Features | Interviews
Ron Sexsmith
By Kate Steele | 15 June 2006
CMG's Kate Steele (CMG) : You've just released your tenth album, Time Being. How do you feel about the record right now?
Ron Sexsmith (RS): I'm very proud of it. I'm curious to hear what people have to say
CMG: Where/when/with whom did you record it?
RS: It was recorded in Santa Monica in August and November of 2005 with my old friend Mitchell Froom.
CMG: What was it like working with Mitchell Froom again? How did that come about?
RS: It felt like we had never stopped working together. It came about after a few phone calls. We've always stayed in touch and so we were talking one day about some new songs I was working on and he seemed interested in hearing them.
CMG: Have you done much production work on your albums?
RS: I've been very involved with all my records, but not as a producer.
CMG: Over the years, you've worked with a number of producers. Blue Boy, one of my favourites, was produced by Steve Earle. How did that collaboration come about?
RS: Steve is an old friend and when we worked together it was at a time where the label (Interscope) was trying to get me to work with somebody other than Mitchell. So a few names came up and when someone suggested Steve Earle it automatically appealed to me.
CMG: What's the album like? How does it compare to Retriever, and your others?
RS: It's slightly darker lyrically than Retriever but still quite melodic. It's hard for me to say how it compares to the others.
CMG: Your first tour for Time Being is taking place in Britain. Why is that?
RS: Well, it's also going to go on all over Europe, actually. This fall we'll be coming to Japan and Australia too.
CMG: I saw you last summer at the Regina Folk Festival. Though the crowd was fairly laid-back at first, this very enthusiastic, burly, bearded young guy screamed "I love you Ron! You rock my world, Ron!" from your opening song. Is this a typical scene at a Ron Sexsmith performance? You seem to draw in a variety of people. What do your fans around the world seem to have in common?
RS: Um, I'm always surprised I guess at who my audience is. There's quite a wide spectrum of folks who come out, really. I just try to focus on the music, though.
CMG: You mentioned to me before what an abysmal state you think the mainstream music industry is in at the moment. What's your least favourite thing about being part of the industry these days? How has it changed since you started out?
RS: Well, there's a lot of things that I don't like about it, but I think they're mostly the same things I didn't like when I started out. There seems to be very little interest in developing artists these days, especially from the big labels. Most of them seem to only want the quick fix. It's all changing -- the way people get their music these days -- which creates a lot of insecurity and fear from A+R departments to take chances.
CMG: Is there anything -- band, labels, etc.-- that makes you hopeful that things may turn around?
RS: Well, there's always great music being made and I'm hopeful that things will improve. I really like that Katie Melua, the Super Furry Animals -- there are a lot of more unknown artists from Canada that I enjoy. Kyp Harness, Bob Snider and Sam Larkin are three of my favorite songwriters on the planet. I also love the music of Sam Roberts, Andy Kim and By Divine Right.
CMG: Who/what do you think is the most exciting thing going on musically in Canada these days? Any new songwriters you've come across that have really impressed you?
RS: Well, again, I like Sam Roberts music quite a bit. (Former Local Rabbits member) Peter Elkas, and Feist, Jill Barber. There's a lot of great new bands emerging as well: The Waking Eyes, the Fembots, The Stills, Jerry Leger and the Situation, Jack And Ginger.
CMG: When you hear new music, what most consistently draws you in?
RS: I like music that has character and that is strong melodically. I'm drawn to interesting vocalists as well. I don't like stuff that is too arty or pretentious. It's such a personal thing.
CMG: I've heard you talk about your singing style, how you've been inspired by technically imperfect singers, crooners, such as Bing Crosby. Has your vocal style changed a lot, do you think, since you started singing? How has it changed?
RS: Yeah, I've gotten more accurate I think. My voice will always be a work in progress.
CMG: What I admire about your songwriting is your subtlety, your ability to reveal enough to draw a listener in emotionally, but to never spell things out too plainly. In terms of lyric writing, who do you think has influenced you the most?
RS: Well, I've learned from all my heroes -- Ray Davies, Leonard Cohen, Gordon Lightfoot, Tom Waits, Randy Newman, to name a few.
CMG:In terms of everything else, who are your musical heroes?
RS: I love Charlie Rich, Buddy Holly, Sam Cooke, Joni Mitchell.
CMG: Do you ever get tired of being called a "songwriter's songwriter" who struggles for mass appeal? Do you feel that way?
RS: I get a little tired of hearing that, I guess. But I've never felt like I was struggling for mass appeal, either. I'm quite happy with the level of "fame" I've achieved.
CMG: What's your favourite cover version of one of your songs? Feist's cover of "Secret Heart" is pretty great, I think.
RS: I like Feist’s version the best, too, I think. Nick Lowe did a nice job of the song, too.
CMG: What's your favourite country to tour in?
RS: I love Ireland and Australia. I love touring Canada, as well. Japan has always been a great place for me to play.
CMG: I'm currently living in Japan. What kind of reception did you get here?
RS: Well, I have a nice little cult following in Japan. We normally play small clubs, and that kind of thing. It's always very well-organized. And the food is wonderful, of course.
