The Best Of Charlie Sexton: A Prog Rock Punch to the Gut
Alright, let’s get this straight—Charlie Sexton isn’t screwing around with The Best Of Charlie Sexton. Released in 2005 under Universal Music Canada, this prog-rock beast doesn’t just sit there; it grabs you by the throat and shakes loose whatever apathy you’ve got clogging your brain. Sure, it’s a “best of” compilation, but don’t think for a second that makes it lazy. This thing rips.
First up, "Don’t Look Back." Man, this track smacks hard right outta the gate. It's got that driving rhythm that just dares you to sit still. The guitar work? Absolutely filthy—in the best way possible. You can tell Sexton wasn’t trying to reinvent the wheel here, but damn if he didn’t slap some fresh treads on it anyway. There’s this raw energy that feels like it could tear through your speakers at any moment. And the lyrics? They’re simple, sure, but they stick to your ribs like last night’s whiskey shot. If you’re not nodding along by the chorus, check your pulse—you might be dead.
Then there’s "Blowing Up Detroit," which is basically an adrenaline injection for your ears. This one hits different because it’s got grit. Like, motor-oil-stained-hands-and-a-cigarette-hanging-out-of-your-mouth grit. The opening riff alone should come with a warning label—it’ll make you wanna trash something expensive. By the time the vocals kick in, you’re already hooked. It’s chaotic, messy, and unapologetically loud—everything good rock should be. When Sexton growls about burning bridges and starting fires, you believe him. No frills, no nonsense, just pure sonic rebellion.
Now, I’m not gonna lie—the album has its quieter moments too, like "Paradise Cafe" or "Sweet Nadine." But even those cuts have this weird charm that sneaks up on you when you least expect it. Still, where The Best Of Charlie Sexton truly shines is when it goes full throttle. Tracks like "Beat’s So Lonely" and "Everyone Will Crawl" remind you why prog rock was ever cool in the first place: it takes risks, pushes boundaries, and doesn’t give a damn what anyone thinks.
Here’s the kicker though—listening to this record feels kind of like finding a dusty old map in your attic. You know it leads somewhere important, but half the landmarks are gone now. Maybe that’s part of the appeal. Or maybe I’m overthinking it. Either way, this collection is proof that Charlie Sexton knows how to craft music that sticks around longer than it probably should.
And honestly? That’s pretty badass.
