during the era when the musical guests only performed one song, as opposed to
two), and at no point was it ever explicated stated that the host, and the
musical guest, were the same person. It continued the weird, very earnest and
‘meta’ inside joke Brooks was trying to cultivate.
The Gaines episode, airing in November of 1999, was the
second time Brooks had hosted, and this time out is probably most remembered,
outside of the Gaines musical performance, for a skit where Brooks plays a
struggling musician who exclaims he would sell his soul to write a decent
song—and in walks in Will Ferrell, in an elaborate devil costume, attempting to
pitch out of tune, novelty songs like “Love Bat,” and “Fred’s Slacks.”
On the NBC website, the Gaines musical performance is,
strangely, missing (it is really nowhere else to be found online, either) and
there is a small handful of sketches available from this episode, including a
‘breaking the fourth wall’ exchange between a very young, very thin Tracy
Morgan and Brooks, about Chris Gaines.
It shouldn’t have been funny then, and it certainly is not
funny now, but within the conceit that Morgan ‘doesn’t know’ Brooks and Gaines
are the same person, he tells Brooks he thinks Chris Gaines ‘bats for both
teams,’ and ‘smokes meat cigars.’
If I recall, the Gaines song played on “Saturday Night Live”
was a short, funk-driven track—“Way of The Girl.” It’s one of many songs on The Life of Chris Gaines that border on
being directionless, and more or less lose momentum at some point near the
three or four minute mark, before they fade out into nothingness. The idea of
‘the fade out’ in a song is fine—it’s not poison for a song, but here, it seems
to be overused in a way that implies, within the studio, Brooks and his band,
and veteran producer Don Was, simply ran out of ideas with certain pieces, and
that’s where they ended up.
*
Because The Life of
Chris Gaines has, for the most part, been scrubbed away from the internet,
and is not available to either legally, or illegally, download, in order to get
a copy with the intent of revisiting the album, 20 years after my mother
purchased it on a Saturday afternoon in September, I bought a used copy, for
$4, from the second-hand CD and DVD store in town. The woman who runs the shop
gave me a sideways glance when I slid it across the counter, and said,
“Really?”
I had to explain to her that it was turning 20 at the end of
September, and it needed to be revisited, and that I was thankful they at least
had a copy of it for sale.
In listening to it, as I am able, either at home or in the
car, I’d subjected my wife to it a few weeks ago on a trip up to the Twin
Cities where we were having an impromptu night out for dinner.
We were nearing our destination, and had passed the halfway
point of the album, when, totally unprompted by me, she made a surprising
statement—surprising, only, because it was something that I had thought about
myself, but never vocalized.
“Do you think there are some songs on here where he sounds a
little like Ryan Adams?”
Ryan Adams, for the last seven or eight months, has become a
sore subject in the house. Once, a favorite for both my wife and myself, after
being outed as a serial sexual abuser of, like, every woman he’s ever come in
contact, we’ve been uncertain on what to do with the vast collection of Adams
LPs that once lined my shelf.
There’s a song, shortly after the halfway point on The Life of Chris Gaines, that sounds an
awful lot like when Ryan Adams write a ‘rock’ song—or at least, like a rock
song in 2002, or 2003; thing “Starting to Hurt,” from Demolition. Perhaps it’s the use of chugging, then distorted electric
guitar; perhaps it’s the steady bass line and sharp, precise drumming coming
from the rhythm section.
Or perhaps it’s the way Brooks drops his voice into a
raspier, lower range—a night and day difference from the higher, soulful tones
of “Lost in You.” On “Unsigned Letter,” Brooks, you could say, even
snarls—though a little restrained, still, somehow—in the song’s infectious, mildly
clichéd fist pounding refrain: “Is she
gonna strike the match that’ll surely light the flame? Is she carrying a torch
for love I vain? Is she gonna break the locks—take a look inside the box, knowing
that she could release Pandora’s shame.”
Then, for some reason, he says—“Welcome to the game; what’s in a name?”
“Unsigned Letter,” aside from sounding exactly like the kind
of thing somebody else would record only a handful of years later, is yet
another song that seemingly drifts off without direction until it mercifully
fades out, but it is also one of the more listenable, and tolerable songs that
make up the rest of the album.
*
I hesitate to say that structurally, The Life of Chris Gaines almost folds under its own ambitions
almost immediately, but following the one-two of “The Way I Remember It,” and
“Lost in You,” it would take a herculean effort to keep that kind of momentum
and quality for another 11 tracks, and Brooks just doesn’t have it in him,
unfortunately.
“Snow in July” is the first of a few attempts at faux-funk;
“Driftin’ Away” is a turgid ballad that finds him stretching his vocal range,
but it snail’s pace with which the song unfolds brings the pacing of the record
down to a crawl, and “It Don’t Matter to The Sun” (another single) suffers a
similar fate; “Main Street” and “Digging for Gold” are two additional ‘rock’
leaning tracks that find Brooks tapping into that raspy, proto-Ryan Adams
range.
These songs aren’t bad,
per se—they are just totally forgettable.
The aforementioned “My Love Tells Me So,” the 1980s inspired
track that closes the album is not, surprisingly, the strangest, most difficult
piece to take away from The Life of Chris
Gaines.
No, that would be “Right Now.”
On my initial listen of The
Life of Chris Gaines, shortly after I procured it for $4, I left it playing
in our home’s stereo while I took a shower. After exiting the bathroom, my wife
excitedly told me I had missed a song that featured, as she put it, ‘rapping.’
