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* what they're saying *
Brent Bennett & Rob York's Crossing the Country: The Songwriter's Art
by George Fish
by George Fish
Brent Bennett and Rob York’s CD, Crossing the Country, is a finely crafted recording that
features twelve original songs written by Bennett and York, or by Brent Bennett alone, that
properly belong in that excellent country music songwriting tradition that extends from
Jimmy Rodgers and Hank Williams to modern luminaries such as Johnny Cash, Merle
Haggard and Kris Kristofferson. These songs are “white blues” roots music at its most
honest, torchy and funky, and all are expressions of these through eloquent, lyrical poetry.
If there can be said to be a fault with these twelve most original songs on Crossing the
Country, it is that they are too good. Really too good for the formulaic that comes too much
out of country music nowadays, too creative, too striking, to market with an eye toward
“mainstream mediocrity” demographics to have the chance they deserve for commercial
success.
But enough of that. Potential for commercial success or not doesn’t get in our way of
celebrating the musical treasure trove we have on Crossing the Country, and appreciating
each one of these gems in the diadem individually. Further, the music composed and
arranged for each of these songs, with vocals, it seems, all done by Brent Bennett, doesn’t
try to be either ersatz rock or maudlin “redneck retro.” It’s just straightforward, as honest
as the songs it backs, and played quite well by Bennett and York.
In the twelve songs of Crossing the Country we have both novel themes for country music
explored, as well as novel approaches to traditional country themes. For example, we
have four different approaches to country’s venerable theme of “hitting the road,” which
show that there’s many different ways to hit that ol’ highway and get out, or go where we
truly want to go. The opening cut, “Nashville Here I Come,” is about being talented and
stuck in small town stagnation, but busting out of this to try for the bright lights, big city of
Nashville (and no, I don’t mean Indiana tourist trap Nashville, Indiana, a Kafkaesque
metaphor I use here for that ending-up for all too many unappreciated Indiana musicians,
who play anonymous, underpaid gigs over the long time only to find themselves stranded,
neglected, and without car fare out). There’s celebration of the take-this-job-and-shove-it
hobo road on “King of the Highway,” hitting that get-in-my-truck-and-leave-that–evil-woman-
behind highway on “Goodbye Gear,” and traveling that slipping-out-on creditors road on
“Greyhound Tomorrow.” All taking us on rollicking journeys to destinations that we really
want to reach.
We have the torch songs of losing and finding love given by the Eagles-like ballad of
pining, ‘Seven Months & 14 Days,” and the exultant melting-of-hardness-by-unexpectedly-
finding-love celebration given us on “Barbed Wire.” The poignant, Kristofferson-like, “The
Sign,” looks at homelessness through a moving “there but for fortune” accidental
confrontation. “The Sign” makes a statement that’s philosophical and compelling, but not
preachy or maudlin, a country counterpart to the elegant yet philosophical blues songs
written by Indiana’s Milligan and Steam Shovel. In both cases, we have songs that stun us
with thought, but don’t hammer the obvious into our heads like it was a railroad spike. The
theme of getting-into-fatal-trouble-with-the-law finds this same compelling, non-sappy
treatment given it on “Trouble in Texas.”
And finally, in tune with contemporary country’s finding out that there’s more to sex than
what’s told or understood by Bible Belt Baptists, Brent Bennett gives us four open
expressions of the joy of lust, delightful celebrations of the erotic in those ways that rock
came to know, and the blues always knew. Bennett, both in song lyrics and vocals, makes
a fine male Shania Twain indeed. And that rock-like openness comes out well on both the
frolicsome bawdiness of the modal “My Neck of the Woods,” and the uptempo
seductiveness of the ballad of seduction, “Ride My Train.” Bennett also develops his
feeling for the erotic in two songs wrapped thematically around venues, with both songs
taking different approaches. There’s the eagerly anticipatory room-for-the-night at the
“Wishing Well Motel” revel on one hand, but also the deep understanding of the loneliness
and longing that’s often coupled with the lustful in barroom trysts, “Three Nickels and a
Dime,” where Bennett eloquently gives us both sides of that coin in one song that both
surprises and celebrates—companionship as well as sexual desire.
These twelve well crafted songs on Crossing the Country, harken us to that halcyon time of
the late Sixties up to the mid-Seventies, when pop music across all genres could boldly
cross lines and explore limits that were both artistically and commercially successful, that
time now so seemingly gone when country could accommodate both Merle Haggard and
the Flying Burrito Brothers, and Johnny Cash could commune as a soulmate with Bob
Dylan. Perhaps the songs on Crossing the Country, which express the creativity of that
extraordinary time so well, will find receptive ears and participate in a revival of that creative
era, such as perhaps the Dixie Chicks’ uncompromising boldness on Taking the Long
Way is hopefully a harbinger of. Perhaps a hoped-for melding of the striking and the
traditional through a shared creativity is in the wings, and if so, then Brent Bennett and Rob
York are trailblazing scouts for it along with the Dixie Chicks, just as this writer finds in
Natalie Maines echoes of Patsy Cline.
