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* what they're saying *
Brent Bennett's Solo CD, Under My Own Power: Maximum Thrust
by George Fish
by George Fish
Brent Bennett’s just-released solo CD, Under My Own Power, provides the listener with a
portrait of Brent Bennett, creative force, in all his multidimensionality. All of Brent Bennett
is here, and this writer can definitely say that his listening of Under My Own Power made
him aware of aspects of Bennett’s musical talent he had not been aware of previously—
despite seeing Bennett perform live, despite listening to his excellent collaboration with
Rob York on the Crossing the Country CD. For Brent Bennett is more than an excellent,
expressive vocalist, more than an outstanding multi-instrumental virtuoso, even more than
the strikingly insightful and original songwriter of Crossing the Country. Bennett is indeed
all of these, but he shows that he is also something more on Under My Own Power. He
shows that he is also a gifted arranger and, even though he alone plays all the
instruments on the CD, could be an excellent bandleader as well. He’d only have to hire
other musicians to play the bass, drums and rhythm guitar and sing the background
vocals he does as a one-man-band with all the ample multi-tracking capabilities available
to him through his own recording studio that he has at his fingertips!
Further, Brent Bennett shows that he has his own distinctive Brent Bennett country-rock
sound as well, and as both his arrangements and the musical variety of the songs on
Under My Own Power show, this original Brent Bennett Sound is a versatile tour de force.
Its essence, so amply demonstrated on the CD, has at its foundation the riffing of an
acoustic rhythm guitar overlaid with stinging electric guitar rock leads and solos. It is a
nice ambience that Bennett’s created here, a natural, creative outgrowth of that already
extraordinarily creative pop music that gestated from the mid-Sixties into the mid-
Seventies, and the musically informed will discern within Bennett’s music echoes of
America, the Eagles and 1965 Beatles—but only echoes, creative shadings, certainly not
copying or cloning. And not only that, he serves his influences well. For example, the
Beatles-evocative track here, “I’m Gonna Love You,” could serve nicely as a
Lennon/McCartney creation that George, Paul, John and Ringo would’ve all felt very
comfortable in playing and recording.
And “I’m Gonna Love You,” same as with ten of the eleven songs on Under My Own Power,
are Bennett originals. The last cut, “Louisiana Is Calling My Name,” was written in
collaboration with Rob York. Another fulsome display indeed of Bennett’s songwriting
talent.
Two of the songs Bennett wrote for Under My Own Power he’s performed previously. He
played “My Heart’s in Mississippi” at the Franklin Opry on June 11, and he first recorded
“My Kind of Woman” as a member of the roots band Sindacato on its most recent CD, The
Cord.
So, indeed, and not at all a surprise, Under My Own Power comprises eleven excellent
original songs. Even the two this writer found the weakest lyrically, “Where’d You Hide
Your Wings” and “I’m Gonna Love You” would still stand out serviceably as pop singles.
And this writer thinks that “Down by the River,” “My Heart’s in Mississippi” and “My Kind of
Woman” would all make it solidly as singles that would deservedly be on the country/rock
crossover charts. (However, the reader should be aware that this writer is assuming that
kind of discernment, or at least that acceptance of quality over crap, that made so much of
the great music of the Sixties and Seventies commercial as well as critical successes.)
The others would do better gracing album-length CDs, and would indeed grace such CDs
well.
As is the norm for pop music of all genres, the basic theme of Under My Own Power is the
love-and-lust relationship between man and woman—given here in all its varieties, nasty
as well as joyous. And while “Down by the River,” “Where’d You Hide Your Wings,” “I’m
Gonna Love You” and “My Kind of Woman” celebrate the love relations between the sexes,
and “Louisiana Is Calling My Name” is the exuberant crowing of a young man who
received his sexual initiation during Mardi Gras, “My Heart’s in Mississippi” is an
expression of wistful longing and doubt, a ballad of separation from the woman he loves
but can’t return to now, and hoping that she’ll still be there for him when he does return.
The remaining four songs here that have the relationship between the sexes as their
themes look at it from its rueful, regretful side. “Annie Where Are You” is the tale of doubt
and chagrin at being stood up by the woman he yearns for, and “Love Is a Trap,” “Pain in
My Past” and “Lioness,” as the titles suggest and live up to, are bitter, angry, and yet highly
creative, emotionally resonant expressions that, as sung by male singer Brent Bennett,
many a feminist might call misogynist. But to be fair all around, to feminism, to Brent
Bennett, and to reality, being screwed over by a member of the opposite sex is gender-
inclusive, and ripoff intimate relationships are indeed equal opportunity! Change some of
the lyrics slightly and then have these songs sung by a woman, and Bennett’s truly artistic
vitriol would direct itself toward men instead! War, as well as truce, peace, and harmony
between the sexes are all there—and go under the name of reality, lest we forget.