CMG: Have you heard Neil Young's new album,Living With War? What do you think of it?
RS: It's cool. I think it's great that artists are speaking out again. There seemed to be a period where everyone was afraid to say anything critical. I love his previous albums much more, though.
CMG: You're not often referred to as a "political singer-songwriter," but what do you think is your most political song?
RS: Probably "God Loves Everyone." It's not so much political, but it says a few things.
CMG: A few years ago, Nick Hornby edited a short story anthology to raise money for autism, and named the book after your song, "Speaking with the Angel." Hornby said he realized what the song was about after his son was diagnosed with autism. Did you have an autistic child in mind when you wrote the song?
RS: The song was written for my son (who is not autistic). But it was more about raising kids, and not trying to mold them in unnatural ways.
CMG: How much do you think having Elvis Costello and Paul McCartney as fans has helped your career? How did it affect you personally?
RS: It’s definitely helped -- I'm not sure how much, though. It was a good feeling to know that people I admire felt I was doing good work. It still means a lot to me.
CMG: I’m curious about what inspired your new song "Jazz at the Bookstore.” I've really responded to this song in particular this week. When I was in Tokyo about a month ago, I had coffee at some Irish chain coffee shop called Tully's where they played, of course, Ella Fitzgerald and Django Reinhardt, et al. I started thinking about this global "coffee culture," where it came from, and how depressing, first of all, that Starbucks and places like it have been exported all over the world, but also how sad it is that you can be sitting in a western chain coffee shop in Tokyo or Seoul and be bashed over the head with the same "experience.” I have conflicted feelings about the "Starbucksization" of music. What do you think of this phenomenon? I think it's one of your funniest songs ("There's a man standing at the crossroads with a dark roast in his hand"). How tongue-in-cheek do you intend it?
RS: Yeah, that song was a sort humorous take on this whole "coffee culture" that we see most places these days. When I sing about the guy at the crossroads, I was singing about myself because I'm guilty of being a part of the insanity. It just seems weird how this music that once was so mysterious and powerful has been turned into wallpaper for white people sipping lattes and typing on their laptops.
CMG: Who would you most like to work/collaborate with in the future?
RS: Neko Case…um, The Sadies. Jack White.
CMG: You’ve lived in Toronto for many years. Have you ever been tempted to leave Canada for the U.S.?
RS: Not really. I’ll probably be here til the end.
CMG: If you were stranded in a cabin in Iqualuit for a winter, what three albums would you bring?
RS: New Morning by Bob Dylan; She Sings They Play by Skeeter Davis with NRBQ; and Knnillssonn by Harry Nilsson
CMG: Thanks a lot for answering my questions, Ron.
Ron Sexsmith (RS): I'm very proud of it. I'm curious to hear what people have to say
CMG: Where/when/with whom did you record it?
RS: It was recorded in Santa Monica in August and November of 2005 with my old friend Mitchell Froom.
CMG: What was it like working with Mitchell Froom again? How did that come about?
RS: It felt like we had never stopped working together. It came about after a few phone calls. We've always stayed in touch and so we were talking one day about some new songs I was working on and he seemed interested in hearing them.
CMG: Have you done much production work on your albums?
RS: I've been very involved with all my records, but not as a producer.
CMG: Over the years, you've worked with a number of producers. Blue Boy, one of my favourites, was produced by Steve Earle. How did that collaboration come about?
RS: Steve is an old friend and when we worked together it was at a time where the label (Interscope) was trying to get me to work with somebody other than Mitchell. So a few names came up and when someone suggested Steve Earle it automatically appealed to me.
CMG: What's the album like? How does it compare to Retriever, and your others?
RS: It's slightly darker lyrically than Retriever but still quite melodic. It's hard for me to say how it compares to the others.
CMG: Your first tour for Time Being is taking place in Britain. Why is that?
RS: Well, it's also going to go on all over Europe, actually. This fall we'll be coming to Japan and Australia too.
CMG: I saw you last summer at the Regina Folk Festival. Though the crowd was fairly laid-back at first, this very enthusiastic, burly, bearded young guy screamed "I love you Ron! You rock my world, Ron!" from your opening song. Is this a typical scene at a Ron Sexsmith performance? You seem to draw in a variety of people. What do your fans around the world seem to have in common?
RS: Um, I'm always surprised I guess at who my audience is. There's quite a wide spectrum of folks who come out, really. I just try to focus on the music, though.
CMG: You mentioned to me before what an abysmal state you think the mainstream music industry is in at the moment. What's your least favourite thing about being part of the industry these days? How has it changed since you started out?
RS: Well, there's a lot of things that I don't like about it, but I think they're mostly the same things I didn't like when I started out. There seems to be very little interest in developing artists these days, especially from the big labels. Most of them seem to only want the quick fix. It's all changing -- the way people get their music these days -- which creates a lot of insecurity and fear from A+R departments to take chances.
CMG: Is there anything -- band, labels, etc.-- that makes you hopeful that things may turn around?
