The Paris, IL, native was visiting Nashville for the first time early in his sophomore year at Chicago's Elmhurst College. He was at the Station Inn, an historic bluegrass/country venue where many of the greats of both worlds have played. His cousin Terry, a veteran of Dolly Parton's band and now a member of the Grascals, was playing with a band called the Sidemen, and a mesmerized Brett was in the crowd.
"There was something so real and truthful about the songs they were playing," he says. “What happened next came as a shock.”
"He asked me to come up on stage and told me to pick a song to play with the band," says Brett. I said, 'Amarillo By Morning,' and when I heard that fiddle intro, chills shot up my spine. I sang it for the crowd there and it was a magical experience. That was the point where I thought, 'This is it. This is something I've got to do.'"
By the start of the next school year, he had transferred to Middle Tennessee State University and begun the round of writers' nights and writing appointments that led him eventually to a record deal.
The talent that let him turn that dream into reality—the depth of his writing and the sheer power of his smoky and expressive baritone—are both apparent in his first single. "Raymond" is the poignant tale of a nursing home employee mistaken by a patient with Alzheimer's for her deceased son, who was killed at war. It is a song whose inspiring reaffirmation of their mutual humanity is affecting listeners deeply. The single rings true for Eldredge as his Grandmother currently struggles through the disease.
"There are a lot of things I'll play live where people will say, 'I like that,' or 'That's a really cool song,'" Brett says, "but when I do this one, I get the chance to tell people how special a thing it's been in my life, and it always touches someone. A lot of people know someone with Alzheimer's and people react in a really emotional way to it."
Brett has earned a reputation as much for the strength of his writing as for his world-class voice. He and co-writer Pat McLaughlin landed a song called "I Think I've Had Enough" on Gary Allan's latest album, Get Off On The Pain, and one of his frequent collaborators is Country Music Hall of Famer and Grand Ole Opry stalwart Bill Anderson.
"He's one of my favorite people to write with," says Brett. "I love the fact that he believes in country music so much, because it's something I really believe in. My dream, as I find my place in country music, is one day to be an Opry member."
Brett heard all kinds of music growing up, and became a particular fan of the classic pop singers he heard in his grandfather's car.
"I heard a lot of Frank Sinatra, who is still a favorite of mine, and Ray Charles and Bobby Darin," he says. "When my mother convinced me to sing 'Mack The Knife' at a talent show, I got hooked on singing in public."
That was in Paris, a town of 9,000 with "cornfields and factories and lake right in the middle." Brett, his older brother and his parents—a traveling grain salesman and a nurse—lived on the lake and, says Brett, "We were on the water every day, from the time I was so little they could pull me on water skis in a paddle boat until I left for college at 18." Sports were a big part of his life, and he played basketball, baseball and football in high school.
He also sang everywhere he could, often the Big Band music of Sinatra, earning spending money and learning to work a stage. His appreciation for country music became a passion when he turned 16 and he and a friend rode around listening to a Brooks & Dunn greatest hits album.
"There was something about it that just struck me," he says. "I couldn't get enough of it. Ronnie Dunn is one of my favorite singers of all time—I love the soul in his voice—and one of the main reasons I got into this in the first place."
Brett spent two years in Chicago, where his older brother lived, performing with a school jazz band and with a Big Band around the region.
"One of the coolest gigs," he says, "was at the Field Museum, I was singing in front of a 12-piece band under this huge Tyrannosaurus Rex statue near some mammoths. It was quite the experience."
Then came that fateful visit to Nashville and his transfer to MTSU. He studied classic country stylists like Ray Price and George Jones, and later Vince Gill, absorbing everything he could.
"I was driving back and forth Nashville every day from Murfreesboro, which is thirty miles away," he says. "I had a guitar Terry had given me, which was originally a gift from Dolly, and I'd pretty much lock myself in my room and make myself learn songs. I would play writers' nights all around Nashville. There might be two people, there might be 40 or 50. I'd go play my songs and see what people liked and what they didn't. I'd screw up royally in front of them, but I learned."
He earned a degree, which, he says, "made Mom and Dad happy, and then I moved on to what I really wanted to do.
A staff writer for hit producer/publisher Byron Gallimore heard him at a writers' night and introduced him to Byron, who signed him.
"I wrote for about two years, developing my craft and writing with everyone I could. In the beginning, Byron just let me kind of find myself, because that takes a while. As you write more you starting homing in on what you sound good on. Eventually, Byron said, 'You've got something here' and we went in and started cutting songs. We did a showcase, and Carole Ann Mobley from Warner Music Nashville said, 'We've gotta sign this kid'. Mobley and Craig Kallman then signed Brett to Atlantic Records, making him the first official signing for the new imprint.
As he worked with his band tightening his show, he was offered a particularly gratifying gig.
"I opened for Blake Shelton at The Ryman and it was the coolest experience. I flew back from this house gig and all of a sudden I'm thrown into playing the Mother Church of Country Music, something I always dreamed of doing. I was operating on almost no sleep, but stepping out on that stage where everybody who's anybody in country music has been meant the world to me."