The one song on Under My Own Power not focusing on the sexual relationship is an
affirmative working-class ballad, “Midnight Man,” a substantive tale of finding oneself able
to escape the drudgery of it all through the solitude and 40¢-an-hour more granted by
working a third-shift job. Brent Bennett knows the realities of working-class life, of class
and classism, and he knows how to give them expression in song. And he does so not
only on “Midnight Man,” but also through two phrases he incorporates into “Down by the
River,” where he limns the duality and satisfaction that comes to him now, “singin’ to the
rich man’s daughter,” now as it follows that time before when “I busted my ass for
minimum wage.”
Yes indeed, this writer is enthusiastic about the talent and creativity of Brent Bennett, and
isn’t hesitant about saying that Bennett should be in Nashville—and no, I don’t mean
playing for tips in that tourist trap located in Southern Indiana!
Freelance writer George Fish has written for such publications as Against the Current,
Socialism & Democracy and Indiana Blues Monthly . Click here (or here, then go to the
Opinion Page) to read more of his reviews and writings.
portrait of Brent Bennett, creative force, in all his multidimensionality. All of Brent Bennett
is here, and this writer can definitely say that his listening of Under My Own Power made
him aware of aspects of Bennett’s musical talent he had not been aware of previously—
despite seeing Bennett perform live, despite listening to his excellent collaboration with
Rob York on the Crossing the Country CD. For Brent Bennett is more than an excellent,
expressive vocalist, more than an outstanding multi-instrumental virtuoso, even more than
the strikingly insightful and original songwriter of Crossing the Country. Bennett is indeed
all of these, but he shows that he is also something more on Under My Own Power. He
shows that he is also a gifted arranger and, even though he alone plays all the
instruments on the CD, could be an excellent bandleader as well. He’d only have to hire
other musicians to play the bass, drums and rhythm guitar and sing the background
vocals he does as a one-man-band with all the ample multi-tracking capabilities available
to him through his own recording studio that he has at his fingertips!
Further, Brent Bennett shows that he has his own distinctive Brent Bennett country-rock
sound as well, and as both his arrangements and the musical variety of the songs on
Under My Own Power show, this original Brent Bennett Sound is a versatile tour de force.
Its essence, so amply demonstrated on the CD, has at its foundation the riffing of an
acoustic rhythm guitar overlaid with stinging electric guitar rock leads and solos. It is a
nice ambience that Bennett’s created here, a natural, creative outgrowth of that already
extraordinarily creative pop music that gestated from the mid-Sixties into the mid-
Seventies, and the musically informed will discern within Bennett’s music echoes of
America, the Eagles and 1965 Beatles—but only echoes, creative shadings, certainly not
copying or cloning. And not only that, he serves his influences well. For example, the
Beatles-evocative track here, “I’m Gonna Love You,” could serve nicely as a
Lennon/McCartney creation that George, Paul, John and Ringo would’ve all felt very
comfortable in playing and recording.
And “I’m Gonna Love You,” same as with ten of the eleven songs on Under My Own Power,
are Bennett originals. The last cut, “Louisiana Is Calling My Name,” was written in
collaboration with Rob York. Another fulsome display indeed of Bennett’s songwriting
talent.
Two of the songs Bennett wrote for Under My Own Power he’s performed previously. He
played “My Heart’s in Mississippi” at the Franklin Opry on June 11, and he first recorded
“My Kind of Woman” as a member of the roots band Sindacato on its most recent CD, The
Cord.
So, indeed, and not at all a surprise, Under My Own Power comprises eleven excellent
original songs. Even the two this writer found the weakest lyrically, “Where’d You Hide
Your Wings” and “I’m Gonna Love You” would still stand out serviceably as pop singles.
And this writer thinks that “Down by the River,” “My Heart’s in Mississippi” and “My Kind of
Woman” would all make it solidly as singles that would deservedly be on the country/rock
crossover charts. (However, the reader should be aware that this writer is assuming that
kind of discernment, or at least that acceptance of quality over crap, that made so much of
the great music of the Sixties and Seventies commercial as well as critical successes.)