RS: Well, there's always great music being made and I'm hopeful that things will improve. I really like that Katie Melua, the Super Furry Animals -- there are a lot of more unknown artists from Canada that I enjoy. Kyp Harness, Bob Snider and Sam Larkin are three of my favorite songwriters on the planet. I also love the music of Sam Roberts, Andy Kim and By Divine Right.
CMG: Who/what do you think is the most exciting thing going on musically in Canada these days? Any new songwriters you've come across that have really impressed you?
RS: Well, again, I like Sam Roberts music quite a bit. (Former Local Rabbits member) Peter Elkas, and Feist, Jill Barber. There's a lot of great new bands emerging as well: The Waking Eyes, the Fembots, The Stills, Jerry Leger and the Situation, Jack And Ginger.
CMG: When you hear new music, what most consistently draws you in?
RS: I like music that has character and that is strong melodically. I'm drawn to interesting vocalists as well. I don't like stuff that is too arty or pretentious. It's such a personal thing.
CMG: I've heard you talk about your singing style, how you've been inspired by technically imperfect singers, crooners, such as Bing Crosby. Has your vocal style changed a lot, do you think, since you started singing? How has it changed?
RS: Yeah, I've gotten more accurate I think. My voice will always be a work in progress.
CMG: What I admire about your songwriting is your subtlety, your ability to reveal enough to draw a listener in emotionally, but to never spell things out too plainly. In terms of lyric writing, who do you think has influenced you the most?
RS: Well, I've learned from all my heroes -- Ray Davies, Leonard Cohen, Gordon Lightfoot, Tom Waits, Randy Newman, to name a few.
CMG:In terms of everything else, who are your musical heroes?
RS: I love Charlie Rich, Buddy Holly, Sam Cooke, Joni Mitchell.
CMG: Do you ever get tired of being called a "songwriter's songwriter" who struggles for mass appeal? Do you feel that way?
RS: I get a little tired of hearing that, I guess. But I've never felt like I was struggling for mass appeal, either. I'm quite happy with the level of "fame" I've achieved.
CMG: What's your favourite cover version of one of your songs? Feist's cover of "Secret Heart" is pretty great, I think.
RS: I like Feist’s version the best, too, I think. Nick Lowe did a nice job of the song, too.
CMG: What's your favourite country to tour in?
RS: I love Ireland and Australia. I love touring Canada, as well. Japan has always been a great place for me to play.
CMG: I'm currently living in Japan. What kind of reception did you get here?
RS: Well, I have a nice little cult following in Japan. We normally play small clubs, and that kind of thing. It's always very well-organized. And the food is wonderful, of course.
CMG: Have you heard Neil Young's new album,Living With War? What do you think of it?
RS: It's cool. I think it's great that artists are speaking out again. There seemed to be a period where everyone was afraid to say anything critical. I love his previous albums much more, though.
CMG: You're not often referred to as a "political singer-songwriter," but what do you think is your most political song?
RS: Probably "God Loves Everyone." It's not so much political, but it says a few things.
CMG: A few years ago, Nick Hornby edited a short story anthology to raise money for autism, and named the book after your song, "Speaking with the Angel." Hornby said he realized what the song was about after his son was diagnosed with autism. Did you have an autistic child in mind when you wrote the song?
RS: The song was written for my son (who is not autistic). But it was more about raising kids, and not trying to mold them in unnatural ways.
CMG: How much do you think having Elvis Costello and Paul McCartney as fans has helped your career? How did it affect you personally?
RS: It’s definitely helped -- I'm not sure how much, though. It was a good feeling to know that people I admire felt I was doing good work. It still means a lot to me.
CMG: I’m curious about what inspired your new song "Jazz at the Bookstore.” I've really responded to this song in particular this week. When I was in Tokyo about a month ago, I had coffee at some Irish chain coffee shop called Tully's where they played, of course, Ella Fitzgerald and Django Reinhardt, et al. I started thinking about this global "coffee culture," where it came from, and how depressing, first of all, that Starbucks and places like it have been exported all over the world, but also how sad it is that you can be sitting in a western chain coffee shop in Tokyo or Seoul and be bashed over the head with the same "experience.” I have conflicted feelings about the "Starbucksization" of music. What do you think of this phenomenon? I think it's one of your funniest songs ("There's a man standing at the crossroads with a dark roast in his hand"). How tongue-in-cheek do you intend it?
RS: Yeah, that song was a sort humorous take on this whole "coffee culture" that we see most places these days. When I sing about the guy at the crossroads, I was singing about myself because I'm guilty of being a part of the insanity. It just seems weird how this music that once was so mysterious and powerful has been turned into wallpaper for white people sipping lattes and typing on their laptops.
CMG: Who would you most like to work/collaborate with in the future?
RS: Neko Case…um, The Sadies. Jack White.
CMG: You’ve lived in Toronto for many years. Have you ever been tempted to leave Canada for the U.S.?
RS: Not really. I’ll probably be here til the end.
CMG: If you were stranded in a cabin in Iqualuit for a winter, what three albums would you bring?
RS: New Morning by Bob Dylan; She Sings They Play by Skeeter Davis with NRBQ; and Knnillssonn by Harry Nilsson
CMG: Thanks a lot for answering my questions, Ron.