He remains active in sports, playing basketball and volleyball and playing on an intramural softball team in Nashville, and rooting for the Cubs and Bears. Meanwhile, he is dedicated to improving his craft.
"As a songwriter," he says, "my aim is to portray a little bit of me and my life along with the stories of other people and turn them into something that can really touch somebody's heart and soul. We sit down on Music Row every day and write songs and every once in a while a song like ‘Raymond’ comes from such a real place. I hope it's that real to other people and that I can make them feel the way I felt when I wrote it and when I sing it."
Judging from audience reaction, that’s exactly what he’s doing.
It Ain't Gotta Be Love
Brett Eldredge Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If you let me I’ll buy you a round
Sure is packed, is that seat taken?
Do you mind if I sit down?
I see you tappin’ your foot there baby,
So you like that song?
Well it happens to be one of my favorites,
Do you wanna dance baby? C’mon
It’s time to get a little weekend crazy,
There’s no need to make it all that tough
We ain’t jumping off the deep end baby,
It ain’t gotta be love
No, it ain’t gotta be love
No pressure let your hair down baby,
We can take it slow
Your name and what you’re drinkin’ is all I need to know
It’s time to get a little weekend crazy,
There’s no need to make it all that tough
We ain’t jumping off the deep end baby,
It ain’t gotta be love
No, it ain’t gotta be love
It’s time to get a little weekend crazy,
There’s no need to make it all that tough
We ain’t jumping off the deep end baby,
It ain’t gotta be love
No, it ain’t gotta be love
The song "It Ain't Gotta Be Love" by Brett Eldredge is about a free-spirited weekend fling between two strangers. The song is sung in a casual, lighthearted tone that captures the easygoing nature of a weekend night out. The singer, Brett, approaches a woman who he finds attractive and starts off with small talk, offering to buy her a drink and asking if he can sit beside her. He notices that she likes a song that is playing and asks her to join him for a dance.
The lyrics suggest that the two of them are not looking for anything serious and that they are just out to enjoy the night for what it is. Brett encourages the woman to let her guard down and relax, assuring her that there is no need to rush into anything. He takes things slow and doesn't pressure her into sharing personal information beyond her name and what she's drinking. The chorus of the song, "It ain't gotta be love", drives home the point that this encounter is not intended to be anything more than a fun time between two people who are attracted to each other.
Overall, the lyrics of "It Ain't Gotta Be Love" are a celebration of the freedom to enjoy a casual connection without the pressure of commitment. The song acknowledges that not every encounter needs to lead to a long-term relationship, and that sometimes it's enough just to let loose and have fun for a night.
Line by Line Meaning
Can I bum a light from you baby?
May I have a light for my cigarette, darling?
If you let me I’ll buy you a round
If you allow me, I will pay for a drink for you.
Sure is packed, is that seat taken?
This place is crowded, is this seat being used?
Do you mind if I sit down?
Would you be bothered if I took a seat next to you?
I see you tappin’ your foot there baby,
I notice that you are tapping your foot, my dear.
So you like that song?
Do you happen to enjoy that particular song?
Well it happens to be one of my favorites,
Coincidentally, that song is one of my preferred ones.
Do you wanna dance baby? C’mon
Would you like to dance, my dear? Come on!
It’s time to get a little weekend crazy,
It’s time to embrace the weekend and let loose a little.
There’s no need to make it all that tough
There’s no need to complicate things unnecessarily.
We ain’t jumping off the deep end baby,
We are not making a big commitment, my dear.
It ain’t gotta be love
We don’t need to be in love.
No pressure let your hair down baby,
There’s no pressure, just relax and be yourself.
We can take it slow
We have all the time in the world, let’s not rush things.
Your name and what you’re drinkin’ is all I need to know
I only need to know your name and what you are drinking right now.
It’s time to get a little weekend crazy,
We ought to loosen up and have some fun during the weekend.
There’s no need to make it all that tough
It’s unnecessary to make things complicated.
We ain’t jumping off the deep end baby,
We don’t need to commit to anything too serious, my dear.
It ain’t gotta be love
Our relationship doesn’t have to be a love affair.
No, it ain’t gotta be love
Nope, there’s no need for us to be in love.
Contributed by Caleb O. Suggest a correction in the comments below.
cougar24
This song is pretty good.
They should have put it on the CD as a bonus track.
WᴏʀʟᴅsSᴍᴀʟʟᴇsᴛVɪᴏʟɪɴ
+cougar24 It'll never happen. You can't even buy the song on itunes anymore, his label completely abandoned the song.
Melinda Collins
Such an amazing song
Matthew Phayvanh
Love it.
Dave2100
great song, thanks for posting it!
Bevie Arlene
This song is in Country Strong movie, I looked it up cause it was just so good!
Kelly Williamson
Bevie Arlene Thank you for sharing this info. Have a good day.😀
Olivia
thank you so much for uploading! i love this song : )
Rebecca Lytle
such a great song :) my friend should learn this song and play if for me makes me think of him
max wessing
spot on grate song