George Fish has written for such publications as Against the Current, Socialism &
Democracy and Indiana Blues Monthly . Click here (or here, then go the Opinion Page) to
read more of his reviews and writings.
features twelve original songs written by Bennett and York, or by Brent Bennett alone, that
properly belong in that excellent country music songwriting tradition that extends from
Jimmy Rodgers and Hank Williams to modern luminaries such as Johnny Cash, Merle
Haggard and Kris Kristofferson. These songs are “white blues” roots music at its most
honest, torchy and funky, and all are expressions of these through eloquent, lyrical poetry.
If there can be said to be a fault with these twelve most original songs on Crossing the
Country, it is that they are too good. Really too good for the formulaic that comes too much
out of country music nowadays, too creative, too striking, to market with an eye toward
“mainstream mediocrity” demographics to have the chance they deserve for commercial
success.
But enough of that. Potential for commercial success or not doesn’t get in our way of
celebrating the musical treasure trove we have on Crossing the Country, and appreciating
each one of these gems in the diadem individually. Further, the music composed and
arranged for each of these songs, with vocals, it seems, all done by Brent Bennett, doesn’t
try to be either ersatz rock or maudlin “redneck retro.” It’s just straightforward, as honest
as the songs it backs, and played quite well by Bennett and York.
In the twelve songs of Crossing the Country we have both novel themes for country music
explored, as well as novel approaches to traditional country themes. For example, we
have four different approaches to country’s venerable theme of “hitting the road,” which
show that there’s many different ways to hit that ol’ highway and get out, or go where we
truly want to go. The opening cut, “Nashville Here I Come,” is about being talented and
stuck in small town stagnation, but busting out of this to try for the bright lights, big city of
Nashville (and no, I don’t mean Indiana tourist trap Nashville, Indiana, a Kafkaesque
metaphor I use here for that ending-up for all too many unappreciated Indiana musicians,
who play anonymous, underpaid gigs over the long time only to find themselves stranded,
neglected, and without car fare out). There’s celebration of the take-this-job-and-shove-it
hobo road on “King of the Highway,” hitting that get-in-my-truck-and-leave-that–evil-woman-
behind highway on “Goodbye Gear,” and traveling that slipping-out-on creditors road on
“Greyhound Tomorrow.” All taking us on rollicking journeys to destinations that we really
want to reach.
We have the torch songs of losing and finding love given by the Eagles-like ballad of
pining, ‘Seven Months & 14 Days,” and the exultant melting-of-hardness-by-unexpectedly-
finding-love celebration given us on “Barbed Wire.” The poignant, Kristofferson-like, “The
Sign,” looks at homelessness through a moving “there but for fortune” accidental
confrontation. “The Sign” makes a statement that’s philosophical and compelling, but not
preachy or maudlin, a country counterpart to the elegant yet philosophical blues songs
written by Indiana’s Milligan and Steam Shovel. In both cases, we have songs that stun us
with thought, but don’t hammer the obvious into our heads like it was a railroad spike. The
theme of getting-into-fatal-trouble-with-the-law finds this same compelling, non-sappy
treatment given it on “Trouble in Texas.”
And finally, in tune with contemporary country’s finding out that there’s more to sex than
what’s told or understood by Bible Belt Baptists, Brent Bennett gives us four open
expressions of the joy of lust, delightful celebrations of the erotic in those ways that rock
came to know, and the blues always knew. Bennett, both in song lyrics and vocals, makes
a fine male Shania Twain indeed. And that rock-like openness comes out well on both the
frolicsome bawdiness of the modal “My Neck of the Woods,” and the uptempo
seductiveness of the ballad of seduction, “Ride My Train.” Bennett also develops his
feeling for the erotic in two songs wrapped thematically around venues, with both songs
taking different approaches. There’s the eagerly anticipatory room-for-the-night at the
“Wishing Well Motel” revel on one hand, but also the deep understanding of the loneliness
and longing that’s often coupled with the lustful in barroom trysts, “Three Nickels and a
Dime,” where Bennett eloquently gives us both sides of that coin in one song that both
surprises and celebrates—companionship as well as sexual desire.
