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Following the initial buzz, Sexton made a pivotal decision that would shape the rest of his career. In 1989, he released the album "Willie Dixon" with his band, the Flat-Tops. This was a bold move, diving headfirst into the deep waters of Chicago blues. While critically acclaimed, the album was a commercial failure, a decision that demonstrated Sextons artistic integrity over commercial pressures. He was more interested in honoring the architects of the music he loved than in chasing radio play. This period of artistic exploration, while enriching his musical vocabulary, did little to bolster his bank account in the short term. However, it solidified his reputation as a serious musician, a guitarists guitarist, which opened doors to different opportunities and collaborations down the line.
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The allure of these black-and-line-drawn phantoms, witches, and jack-o'-lanterns lies in their transformative potential. A single sheet of paper becomes a portal, a blank canvas awaiting the touch of a crayon, marker, or colored pencil. The selection of colors is the first act of personal storytelling. Will the ghost be a traditional, sheet-white specter, or perhaps a translucent blue drifting through a moonlit graveyard? The pumpkin's grin can be a jagged, menacing scar or a soft, friendly curve in shades of orange and red. This process of color choice is not merely aesthetic; it is an exercise in emotional articulation. For the child, it might be a way to process the thrilling fear of the unknown, to make the scary cute and the cute even cuter. For the adult, it can be a return to a simpler time, a mindful meditation that quiets the noise of the modern world. The act of focusing on the precise boundaries of a tiny skull or the delicate fingers of a witch is a form of active mindfulness, anchoring the artist firmly in the present moment.
His initial foray into the music industry was not as a recording artist but as a side musician and songwriter. He learned guitar and eventually moved to Los Angeles, hoping to break into the burgeoning music scene. Yet, despite his undeniable skill, racial barriers in the country music industry of the 1950s and early 60s proved to be a nearly impenetrable wall. Major labels were hesitant to sign a Black artist for what was then considered a "white" genre. This period of struggle, where he was often relegated to writing songs for others rather than performing his own hits, could have easily ended in failure. Instead, it forged the resilience that would define his career.
