| For The Record... |
| Born on January 8, 1964, in Ontario, Canada; married Jocelyne (divorced 2001); children: Christopher, Evelyn. Signed with Interscope Records; released major-label debut, Ron Sexsmith, 1995; released Other Songs, 1997; toured with Elvis Costello, the Chieftans, the Cardigans, and Radiohead, 1996-97; released Whereabouts, 1999; Blue Boy, 2001; Cobblestone Runway, 2002; Rarities, 2003; Retriever, 2004; Destination Unknown (with Don Kerr), 2005; Time Being, 2006; Exit Strategy of the Soul, 2008. Awards: Juno Award, Album of the Year, for Other Songs, 1998; Genie Award, Best Orginal Song, for "Love is Free to Go," 2002; Canadian Independent Music Award for Blue Boy, 2002; Juno Award, Songwriter of the Year, for Retriever, 2005. Addresses: Record company—Warner Bros. Records, 3300 Warner Blvd., Burbank, CA 91505, phone: (818) 846-9090. Web site—Ron Sexsmith Official Web site: http://www.ronsexsmith.com/. |
Singer, songwriter, guitarist
Hailed as "one of the best songwriters alive" by Washington Post writer Eric Brace, Toronto-based singer, composer, and acoustic guitarist Ron Sexsmith earned a slew of critical accolades throughout his recording career, yet never saw a corresponding success in album sales. Regardless of the unpredictable record-buying market, Sexsmith refused to give up on songwriting, penning hundreds of songs at a fluid pace. Referring to Sexsmith's undeniable musicianship, Billy Altman noted in People, "Ron Sexsmith's voice hovers so gently around a melody that it's hard to believe his tough-minded lyrics could emanate from the same person." Sexsmith admitted that some of his pieces took years to complete, and he has had trouble picking from his bag full of songs when it comes time to enter the recording studio.
The Canadian singer, born in Ontario on January 8, 1964, started out working as a messenger in his hometown of Toronto before breaking into the music business. In 1991 he produced his first recorded work under the name Ron Sexsmith and the Uncool, a self-released cassette titled Grand Opera Lane. Ira A. Robbins in the Trouser Press Guide to '90s Rock characterized the tape as "a concerted effort to gumbo up syncopated rhythms and spark up what could fairly be described as a small-scale northern John Hiatt vibe." Nevertheless, Sexsmith's tape managed to provide ample evidence of the musical quality that was to come.
Before long, Sexsmith's songwriting and vocal gifts caught the attention of a host of record labels. Despite his knack for composing and singing classic songs, Sexsmith opted to sign with Interscope Records, a label dominated at the time by the likes of Nine Inch Nails, Marilyn Manson, Primus, Bush, and rap artist Snoop Doggy Dog. However, Interscope never interfered with the inherent loveliness of Sexsmith's music. In fact, Sexsmith originally took a job with Interscope Music Publishing to write songs for other artists. But once Interscope executives Jimmy Iovine and Ted Field heard Sexsmith's own recordings, they offered him a contract on the spot.
In 1995 Interscope issued Sexsmith's major-label, self-titled debut, an album that centered around "Sexsmith's limber, well-oiled tenor and inspired phrasing," remarked Bud Scoppa in Rolling Stone. Scoppa added, "He just may be the most fluent balladeer to come along since Tim Hardin." In comparison to Sexsmith's tape, his new producer Mitchell Froom—a former member of Crowded House—added sparing instrumentation that avoided sentimentality. Rather than allowing the music to overpower Sexsmith's vocals and skillful acoustic guitar, Froom instead employed a subtle rhythm section and occasional keyboards and cello. "No matter how delicate the sentiment," wrote Scoppa, "Froom delights in setting it off with some element of ironic noise: compressed, tinny drums and spooky, B-movie keyboards." Sexsmith, aided by Froom, was able to stretch his creativity to accommodate several musical styles. Tracks like "Summer Blowin' Town" and "First Chance I Get" illustrated Sexsmith's rock and roll tendencies, "In Place of You" came to life with a hint of gumbo, and "Wastin' Time," a love song, held classic pop stylings. Slower-tempo renditions included the lament "Secret Heart" and the lullaby "Speaking With the Angel," a song Sexsmith composed for his then-infant son.
Sexsmith spent most of 1996 and 1997 promoting his music and touring with the likes of Elvis Costello, the Chieftains, the Cardigans, and Radiohead. Also in 1997, the singer released his second album, Other Songs, "a perfectly shaped 14-song gem without a false or stray note anywhere," according to Rob O'Connor in Audio. Joined again by Froom, Sexsmith managed to create songs that were romantic without sounding too sentimental. As People's Altman noted, "As hard on himself … as he is on a universe that never quite adds up … Sexsmith presents a wise and witty worldview that makes him a somewhat wanly smiling optimist."