On another listen, a number of days later, we were speeding
down the highway when “Right Now” came on—“THIS IS THE ONE WITH THE RAPPING,”
my wife exclaimed, as I fiddled with the volume knob, attempting to keep the
car in the right lane.
Calling what Brooks does on “Right Now” ‘rapping’ isn’t
exactly correct; the song itself is a medley, of sorts, combining the iconic
refrain from “Get Together” written by Chet Powers and performed by The
Youngbloods—originally from 1967, with verses, rattled off in a muffled,
distorted, spoken word affect, lifted from an idiosyncratic folk song from the
late 1990s, “If It Were Up To Me” by Cheryl Wheeler.
Coming off as a borderline manifesto set to music—thanks in
part to Wheeler’s original being a protest song of sorts in the wake of a
shooting—it arrives as the most puzzling, bizarre, and cringe inducing moment
on the record. Musically, it blends jittering programming, live percussion, and
a chugging rhythm coming from the acoustic guitar, the whole thing is a train
wreck—and it’s in moments like this when it becomes glaringly clear why Brooks
has tried to erase the memory of Chris Gaines from public consciousness.
*
In one of the things that I read while researching what I
was able to find about the entire Chris Gaines debacle, I came across something
that implied the public would have been, perhaps, a little more forgiving of
Brooks if he simply admitted he wanted to make a pop/rock album, and released
it under is own name—and that audiences became too hung up on the Gaines
persona, and the frenzy that surrounded it—Brooks did, after all, concoct a
mock episode of VH-1’s “Behind The Music” featuring Gaines, and also performed
songs from the album in an hour long NBC prime time special.
I am uncertain if I can agree, or even disagree, with that
statement. It’s tough to know what the listening public, especially country
music fans, on the eve of the new millennium, would have been willing to put up
with from Brooks. Artists ‘crossover’ from one genre, and one Billboard chart,
to another, all the time now, but at that point in time, would a ‘rock record’
from Garth Brooks been welcomed with open arms, even if it wasn’t made up of
these songs; even if it had been more cohesively structured in its final sound?
Some of my friends from work occasionally ask what I’m
working on when I say that I’ve been writing, and I found I had a challenging
time attempting to explain the idea of Chris Gaines to them. One of them
remembers it, but not very well; others have no recollection of this at
all—perhaps because they are younger than me, or perhaps they do not live in a
world steeped in nostalgia and popular culture. After trying to explain the soundtrack
to a movie that was never going to be made, and a fictional character portrayed
by Garth Brooks, one of them told me she thought it sounded fascinating.
Somebody else asked what the conclusion of this essay was
going to be.
It is fascinating, isn’t it? That’s the thing—the Gaines
mythology, both of the character itself, and the sheer audacity surrounding the
development and eventual release of this album, is far more memorable, and more
interesting, than the music found within. The music itself is, unfortunately,
forgettable; save for two songs—“Lost in You,” and “That’s The Way I Remember
It,” the rest of the record certainly hasn’t stood the test of time, and the
‘sell by’ date on something like this probably didn’t even last until the year
2000.
It can be looked at as a failure, or that it did something
to his career that he could never really recover from (which I disagree with),
but you have to admit that this was a courageous, albeit bizarre, risk, and he
went into it 100%, and tried to walk away as gracefully as one can from
something like this.
It’s fitting, in a sense, that arguably one of the best
songs of the project—or, at the very least, one of the most infectious and
memorable from this album, is called “That’s The Way I Remember It,” and it
features such a simple line in the refrain, where Brooks repeats that phrase
twice, but during the second time, he inverts a few of the words to say “I remember it that way.”
Because, 20 years later, Brooks would prefer that nobody
remember this at all.
1- At some point, I learned a strange tidbit about
Garth Brooks—that he was furious, at one time in his career, about the idea of
‘used CD’ stores; specifically, he was mad at the idea of someone re-selling
his music without him making money off of it. In 2014, in an effort to take
control of the amount of royalties he was receiving off of digital music sales,
Brooks launched his own digital music platform—Ghost Tunes. It shuttered in
2017, and was absorbed into Amazon Music.
2- The Stereogum piece alleges that his career never
really recovered, even after the release of Scarecrow
in 2001, and that is why he retired, and eventually wound up in Las Vegas for a
number of years, before coming back to tour nationally.
I bought the cd when it came out.. I liked the collective work in the Chris Gaines project. I liked it more after seeing the tv special with Garth and Gordon performing the tracks live. I recorded, and have revisited that video presentation a few times. Wish I had the actual video, as my vhs to dvd copy has the snow from my antenna tv reception, back then. Entertaining. Bold. Different. A project that stands alone among his pre and post efforts.
ReplyDeleteI, too, heard and saw the "What?" from people who do not really know or appreciatiate the craft of song creation and delivery. They seemed stuck on his country personna, without acknowledging his influences, like Billy Joel.
Personally, I have not been wowed by or like his newer work of late. He seems, comes off a bit "affected"; not seeing or hearing his heart or emotion involved. "Look what I can do!" But, I still appreciate and value his talent, drive, unmistakable voice qualities that keep him unique. He can sing the phone book and entertain us, for the most part. Still love him for who he is. Wait to see if he reinvents himself again. Like the Dr. Pepper commercials he did with Ty...
~ BMW