These twelve well crafted songs on Crossing the Country, harken us to that halcyon time of
the late Sixties up to the mid-Seventies, when pop music across all genres could boldly
cross lines and explore limits that were both artistically and commercially successful, that
time now so seemingly gone when country could accommodate both Merle Haggard and
the Flying Burrito Brothers, and Johnny Cash could commune as a soulmate with Bob
Dylan. Perhaps the songs on Crossing the Country, which express the creativity of that
extraordinary time so well, will find receptive ears and participate in a revival of that creative
era, such as perhaps the Dixie Chicks’ uncompromising boldness on Taking the Long
Way is hopefully a harbinger of. Perhaps a hoped-for melding of the striking and the
traditional through a shared creativity is in the wings, and if so, then Brent Bennett and Rob
York are trailblazing scouts for it along with the Dixie Chicks, just as this writer finds in
Natalie Maines echoes of Patsy Cline.
George Fish has written for such publications as Against the Current, Socialism &
Democracy and Indiana Blues Monthly . Click here (or here, then go the Opinion Page) to
read more of his reviews and writings.
Brent Bennett & Rob York, Crossing the Country
by Johanna J. Bodde (www.insurgentcountry.net)
by Johanna J. Bodde (www.insurgentcountry.net)
A year before "Under My Own Power" was released, "Crossing The Country" by Brent
Bennett and his friend Rob York came out. Brent is a professional musician for over twenty
years, after he returned to Indiana he was involved with various bands until he formed
Stones Crossing with Rob York in 1992 and played lead-guitar. In the meantime he also
made albums with Ballast and Sindacato, while he currently works in the studio on an
album with his band The Movers, featuring Rob York on rhythm guitar, Don Spade (bass)
and percussionist Matt Allen.
On "Crossing The Country" Rob co-wrote half of the songs with Brent, the credits aren't
specified, so I assume he plays guitar and maybe sings some harmony too. Otherwise
this CD is not much different from "Under My Own Power", it's just as good!
The title covers the theme of this album very well, a lot of travelling is done in the catchy
songs, by truck, train or Greyhound bus. Starting off with "Nashville Here I Come", the tale
of talented young people ready to leave their boring small town. "Goodbye Gear" has the
great line "My guitar's sitting next to me / She's told me where to go", while "Greyhound
Tomorrow" got wonderful guitarwork and a story about the man trying to escape from an
avalanche of debts. "Trouble In Texas" and "Ride My Train" are both exciting, fast rocking
songs, the first one with the dark shadow of the hangman looming in the background, the
second turning out to be a metaphor for seduction. Only one typical singer-songwriter track
with some strings, "The Sign", an introspective ballad about a homeless man. Brent is
great in his fast songs, but the ballads can't be missed either! Of course there are a few
songs about love & longing featured too, for the long or short run, in the past ("Seven
Months & 14 Days") or in the present, at the "Wishing Well Motel" on Fridaynight: "It can be
our little secret" and at the bar ("Three Nickels & A Dime"), while the last song ("I had
barbed wire across my heart") even has a happy end!
Before anybody passes this by as yet another self-released countryrock album: please,
notice the superb songwriting in the first place and don't forget to listen closely to
guitarplaying and singing, as there's quite a bit more to it here!
Bennett and his friend Rob York came out. Brent is a professional musician for over twenty
years, after he returned to Indiana he was involved with various bands until he formed
Stones Crossing with Rob York in 1992 and played lead-guitar. In the meantime he also
made albums with Ballast and Sindacato, while he currently works in the studio on an
album with his band The Movers, featuring Rob York on rhythm guitar, Don Spade (bass)
and percussionist Matt Allen.
On "Crossing The Country" Rob co-wrote half of the songs with Brent, the credits aren't
specified, so I assume he plays guitar and maybe sings some harmony too. Otherwise
this CD is not much different from "Under My Own Power", it's just as good!
The title covers the theme of this album very well, a lot of travelling is done in the catchy
songs, by truck, train or Greyhound bus. Starting off with "Nashville Here I Come", the tale
of talented young people ready to leave their boring small town. "Goodbye Gear" has the
great line "My guitar's sitting next to me / She's told me where to go", while "Greyhound
Tomorrow" got wonderful guitarwork and a story about the man trying to escape from an
avalanche of debts. "Trouble In Texas" and "Ride My Train" are both exciting, fast rocking
songs, the first one with the dark shadow of the hangman looming in the background, the
second turning out to be a metaphor for seduction. Only one typical singer-songwriter track
with some strings, "The Sign", an introspective ballad about a homeless man. Brent is
great in his fast songs, but the ballads can't be missed either! Of course there are a few
songs about love & longing featured too, for the long or short run, in the past ("Seven
Months & 14 Days") or in the present, at the "Wishing Well Motel" on Fridaynight: "It can be
our little secret" and at the bar ("Three Nickels & A Dime"), while the last song ("I had
barbed wire across my heart") even has a happy end!
Before anybody passes this by as yet another self-released countryrock album: please,
notice the superb songwriting in the first place and don't forget to listen closely to
guitarplaying and singing, as there's quite a bit more to it here!