Gordon Lightfoot Book, Music and More!

Gentle, introspective and almost narcotically slow, Keren Ann’s moody songs insinuate their way into the bloodstream like a potent drug. “La forme et le fond” shows the Dutch-born, French-raised artist’s fondness for François Hardy-style pop, while “Chelsea Burns,” with its fiddles and harmonicas, has a Cowboy Junkies, country-tinged feel. When the bilingual singer utters the words “my love,” on “One Day Without,” her soft, measured tones reveal an exquisite vulnerability. Blissfully sad, late-night music. Mar. 1

It was only a matter of time before the male equivalent of Norah Jones appeared. Lee, who cites both Stevie Wonder and John Prine as influences, has already opened for Jones. Now signed to Jones’ Blue Note label, and with his debut album produced by her bassist-boyfriend, Lee Alexander, the Philadelphia native seems well groomed for success. While songs like “Dreamin’” and “Bottom of the Barrel” have a refreshing, folk-blues vitality, the best is “Soul Suckers,” which pairs Lee’s soulful voice with chilling cellos. Mar. 1   

An ardent student of the blues (as a boy, he befriended Howlin’ Wolf and visited Tampa Red at his sickbed—much the same way Bob Dylan did Woody Guthrie), Toronto’s Linden is now an accomplished bluesman in his own right. This fine album, partly recorded in Memphis with Otis Redding’s horn section, features crackling r&b numbers like “I Give Up.” And the rootsy “Which Way Does the M&O Run” recalls the time he joined Blind John Davis for a New Year’s Eve performance—when Linden was just 17. Mar. 1            

The good Reverend, who abandoned sexually-charged soul music in 1976 for the sacred sounds of gospel, made an inspired secular comeback album with 2003’s I Can’t Stop. His latest pairs him again with Willie Mitchell, the producer of such ever-Green hits as “Let’s Stay Together” and “Still in Love with You.” Backed by the New Memphis Strings, Green summons a preacher’s conviction on songs like “Perfect to Me.” And when he tackles affairs of the heart on songs like “Real Love,” his passion is palpable. Mar. 1   

What is it about Manchester bands that create melodically sweet sounds out of depressing subjects? Like the Smiths and the Stone Roses, Doves luxuriate in doom-and-gloom, as evidenced by the group’s appropriately titled first album, Lost Souls. The trio’s latest was recorded partly in pastoral Loch Ness, Scotland, which may explain the album’s more cheerful tone on songs like the guitar-driven “Sky Starts Falling” and the Jam-inspired “Black & White Town.” Clearly, the boys need to get out of Manchester more often. Mar. 1   

Remarkable voice, unremarkable material. Call it the Céline Syndrome. Stott, a farm girl from Brandon, Manitoba, has been dazzling listeners ever since winning her first singing contest at 11. Now 22, Stott is already a veteran, with her second CD on as many record labels. But saccharine songs like “My Real Life” and “Undeniably Real” are about as real as a Disney feel-good movie. “People concentrate so much on negativity,” says Stott. “I want to focus on positive, uplifting things.” Admirable intentions, but boring results. Feb. 22

“Don’t call me hippie cause the way that I look,” sings the dreadlocked Butler on opener “Treat Yo Mama.” Australia’s answer to Ben Harper writes songs about corporate greed, Mother Earth and the resulting karma when the former mistreats the latter. He probably smokes herb and eats granola as well. But Butler has much to recommend, including a flair for country-blues guitar and catchy reggae tunes like “Zebra.” And he brings a rich soulfulness to his Phish-style jam number “Sometimes” which closes the album. Feb. 22   

They came on like cartoon hillbillies, rural Ramones, with each member sharing the same last name. Only the Kings of Leon were for real: three bearded brothers—sons of a southern preacher man—and their cousin. The band’s rowdy debut, Youth and Young Manhood, drew favorable comparisons to Lynyrd Skynyrd and the Allman Brothers. The group’s followup is even better, with raw, adventurous tracks like the frenetic “Slow Night, So Long,” the gorgeous “Milk” and the wacky “Razz.” A wild and wooly gem. Feb. 22

Fans of Alan Parker’s 1991 hit film The Commitments will recognize the Frames’ Glen Hansard as the movie’s red-haired guitarist Outspan Foster. But that was long ago, and Hansard and his real-life Irish band have done plenty since to deserve their own recognition, including the formidable For the Birds and Set List, studio and live albums respectively. New music like the soaring melodic pop of “Happy” and the raging alt-rock of “Fake” only strengthens the band’s reputation for thoughtful, emotion-packed songs.

His voice remains as warm and rugged as a well-worn saddle. And his songs still resonate, although he’s singing about bronco riders, the canyons of New Mexico and his beloved “big Alberta sky.” That’s because Tyson, a real working cowboy, never hits a false note when singing about the western way of life. Although he’s rightly revered for his ’60s folk (Ian & Sylvia) and early country rock (Great Speckled Bird), Tyson is now making music that’s strong and true—and maybe better than anything he’s done to date.