American Band Rock: Charlie Sexton's Cruel and Gentle Things

The distinction between Law and Gospel is a principle codified by C.F.W. Walther, a founding theologian of the Lutheran Church—Missouri Synod, but it is a principle that is based on the Reformation theology of Martin Luther. The Bible contains both Law and Gospel. Law is the commands, expectations, and judgments of God. Gospel means “good news” and is the promises, forgiveness, salvation, and love of God. Law can only condemn sinners who don’t live up to God’s expectations, but Gospel saves with its message of a free gift of forgiveness through Jesus.

In Charlie Sexton’s music, I hear both Law and Gospel, and the title of his first album in a decade, Cruel and Gentle Things, is a great parallel to the distinction between Law and Gospel. The Law can feel cruel in how it pains the soul to admit our mistakes, how it hurts to know that we’re separated from God, and how the future looks cruelly dismal while holding hands with the devil. The Gospel, however, comes in gentle and kind, soothing instead of striking, forgiving us for all of our faults, and bringing us back into a relationship with God.

Charlie Sexton’s last album, Under the Wishing Tree, released as the Charlie Sexton Sextet, impressed by with the way that Sexton wove Gospel elements into the music and lyrics, making the sound and message organic to the songs. While coming out of Texas, this is wasn’t a Bible “belt you over the head.” Rather, Sexton was taking notes from the faith and making them a part of how he was getting through life. I don’t know if Sexton’s ever really spoken overtly of his faith, but on Cruel and Gentle Things, it’s definitely a piece of the stories.

The first track, “Gospel,” features Sexton alone on a 12-string, a haunting search for Jesus amid the world’s scares. Sexton’s lyric redirects your search toward Jesus, while also defending a broken down soul against a preacher who damns. (That preacher didn’t divide Law and Gospel properly). Sexton speaks Gospel: Jesus will forgive, He’s closer than you think, and He holds happiness and peace in His hands.

Sexton sits at the piano to lead the title track where Sexton’s voice has the deep, blues rustle without ever losing that pop rock appeal we first heard when he was 17. Love is the cruel and gentle thing, something we need but something that also hurts, and Sexton’s song takes you that place in your wounded heart.

Sexton’s songs explore the questions about the misery that crops up in daily life, the ways end up in conflict with the love we need. “Regular Grind” is a song of compassion for those “still healing from the regular grind.” It’s not always the big tragedies in life that bruise us; sometimes it’s just day-to-day. The song has country rock hint and a road song rhythm, as if standing up against the grind.

The album also contains some of the best testimonies to family and marriage since John Hiatt’s Walk On. Sexton came off the road from touring with Bob Dylan, because he wanted to be with his family. The guitar of “Burn” plays out an enveloping melody while declaring that whatever has transpired, his love still burns for his wife. With a mountain blues guitar going back to where the Sextet had been, “I Do the Same for You” is a humble beg for forgiveness and another chance. “Bring It Home Again” is a prayer for repair of a broken, drifted-away relationship, knowing that home is where the heart is. This track has the most band sound to it and is the most radio ready. However, unlike many radio tracks, the production layers Sexton’s guitars to develop the sound instead of the strings so many producers use. The result is a rich roots sound, shying away the pop rock.

On “Once in a While,” Sexton steps back into his role in Dylan’s band and brings a rockabilly skip in his step. After a hymn-like beginning with piano, “Just Like Love” grooves along with a little R&B hint as Sexton sings “just like love.” There’s a folk blues drone like Martin Simpson on “Dillingham Lane” where Sexton tells a story about childhood friends and cruelty. J.J. Johnson puts down a traditional Scottish marching drum, syncopated up just enough to make it rock but still moving with that stately pace.

The album closes with “It Don’t Take Long,” introduced by a distant train whistle passing through town. With Sexton playing everything but George Reiff’s bass guitar, it’s another piano-led song that has a lot of Rufus Wainwright written on it with its jazz influences. A gentle closing to the album, letting the Gospel predominate.

Thanks to Charlie Sexton and Back Porch Records for the review copy.