It seems that I must continue to belabor the point that there are many, many, many blind spots in my musical perspective. I am constantly in a state of confessing my ignorance of well revered artists, drawing reactions of “what do you mean you’ve never listened to…” Usually, I remind them that I like, just got into the Cure.
The Mountain Goats is one of these bands. Despite however much I’ve heard their name thrown around by tastemakers I respect or listed alongside bands I love, I have looked at their substantial discography and passed on the massive excavation project ahead of me.
But, I’m also a massive wrestling fan. And so when my friend Josh brought the oft-heard refrain that I neeeed to listen to the Mountain Goats, he tied an extra juicy carrot to the end of that string: Beat the Champ, a folk rock album about pro wrestling. And while this sort of project could be played for humor—and there’s plenty of humor to be found—John Darnielle handles the subject with a reverence that only a true wrestling fan can muster.
Don’t get me wrong: there’s plenty of silliness here—and silliness is an inherent trait of the art. Tracks like “Foreign Object” and “Werewolf Gimmick” are laugh-out-loud funny. But this record gets surprisingly deep. “Southwestern Territory” is a poignant look at the life of a pro wrestler outside of the ring. This is a lonely life lived in empty highways and cold hallways on the other side of the curtain punctuated by moments of umatched glory. “The Legend of Chavo Guerrero” is an ode to the emotional power of these narratives, taking the view of the fan who has been let down by everyone except his champion. “Stabbed to Death Outside San Juan” recounts just how serious these emotional responses can be when the lines between keyfabe and reality blur. “Heel Turn 2” takes one of wrestling’s cartooniest tropes and turns it into a powerful manifesto of a good man taken beyond his limit.
As a wrestling fan, it’s immediately captivating. The silliness and emotional resonance of the keyfabe narratives are held in equal regard, and that’s why we love pro wrestling. But what makes this record so special is how highly it’s regarded outside of the industry. A number of my non-wrestling fan friends (including the very friend that recommended it to me, I believe) have told me this is their favorite record by the Mountain Goats. And believe me: I know how large a hurdle pro wrestling can be to outsiders, so the fact that Darnielle could write such universally resonant songs centered around such a ridiculous and niche industry is practically a miracle.