The others would do better gracing album-length CDs, and would indeed grace such CDs
well.
As is the norm for pop music of all genres, the basic theme of Under My Own Power is the
love-and-lust relationship between man and woman—given here in all its varieties, nasty
as well as joyous. And while “Down by the River,” “Where’d You Hide Your Wings,” “I’m
Gonna Love You” and “My Kind of Woman” celebrate the love relations between the sexes,
and “Louisiana Is Calling My Name” is the exuberant crowing of a young man who
received his sexual initiation during Mardi Gras, “My Heart’s in Mississippi” is an
expression of wistful longing and doubt, a ballad of separation from the woman he loves
but can’t return to now, and hoping that she’ll still be there for him when he does return.
The remaining four songs here that have the relationship between the sexes as their
themes look at it from its rueful, regretful side. “Annie Where Are You” is the tale of doubt
and chagrin at being stood up by the woman he yearns for, and “Love Is a Trap,” “Pain in
My Past” and “Lioness,” as the titles suggest and live up to, are bitter, angry, and yet highly
creative, emotionally resonant expressions that, as sung by male singer Brent Bennett,
many a feminist might call misogynist. But to be fair all around, to feminism, to Brent
Bennett, and to reality, being screwed over by a member of the opposite sex is gender-
inclusive, and ripoff intimate relationships are indeed equal opportunity! Change some of
the lyrics slightly and then have these songs sung by a woman, and Bennett’s truly artistic
vitriol would direct itself toward men instead! War, as well as truce, peace, and harmony
between the sexes are all there—and go under the name of reality, lest we forget.
The one song on Under My Own Power not focusing on the sexual relationship is an
affirmative working-class ballad, “Midnight Man,” a substantive tale of finding oneself able
to escape the drudgery of it all through the solitude and 40¢-an-hour more granted by
working a third-shift job. Brent Bennett knows the realities of working-class life, of class
and classism, and he knows how to give them expression in song. And he does so not
only on “Midnight Man,” but also through two phrases he incorporates into “Down by the
River,” where he limns the duality and satisfaction that comes to him now, “singin’ to the
rich man’s daughter,” now as it follows that time before when “I busted my ass for
minimum wage.”
Yes indeed, this writer is enthusiastic about the talent and creativity of Brent Bennett, and
isn’t hesitant about saying that Bennett should be in Nashville—and no, I don’t mean
playing for tips in that tourist trap located in Southern Indiana!
Freelance writer George Fish has written for such publications as Against the Current,
Socialism & Democracy and Indiana Blues Monthly . Click here (or here, then go to the
Opinion Page) to read more of his reviews and writings.
Brent Bennett, Under My Own Power
by Johanna J. Bodde (www.insurgentcountry.net)
by Johanna J. Bodde (www.insurgentcountry.net)
While the crap keeps seeping out of Nashville, the good guys seem to be hiding in
Franklin, Indiana. Leader of the pack is Brent Bennett: tall, black coat, black hat, long hair
and left-handed black guitar. That's one of twenty-one guitars he owns. And he plays good
old countryrock, the music that was and always will be my first love! He also spent some
time in California, performing with bands there and playing his own music, that period still
flavors his songs. Brent wrote already more than 300, from traditional and alternative
country to rock and blues.
Not surprising that the eleven tracks on "Under My Own Power", although in the
countryrock vein, all set a different mood. From uptempo, rocking, angry to a couple of
outstanding ballads pulling us into the story. Brent's voice is strong and expressive, he's
an excellent guitarplayer, acoustic as well as electric, he also knows how to handle other
instruments: he played everything himself on this nicely arranged album, which has a bit
of a seventies Eagles feel, but sturdier.
Subject of the hook-laden songs? Life and all the aspects of love. Not only Beatlesque
upbeat "I'm Gonna Love You", but also the bitter, lonely, doubtful and furious feelings in
"Annie Where Are You", "Love Is A Trap", "Pain In My Past" ("Your lawyer calls mine...") and
"Lioness" ("She's a lioness out for the kill"). My favorites are "Louisiana Is Calling My
Name", co-written by Rob York, about a young man being seduced for the very first time
during Mardi Grass; "Midnight Man", with beautiful Spanish guitar, about a machine
operator on the graveyard shift ("I do it for the solitude and the extra forty cents an hour")
and of course "My Heart's In Mississippi", a gorgeous wistful ballad with strings and
creative harmony vocals, by Brent himself!
