Sugarcoating, Martin Sexton’s new album due out April 6, 2010, finds the one-of-a-kind artist doing what he does best: locating larger truths within specific details of the life he’s living. “I write from personal experience — my own hang-ups and quirks, good times and bad times. That keeps it real.”
The Syracuse-born artist tracked Sugarcoating live off the floor in seven days with a remarkably cohesive studio band composed of what Sexton describes as “amazing players, the best you could find.”
“Each song is so stylistically different from the next,” adds Sexton, “I’ve always preferred records that range, sort of like the White Album, from ‘Black Bird’ to ‘Helter Skelter.’ At one time, industry types tried to convince me to stick with one genre, but it was like wearing a suit that didn’t fit.”
“I recorded this album with no rehearsals, no pre-production, using all vintage gear from what went into the mics to what came out on the analog tape . . . I like making records like the old jazz guys did — they just showed up and worked it out.”
The title track, disturbing in its theme and audacious in its presentation, takes “keeping it real” to another level. An unsettling look at post-9/11 reality, the song encapsulates in the lines “I wonder why nobody wonders why/with all the sweet sweet sweet sugarcoating/the nightly news gone entertainment biz/and politicians out showboatin’/One day somebody tell it like it is.” Which is exactly what Sexton accomplishes here. The fact that this urgent message is embedded in a danceable, happy-go-lucky arrangement complete with backing vocals by what Sexton calls his “cowboy trio” only serves to deepen the song’s impact.
Other songs on Sugarcoating include “Long Haul,” a Bakersfield-rooted, bluesy, earth-toned shuffle that celebrates the unparalleled richness of a long-term relationship; “Shane,” in which Sexton imagines the experiences awaiting his infant son; “Found,” which asserts that our wired existence drowns out our ability to see others clearly; and “Always Get Away,” a lament about missed opportunities and unforeseen circumstances. Sexton says, “It’s about forgiveness — forgiving oneself the mistakes you’ve made in the past. It’s about knowing who I am and who I’m not, and about having a conscious contact with my inner voice and my higher power.”
Not every song is heavy. The first single, “Livin’ the Life,” is a buoyant joy-of-existence piece with a churning clavinet burrowing a deep soul groove right through it. “Stick Around” is a piano-driven Beatlesque bouncer complete with an Abbey Road reference in the lyric; and “Easy on the Eyes” is a finger-snapping, ragtime mating call with a voice trumpet solo from Sexton.
It’s Sexton’s uncanny ability to connect the personal to the universal via songs like these that has earned him such a devoted following among fans and critics alike. The New York Times’ Jon Pareles wrote that the artist “jumps beyond standard fare on the strength of his voice, a blue-eyed soul man’s supple instrument . . . his unpretentious heartiness helps him focus on every soul singer’s goal: to amplify the sound of an ordinary heart.” He’s also renowned among his peers. John Mayer calls him “one of the greatest singers of our generation.”
With Sugarcoating, Sexton may well have made his defining record. It’s an unquestionable high point for the modern troubadour who headlines venues from the Fillmore Auditorium to Nokia Theater Times Square, oversees his KTR label and derives great satisfaction from the life he’s made for himself. These are the fruits of a combination of rarefied talent, fierce determination, “and work — showin’ up,” he adds, sounding like Jeff Bridges’ Bad Blake character in Crazy Heart: “I sing for free man. I get paid to travel.”
Sexton will tour North America with a new band April through June in support of the release.
2. Boom Sh-Boom
3. Always Got Away
4. Livin the Life
6. Stick Around
7. Long Haul
9. Wants Out
10. Friends Again
11. Easy on the Eyes
13. Just To Be Alive