When All the Breaks In The World Ain't Enough: Charlie Sexton Edition!

Edward Scissorhands in a rare moment of reflection.

Those who follow my scribbles are no doubt aware of my love for bands who, while mega-talented, seemed cursed from the moment the ink was dry on their major label record deal. Sure, they had looks, talent, and songs worthy of massive radio and MTV airplay, but were given little access to the sort of breaks one would expect after signing to a major label.

After all, labels invest huge amounts of money into each artist, it would only make sense that they knock themselves out trying to make back their investment, but more times than not, best laid plans fall by the wayside.

In the case of Charlie Sexton, the man was born with one huge advantage: he looked like a fucking rock star: jet black hair, tall, thin as a rail, and cheek bones that just about any one of us would have killed for, truth be told.

Most importantly of all, he was also born to play the guitar and, by the age of 14, was already a constant figure on Austin's live music scene after being taken under Joe Ely's wing.

By the age of 16, he was signed to MCA Records and released his debut album, Pictures For Pleasure in 1985.

Sexton wasn't just left to his own devices, though.

While it would appear that the guitar slinger had not spent nearly as much time writing songs as he had refining his prowess as a guitarist, MCA would offer up a bevy of outside tunes from Holly Knight, Mike Chapman, and Tonio K. while Sexton turned in five songs of his own, including "Beat's So Lonely (co-written with Keith Forsey) and the title cut (co-penned by Blondie's Nigel Harrison).

When ready to begin rolling tape, Sexton was paired in the studio with one of the hottest producers of the time, Keith Forsey, who was best known for producing Billy Idol's first two solo albums (Billy Idol and Rebel Yell) and Simple Minds' "(Don't You) Forget About Me" (which had been intended for Idol to record initially).

"Beat's So Lonely" was issued as first single, with the song's video drawing heavy rotation on MTV and rock radio. While the song itself suffered from an overambitious pop production that favored drum machines and synths over a more organic rock performance, it still managed to climb into the Top 20 - a major feat for any artist, much less one signed to MCA Records; a label known throughout the industry as the "Music Cemetery of America".

And then just as quickly as everything had taken off, the album's momentum skidded to a halt as second single, "Impressed", failed to impress fans or radio programmers.

While MCA Records plotted his next move, Sexton kept busy opening for David Bowie's Glass Spiders tour and occasionally joining the other Thin White Duke onstage.

MCA later teamed Sexton with numerous co-writers for his second self-titled solo album, including Danny Wilde (Great Buildings/the Rembrandts) and Steve Earle (also signed to MCA at the time).

Sexton went into the studio with Bob Clearmountain and relative newcomer Tony Berg (who would also produced Michael Penn's 1989 debut album, March) and released an album that was at least moderately representative of the sound he was known for in Austin.

Keep in mind that most artists of the day would have loved to have the opportunity to work with producers the likes of Forsey and Clearmountain, who, at that time, were each at their absolute commercial peaks at the time they worked with Sexton.

Despite Clearmountain's involvement, Sexton's second album failed to generate any sizable story at radio or retail and ultimately faded from view within a few short months despite first single "Don't Look Back" sounding more like Billy Idol than the album Forsey had produced.

Another three years go by before Sexton surfaces on Geffen Records' release schedule as a member of Arc Angels along with Doyle Bramhall II. This wouldn't have been so bad if it weren't a band that saw Sexton playing second fiddle to the less-talented and heroin-addicted Bramhall, but it was nice enough of MCA, to whom Sexton was still under contract, to allow him to record for another label.

The Arc Angels enjoyed the rare honor of appearing on "The Tonight Show" and the original "Late Night with David Letterman Show" at the time of the album's release - yet more "rare air" that most bands did not get. If that weren't bad enough, a year later, they would return to Letterman's show to promote the same exact album, which did not even reach the Top 100.

Today, of course, Sexton is best known as the guitarist in Bob Dylan's touring band.