Gordon Lightfoot Book, Music and More!

Like Simple Plan, Montreal’s Mobile are francophone rockers who found an audience outside Quebec with their English songs. And like the juvenile pop-punkers, Mobile has achieved this with a derivative, so-stupid-it’s-smart approach to music. The band’s sophomore album continues in the same retro ’80s dance-rock vein as its debut, Tomorrow Starts Today, with idiotic lyrics, chiming synths and grinding guitars on songs like “Gravity,” “No Tomorrow” and a radio-tailored piece of dreck called “The Killer.” Oct. 7

Fronted by the electrifying Liz Powell, rightly dubbed an “indie-rock guitar goddess-in-waiting,” Land of Talk will soon have everyone talking. The Montreal trio has already toured with the Decemberists and drawn comparisons to Sonic Youth and the Cardigans for its striking fuzz-pop sound. The group’s full-length debut features a wealth of whip-smart, melodic tunes, from “Yuppy Flu” and “Young Bridge” to the crunching “Give Me Back My Heart Attack,” all topped by Powell’s distinctive sweet ’n’ raspy vocals. Oct. 7

Usher’s the ultimate smoothie, a former teen heartthrob who became a pop-soul star by keeping everyone wondering: is he sinner or saint? Now that he’s married with a son, Usher appears to have settled down and his fifth studio album professes respect “for the ladies.” But several tracks keep up the guessing game. “Love in This Club,” with rapper Young Jeezy, is both bedroom ballad and sexy club banger. And the wacky “Dat Girl Right There,” featuring Ludacris, could well be a testament to Usher’s wandering eye.

During the 1990s, they were the Odds, a talented power-pop outfit from Vancouver blessed with hooks ’n’ humor (several videos for its catchy songs featured the Kids in the Hall comedy troupe). Led by Craig Northey, the New Odds have lost none of their comic appeal or melodic charm. Songs like “Jumper,” about a would-be suicide, and “Leaders of the Undersea World,” a fishy tale that would’ve worked well in The Life Aquatic, are hilarious. And there’s no denying the harmony-drenched pleasures of “My Happy Place.”

Al Green, Baptist preacher and music legend, is a true savior. I once witnessed him bring a New Orleans festival audience to its feet—and make the sun come out—after James Brown bummed out everyone with a poor performance on an overcast day. Here, Green works similar miracles. First, he performs duets with John Legend and Corinne Bailey Rae, showing the young whippersnappers how it’s done. Then he delivers showstoppers like “Too Much” and “All I Need” that amount to classic soul sermons. Hallelujah.

These revered Kentucky rockers have never rested on their Americana laurels and stuck to the jingle-jangle of alternative country. Like Wilco, MMJ typically mix big-sky yearnings with tastes ranging from Radiohead to the Flaming Lips. But the latest from Jim James and company is a stretch even by their eclectic standards. From the Prince-like falsetto funk of “Highly Suspicious” to the disco-ish “Touch Me I’m Going to Scream, Part 2,” it’s a dance-pop treat, topped off by the dreamily soulful “Thank You Too.” June 3

Best known as Feist’s friend and producer, Gonzales is a talented MC and pianist whose time as a solo artist may be now, on this, his sixth album. Gonzales’ gift for zany rap is evident on the handclapping “Working Together,” while his love of the Bee Gees shines through on the breezy “Let’s Ride.” In fact, much of the album owes its sound to uptempo ’70s soft rock—check out the Billy Joel-ish “Slow Down.” Meanwhile, Gonzales’ melodic gifts are best showcased on the humming, hymn-like gem “C Major.” June 3

Happily, marriage hasn’t mellowed dear Martha, who burst onto the scene with her biting ode to her dad, “Blood Mother F***ing Asshole.” On her second album, Martha kicks out the jams with Pink Floyd’s “See Emily Play” and Eurythmics’ “Love is a Stranger.” Even better is her own “You Cheated Me,” which sounds like a pop hit. She’s joined by Pete Townshend, Garth Hudson, Donald Fagen and various family members, including Rufus, but the show belongs entirely to Martha, who has never seemed more like a star. June 3

With her pristine voice and elegant songs, Ahn is a refreshing antidote to brash ladettes like Adele and Kate Nash. Allowing the beauty of her vocals and the simplicity of her lyrics to shine makes Lily Allen wannabes seem only uncouth. Ahn, who hails from rural Pennsylvania, displays her natural charms on gentle, breezy folk songs like “Dream,” “Lullaby” and “Leave the Lights On.” Without a hint of irony, she even strums a humble ukulele on her beguiling ballad “Find My Way Home Back Home.” Pure and unspoiled. June 10   

Santilli’s been riding her funkmobile to the soul shack ever since her formative days with Toronto’s Bass is Base. The singer-keyboardist deepened her groove on her first two solo albums, working with the likes of James Posyer (the Roots) and Stuart Matthewman (Sade). Her latest is more pop-oriented, bringing to mind both Alicia Keys and Stevie Wonder with sultry vocals and Rhodes organ. Still, Santilli keeps the funk cranked way up on “Always Better” and shows off her sexy side on the deeply soulful “Stay Here.” June 10