Song of the Day #3,732: ‘Here Comes My Baby’ – Ron Sexsmith

‘Here Comes My Baby’ was written by Cat Stevens in the late 60s and first released as a cover by a band called The Tremeloes in January of 1967. Their version landed on both the U.K. and U.S. charts.

According to an uncited (and therefore quite dubious) tidbit on The Tremeloes’ Wikipedia page, the band was signed by their label (Decca) over another English band, The Beatles, who were deemed a bit too far away in Liverpool.

Continue reading

Song of the Day #3,705: ‘West Gwillimbury’ – Ron Sexsmith

This weekend has offered up one of those weird coincidences that come with true randomness.

Here we have a Beck song followed by a Ron Sexsmith song. The last time I’ve blogged about either of those artists was in November of 2017, when I posted a Beck song followed by a Sexsmith song. I won’t bother calculating the odds but they have to be pretty damn high.

Continue reading

Song of the Day #3,430: ‘Evergreen’ – Ron Sexsmith

Yesterday’s featured artist, Beck, has never made two albums that sound alike. Today’s has never made two that sound different.

If you played songs from all of Ron Sexsmith’s 14 albums on random (and I’ve done this), you would have a hard time differentiating the tunes on his 1991 debut from those on this year’s The Last Rider, let alone the dozen in between.

Continue reading

Song of the Day #3,396: ‘Never Been Done’ – Ron Sexsmith

These Random Weekend selections have a knack for making me feel old. Today’s track comes from Ron Sexsmith’s album Blue Boy, my introduction to him and probably my favorite of his albums (as introductory records often are). This album was released in 2001 — 16 years ago!

Is it really possible that I discovered Ron Sexsmith before I had my first child? For that matter, is it really possible that my first child is already driving?

Continue reading

Song of the Day #3,261: ‘Love Shines’ – Ron Sexsmith

Narrowing the first round of Montauk Madness down to 64 artists was a difficult task, particularly when it came to the final dozen or so contestants. To make room for a sentimental favorite like Toad the Wet Sprocket, I have to leave out The Wallflowers, The Who, Walk the Moon, Wilo and The White Stripes. And those are just the W’s.

I made a lot of hard decisions like that, which I could argue either way. If I started over, I might have a whole different lineup of acts filling out the 50-64 slots.

Continue reading