Ron Sexsmith

In all ways, Sexsmith's fourth studio album makes radical departures: He was dropped from his label, Interscope, and left producer Mitchell Froom to work with Austin rebel Steve Earle. But instead of giving Blue Boy the aggressively independent spirit of many of Earle's best, the partnership produced a stylistically varied collection that jumps between touches of reggae, ballsy rock, folk and brassy soul. Beyond all the bells and whistles, the record still manages to keep the focus on Sexsmith's songs, which again are written with great intelligence, insight and emotional depth.

After three albums of conspicuously well-mannered singer-songwriter pop that accrued
more critical hosannas than hard sales, who can blame Ron Sexsmith for wanting to loosen
up a little? Thanks to the hands of producers Steve Earle and Ray Kennedy, there's a bit
more bounce in Sexsmith's rhythm section, and the less-burnished quality of their tracks
tempers the formality of Sexsmith's Anglo musical roots. Blue Boy offers his wide... More >