A fusion of gospel rock, atmospheric folk, and bluesy pop, The
Crossing from singer-songwriter Sophie B. Hawkins shows
what makes her a contemporary of artists like Carole King and
Joni Mitchell. Achieving popularity as a folk artist in the
1990s, Sophie B. Hawkins continues to maintain her folk roots while
expanding her repertoire using elements of rock guitars, horn arrangements,
and orchestral strings scattered throughout the album.
The gospel rock ethers of "Betcha Got A Cure For Me" and
"Sinner Man" are embellished in rock guitars and twinkling
strings. The shimmied beats accenting "Georgia" are reminiscent
of The Rolling Stones seared in Hawkins' breathy vocals. Her
voicing switches to balladry swags in "Missing," hemmed
in silky horns and brushed acoustic chords. The strolling tempos of
"Life Is A River" and "I Don't Need You" have
a breezy folk momentum which moves into a pensive setting in "Miles
Away" contoured in drizzling keys as Hawkins calls out, "Father,
I'm slipping again
And if I fly, let me take you along / And
If I fall, let me fall into your arms
Tonight, the sea is black
and calm / And you are / Miles away."
"Gone Baby," co-written by Mary Steenburgen, has
a spiritual texture which switches to a nocturnal jazz tint in "Dream
Street And Chance," threaded in bluesy tinged ripples. "Red
Bird" and "As I Lay Me Down" have orchestral folk vapors
induced by wavy keys and arching strings which circle Hawkins' vocals.
"Betcha Got A Cure For Me" is reprised at the ending of
the album sealing Hawkins as a gospel rock artist.
The Crossing is based in folk music embellished by derivatives
of pop, rock and jazz. The culmination of these four branches of music
is agreeable, making spirituals like "Sinner Man" and "The
Land, The Sea, And The Sky" into songs palatable for the general
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