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.
One Mississippi
Brett Eldredge Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Counting down the seconds, standing in the wreckage of love
On a cold grey Jackson dawn
Oh I just can't watch this, sure can't stop this
I keep waiting, your tail lights are fading, I see
You're already gone
I'm half of who I used to be,
One Mississippi, hm
Lipstick on the coffee cup
I know I should wash it up But maybe I'll
Just wait here for a little while
I run my fingers around the top
Where your lips were I just stop 'cause I,
I can almost see your smile
And it's one Mississippi, two Mississippi
Counting down the seconds, standing in the wreckage of love
On a cold grey Jackson dawn
And I know everybody's got their demons
Everybody's got their reasons
Why they leave when they run
But baby I could have helped you through it
You built a wall and I couldn't get to it
Now I'm waiting for the rain,
And the pain to come yeah
And it's one Mississippi, two Mississippi
Counting down the seconds, standing in the wreckage of love
On a cold grey Jackson dawn
Oh I just can't watch this, sure can't stop this
I keep waiting, your tail lights are fading, I see
You're already gone
I'm half of who I used to be,
One Mississippi
Ooh one Mississippi yeah yeah yeah
Yeah
In Brett Eldredge's song One Mississippi, he sings about the pain of heartbreak and his inability to stop the countdown to the end of the relationship. The opening lines "One Mississippi, two Mississippi, counting down the seconds" emphasize a feeling of helplessness, as if he is unable to stop the inevitable end. The imagery of the "cold grey Jackson dawn" adds to the sense of loss, as he watches the person he loves leave him.
The chorus repeats the theme of counting down the seconds, as he stands in the wreckage of love. The line "everybody's got their demons, everybody's got their reasons" could be interpreted as a reflection on the complexity of relationships and the reasons why they sometimes fail. He expresses regret for not being able to break through the walls his partner had built and help them through their struggles with their demons. The final verse concludes with him waiting for the pain of the breakup to come, further emphasizing his helplessness in the face of the end.
Line by Line Meaning
One Mississippi, two Mississippi
Counting down the seconds in despair as the love is coming to an end
Standing in the wreckage of love
Reminiscing the good times while standing amid the ruins of a lost relationship
On a cold grey Jackson dawn
Describing the atmosphere of a bleak and melancholic morning
Oh I just can't watch this, sure can't stop this
Helplessly watching the person leaving, unable to change their mind
I keep waiting, your tail lights are fading, I see / You're already gone
Holding onto the fading memory of a departed love, even when it is already over
I'm half of who I used to be
Feeling incomplete and broken after losing the other half of the relationship
Lipstick on the coffee cup / I know I should wash it up / But maybe I'll / Just wait here for a little while / I run my fingers around the top / Where your lips were I just stop 'cause I / I can almost see your smile
Recalling the little things that were left behind, like the lipstick on the coffee cup, and cherishing them as a symbol of the past love
And I know everybody's got their demons / Everybody's got their reasons / Why they leave when they run / But baby I could have helped you through it / You built a wall and I couldn't get to it / Now I'm waiting for the rain, / And the pain to come yeah
Realizing that everyone has their struggles and reasons for leaving, but also regretting not being able to break through the other person's defenses and offer help
Ooh one Mississippi yeah yeah yeah / Yeah
Vocals and melody that capture the pain and longing in the lyrics
Lyrics © Sony/ATV Music Publishing LLC, Reservoir Media Management, Inc.
Written by: BRETT ELDRIDGE, TOM DOUGLAS
Lyrics Licensed & Provided by LyricFind
@TheShelbyEJames
His voice is like melted chocolate... yum!
@denisekojak6470
STILL NOW..JULY 2020... !!
@NandaWardanaxox
Both brett and dexter sing flawlesslyy
@terrysmith758
Such a smooth voice that shows true emotions!
@summerray7816
SO in love with this song.
@kaileemalik1562
I cry every time I hear this song
@redneckdumbass0193
You arnt the one one
@daniellenicole273
Amazing <3 ............ Love all of his songs Love this song
@sarasutherland8370
saw him live on January 20th! Fricken amazing voice live <3 love him soooo muccchhh
@adamstephany2063
Still amazing