After another round of performances, Sexsmith returned in 1999 with his third album, Whereabouts, produced by Froom and Tchad Blake. The singer said that most of the songs arose from his own self-scrutiny during a difficult year in 1998; seven months of constant traveling and touring had strained his 15-year relationship with wife Jocelyne, and his mind became overwhelmed with uncertainties about his musical career. He worried that Interscope, then in the midst of a corporate rearrangement, might not release his new songs. "I found myself depressed a lot of the time last year," Sexsmith told Los Angeles Times writer Mike Boehm. Two years later, in 2001, Sexsmith and his wife divorced.
However, Sexsmith need not have worried over how critics would receive Whereabouts, described as "a marginally bolder record than 1997's lovely Other Songs" by Rolling Stone reviewer Barney Hoskyns. Tracks such as "The Idiot Boy" and "Beautiful View " were commended for their resemblance to the Kinks and Harry Nilsson, while the ballad "Right About Now" sounded reminiscent of a tune that "Boz Scaggs might have sung back in 1976," concluded Hoskyns.
Despite praise from critics, Interscope lost interest in Sexsmith and released him from his contract. Blue Boy, released in 2001, was produced by the alternative country rabble rouser Steve Earle and distributed through the independent label spinART. Once again, Sexsmith met the expectations of his already devoted fans and critics, but failed to achieve popular success. The album was recognized by the Canadian Independent Music Awards.
Driven by his devotion to writing, Sexsmith followed up quickly with 2002's Cobblestone Runway. He teamed up with Swedish producer Martin Terefe, who added electronic beats, gospel choirs, and techno loops to Sexsmith's understated melodies and lyrics. Possibly hoping for a breakout hit, Sexsmith performed a duet for the song "Gold In Them Hills" with pop music star Chris Martin of the band Coldplay.
Having been without a label for a few years, Sexsmith eventually signed with Warner Canada. In 2004 he released the album Retriever. With Terefe producing again, Retriever earned Sexsmith a Juno award for songwriter of the year. The following year he released Destination Unknown, an album of duets featuring Sexsmith and longtime bandmember Don Kerr. Wayne Bledsoe of the Knoxville, Tennessee, News Sentinel described it as "strikingly simple … not every note is perfect, and that's a plus. … They sacrifice precision for purity. The resulting tracks are slightly folky, a little dreamy and very catchy."
In 2005 Sexsmith returned to the studio to work with Froom on the album Time Being. The 12-song album contained no hits but received the attention of the Juno awards. Sexsmith was nominated for songwriter of the year and the album for adult alternative album of the year. Certainly not one to pause and wait for kudos, Sexsmith continued to work on music that came to comprise his 2008 release Exit Strategy of the Soul. Switching back to Terefe, Sexsmith recorded some of the album in the United Kingdom and then took a side trip to Cuba to find some horn players to create the unique sounds Terefe added to Sexsmith's songs.
Sexsmith has come to terms with his place in the music business. There was a time in the 1990s when he might have become the next big thing, but that time passed. He told Todd Leopold of CNN.com that he was on "the service road." He asserted that he doesn't need sympathy from others and cherishes the loyal fans that follow his music. "A lot of artists are struggling to get off the ground, and a lot of songwriters who sell more than me don't have the profile I have," Sexsmith told Boehm. "People who do like it are into it in a big way. They're not coming just to hear one [hit] song."
Selected discography
Ron Sexsmith, Interscope, 1995.
Other Songs, Interscope, 1997.
Wherabouts, Interscope, 1999.
Blue Boy, spinART/Cooking Vinyl, 2001.
Cobblestone Runway, Nettwerk America, 2002.
Rarities, Linus Entertainment, 2003.
Retriever, Warner Canada, 2004.
(With Don Kerr) Destination Unknown, Warner Canada, 2005.
Time Being, Warner Canada, 2006.
Exit Strategy of the Soul, Warner Canada, 2008.
Sources
Books
Robbins, Ira A., editor, Trouser Press Guide to '90's Rock, Fireside/Simon & Schuster, 1997.
Periodicals
Audio, September 1999, pp. 119-120.
Los Angeles Times, June 18, 1999.
News Sentinel (Knoxville, TN), August 14, 2005, p. E4.
People, July 21, 1997, p. 23.
Rolling Stone, September 7, 1995, p. 72; June 10, 1999.
Spin, August 1999.
Washington Post, June 4, 1999.
Online
"Ron Sexsmith," Rolling Stone.com, http://www.rollingstone.tunes.com (December 3, 1999).
"Ron Sexsmith wanted to be Elton, happy to be himself," CNN.com, http://www.cnn.com/2008/SHOWBIZ/Music/10/14/ron.sexsmith (November 17, 2008).
"Sexsmith the Songsmith," Launch.com: Discover New Music, http://www.launch.com (December 3, 1999).