I can only imagine what this talented man could do, if he had unlimited (financial)
resources. A studio with top-notch equipment, all the musicians and background vocalists
of his choice, maybe a few more instruments like mandolin, banjo or accordion added and
a CD with big booklet full of pictures and lyrics. All that stuff now being wasted on
no-talents in Nashville...
Franklin, Indiana. Leader of the pack is Brent Bennett: tall, black coat, black hat, long hair
and left-handed black guitar. That's one of twenty-one guitars he owns. And he plays good
old countryrock, the music that was and always will be my first love! He also spent some
time in California, performing with bands there and playing his own music, that period still
flavors his songs. Brent wrote already more than 300, from traditional and alternative
country to rock and blues.
Not surprising that the eleven tracks on "Under My Own Power", although in the
countryrock vein, all set a different mood. From uptempo, rocking, angry to a couple of
outstanding ballads pulling us into the story. Brent's voice is strong and expressive, he's
an excellent guitarplayer, acoustic as well as electric, he also knows how to handle other
instruments: he played everything himself on this nicely arranged album, which has a bit
of a seventies Eagles feel, but sturdier.
Subject of the hook-laden songs? Life and all the aspects of love. Not only Beatlesque
upbeat "I'm Gonna Love You", but also the bitter, lonely, doubtful and furious feelings in
"Annie Where Are You", "Love Is A Trap", "Pain In My Past" ("Your lawyer calls mine...") and
"Lioness" ("She's a lioness out for the kill"). My favorites are "Louisiana Is Calling My
Name", co-written by Rob York, about a young man being seduced for the very first time
during Mardi Grass; "Midnight Man", with beautiful Spanish guitar, about a machine
operator on the graveyard shift ("I do it for the solitude and the extra forty cents an hour")
and of course "My Heart's In Mississippi", a gorgeous wistful ballad with strings and
creative harmony vocals, by Brent himself!
I can only imagine what this talented man could do, if he had unlimited (financial)
resources. A studio with top-notch equipment, all the musicians and background vocalists
of his choice, maybe a few more instruments like mandolin, banjo or accordion added and
a CD with big booklet full of pictures and lyrics. All that stuff now being wasted on
no-talents in Nashville...
Zanies Too
Friday, June 22, 10 p.m., $3
On Friday, Indianapolis will get a little taste of something Australia and Europe have been
raving about. Residing locally, singer-songwriter Brent Bennett and his band, the Movers,
will perform at Zanies Too.
If you’re wondering what you’ve been missing, Bennett’s music has been described as alt-
country and blues, but his most recent albums have more of a Hoosier roots-rock feel. No
matter what genre Bennett’s music falls under, the smooth, easy-listening tunes are sure
to please anyone with a taste for hearty, all-natural music.
The musician, with more than 20 years of professional experience under his belt,
released a solo album last July. Under My Own Power is a melodic collection of songs
about love and passion. Bennett has a clear voice, which leans toward that of Neil Young
in songs like “Pain in My Past,” a lyrically raw song touching on the heartache of divorce.
Bennett’s “I’m Gonna Love You” instantly brings the Beatles to mind, with his vocal
introduction somehow morphing into a perfect Paul McCartney match.
Audience members could not be in for a bigger treat. Bennett sings of life like he lives it —
no falsity, just sweet music.
Friday, June 22, 10 p.m., $3
On Friday, Indianapolis will get a little taste of something Australia and Europe have been
raving about. Residing locally, singer-songwriter Brent Bennett and his band, the Movers,
will perform at Zanies Too.
If you’re wondering what you’ve been missing, Bennett’s music has been described as alt-
country and blues, but his most recent albums have more of a Hoosier roots-rock feel. No
matter what genre Bennett’s music falls under, the smooth, easy-listening tunes are sure
to please anyone with a taste for hearty, all-natural music.
The musician, with more than 20 years of professional experience under his belt,
released a solo album last July. Under My Own Power is a melodic collection of songs
about love and passion. Bennett has a clear voice, which leans toward that of Neil Young
in songs like “Pain in My Past,” a lyrically raw song touching on the heartache of divorce.
Bennett’s “I’m Gonna Love You” instantly brings the Beatles to mind, with his vocal
introduction somehow morphing into a perfect Paul McCartney match.
Audience members could not be in for a bigger treat. Bennett sings of life like he lives it —
no falsity, just sweet music.
Brent Bennett and The Movers, The Bones Brothers
by Audra Irvin (www.nuvo.net)
by Audra Irvin (www.nuvo.net)