Forever Endeavour

Editorial Reviews

All Music Guide - Steve Leggett
Ron Sexsmith was just born too late (1964) to have the kind of commercial success his approach and songwriting truly deserves -- he would have cleaned up as a singer and songwriter in the 1970s, but as popular music headed down a groove-oriented path that put little or no premium on intelligent lyrics or sweeping, aching melodies as time and the pop charts stomped, rocked, and rapped into the 21st century, Sexsmith has to be content with being a critics' darling. He is, after all, a very fine songwriter, with a folky base that gives his best compositions the feel of timelessness, and he is also a very confessional songwriter, not hiding behind emotional tricks or ...
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Editorial Reviews

All Music Guide - Steve Leggett
Ron Sexsmith was just born too late (1964) to have the kind of commercial success his approach and songwriting truly deserves -- he would have cleaned up as a singer and songwriter in the 1970s, but as popular music headed down a groove-oriented path that put little or no premium on intelligent lyrics or sweeping, aching melodies as time and the pop charts stomped, rocked, and rapped into the 21st century, Sexsmith has to be content with being a critics' darling. He is, after all, a very fine songwriter, with a folky base that gives his best compositions the feel of timelessness, and he is also a very confessional songwriter, not hiding behind emotional tricks or gimmicks. Throw in a very heavy streak of melancholy, and it all adds up to never hearing a Sexsmith song on the radio. This set, with the punning title of Forever Endeavour, finds Sexsmith even more melancholy than usual, thanks to a throat cancer scare in 2011 (the lump doctors found in his throat turned out to be benign), a situation that turned him toward thinking thoughts of mortality. Working again with producer Mitchell Froom, who produced his first three albums, and then another in 2006, Sexsmith delivers a new batch of songs that have no chance whatsoever of making a singles chart. That's the fault of the times, though, and not Sexsmith, who simply does what he's done since his under-the-radar career began in 1985. Froom helps out with unassuming but appropriately muted orchestration, applying brass, woodwinds, and strings on several songs, but the overall tone of the album is autumnal, sparse, and acoustic. Highlights include the folky "Sneak Out the Back Door," the jaunty, joyous-sounding, and lovely "Blind Eye" (which sounds just a little bit like vintage Donovan without the hippy-dippy lyrics), and the oddly hopeful (for Sexsmith, anyway) "Life After a Broken Heart," although the whole album feels like a uniform meditation on aging, mortality, and the affirming wish to go forward in spite of what's been.
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Product Details

  • Release Date: 2/5/2013
  • Label: Mri Associated
  • UPC: 711297497724
  • Catalog Number: 577
  • Sales rank: 35,922

Album Credits

Performance Credits
Ron Sexsmith Primary Artist, Guitar, Vocals, Background Vocals
Matt Chamberlain Percussion, Drums
Davey Faragher Bass
Mitchell Froom Keyboards
Bob Glaub Bass
Don Heffington Percussion, Drums
Dan Higgins Woodwind
Greg Leisz Pedal Steel Guitar
Darrell Leonard Brass
Val McCallum Electric Guitar
Joe Meyer French Horn
William Roper Tuba
John Steinmetz Brass
Pete Thomas Percussion, Drums
Michael Urbano Percussion, Drums
Lori Stuntz Tuba
Charlene Huang Strings
Albert Romero Strings
Hagai Izraeli Tuba
The Calder Group Strings
Joshua Heapley Strings
Technical Credits
Don Black Composer
Mitchell Froom Arranger, Producer, Engineer, Orchestration
Don Kerr Engineer
Roger Seibel Mastering
David Boucher Engineer
Ronald Eldon Sexsmith Composer
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