Album Review – Charles Wesley Godwin’s “Christian Name”

Christian Country (#530.5), Appalachian (#519), and Inspirational Country? (#xxx) on the Country DDS.

Is there a subgenre of country music yet called “Inspirational Country”? And if there isn’t, can we make one and put Charles Wesley Godwin at the top of it? Listening to his music or seeing him live, you feel so inspired, you think you could run through a wall, or at least run a marathon. He inspires you to want to be a better person, a better member of your family, a better member of your community, and all without ever coming across as preaching. It’s a “lead by example” kind of thing.

As alluded to by the title, Charles Wesley Godwin’s fourth solo album is a work of faith. Though similar to the latest album from The Red Clay Strays, it’s not a work of faith exclusively, and it’s more inspired by Godwin’s religiosity as opposed to a dedicated work of Christian or Gospel music. But it probably does reference faith and God more than the Strays record, though it stops short of any direct proselytizing … well, aside from the sermon that starts off the record. The title is a reference of Godwin’s grandfather and namesake, Charles Godwin, who was a Methodist minister.

Moreover though, Christian Name is simply a recount of the last couple of years of Godwin’s life, just like many albums are. It just happens to be that the last few years have seen a renewed dedication to faith by Godwin, and for good reasons. Specifically, the album comes after a tragic time in the Godwin home where his wife Samantha experienced a stillbirth of the couple’s third child, Samuel. But instead of shaking Godwin’s faith, it steeled it.

Understanding the inspiration for this album is really key to getting the most out of it. The songs “Hey There Son” and “Every Once In a While” especially, but other lines and moments really become soul-wrenching with the knowledge of the perspective they come from. But just like being a person of faith, having that knowledge isn’t required to get a lot out of these songs. That’s a testament to Godwin’s writing, along with his use of co-writers in a more concerted effort than ever before on this album. This includes Lori McKenna, Stephen Wilson Jr., Liz Rose, Aaron Ratiere, Travis Meadows, Tom Douglas, and Scooter Carusoe.

Going into Christian Name, understand this is not a typical country record. Though Godwin and his producer/guitarist Al Torrence do pay homage to his West Virginia/Appalachian roots with the songs “Place I Know” and “God’s Been Good to Me” where backing band the Allegheny High get after it acoustic style, generally this record has a lot of Americana sensibility to it, along with being bookended by two strong compositional rock performances in “Try Again” and “Brand New,” just rendered with country instrumentation. Al Torrence gives off some musical mad scientist vibes in a good way, not dissimilar to Frank Zappa who he also has a likeness to.

You come to the music of Charles Wesley Godwin to be inspired, and he most certainly doesn’t disappoint. The expansive, uplifting, and sometimes unconventional approach of the music itself enhances this rising action, and meets the challenge that Godwin’s lyricism and inspiration poses to it, even if at times the compositional prowess displayed will be lost on the typical listener. But in some respects, that’s what the lead single “Better That Way” featuring Luke Combs is for. It’s a fine song, but does stick out in this track list as a clear play toward radio and playlisting.

Whenever you broach political or religious subjects in a significant way, it’s always going to render the material polarizing. Many won’t even sniff this album simply because of its name. But Godwin does a really good job making these songs feel universal in a way that can appeal to anyone’s spiritual underpinnings and beliefs in a higher power without including the specificity that can activate that polarization.

For example, it’s hard to recall if Jesus is even mentioned in the album. The work culminates in arguably the best song “Brand New,” which could be just as much about a baptismal or reborn moment as it could be about being renewed through a relationship or and undefined spiritual awakening. The way Godwin keeps it ambiguous in a way that both honors his inspiration, yet keeps a wide audience engaged is a testament to his writing and vision, while the imaginative arrangement from Al Torrence makes the moments that much more immersive.

Charles Wesley Godwin has always delivered his music steeped in very personal reflection and signifiers, from the citing of geography in his earlier albums, to now his familial inspirations as a father, and the ruminations on the headstones of his ancestors. It’s hard to know if one album is more inspiring than the previous, because Godwin sets the bar for inspirational work when it comes to the country music medium. What’s for sure is the Christian Name doesn’t fall short from that high bar he set, and it might go on to define the high water mark.

The album will be scoffed at by some for sure for its religious focus, and perhaps could have delved more into the questioning of faith as opposed to the affirming of it that even the most devout Christians commonly face. But it’s hard to not be inspired by Charles Wesley Godwin no matter your beliefs. Because you can tell he doesn’t just sing it. He lives it.

8.4/10

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