Gordon Lightfoot Book, Music and More!

Lawr has played drums in such revered bands as King Cobb Steelie, Fembots and Royal City. Along the way, he’s clearly picked up some singing and songwriting skills. His latest album is rich in laid-back, Neil Young-style vocals and tall, sometimes surprisingly sinister tales like “Righteous Heart” and “Footsteps,” which tell of fresh-water sharks and freakishly tortured prisoners. Guests include Royal City’s Jim Guthrie, Hylozoists’ vibraphonist Paul Aucoin and Lawr’s girlfriend, talented Sudbury singer Kate Maki.

After his (some would say ill-advised) folk departure, which reached its nadir with his cover of the kiddie tune “Froggie Went a-Courtin,” the Boss is back with the E Street Band, rocking out as they do best. Although Springsteen himself is in fine form, supplying such anthemic numbers as “Radio Nowhere,” “Livin’ in the Future” and the Born to Run-style “Last to Die,” it’s The Big Man, a.k.a. Clarence Clemons who almost steals the show, growling, honking and wailing away on his sax like there’s no tomorrow.

Like Finger Eleven and Three Days Grace, Rides Again is the latest Canadian band to forge a tough, melodic sound that, in the tradition of hoser-rock heroes Rush, appeals primarily to teenage boys. “It’s Too Late,” “Infected” and “Wonder Why” are the pile-driving heavyweight tracks. But the Toronto trio may attract some female attention with the ballad “Apology,” in which Nathan Peyton begs forgiveness for “everything I put you through,” before promising “I’m going to make it up to you.” Dude’s got a sensitive side.

Halifax heroes Wintersleep keep venturing deeper into alt-rock space. On its third album, the band jettisons its Pearl Jam affectations for more experimental sonic explorations. Although there’s a bit too much R.E.M. influence in the rollicking “Astronaut,” ambitious songs like “Dead letter & the infinite yes” and “Miasmal smoke & the yellow bellied freaks” are strikingly original. And “Oblivion,” with its talk of light rays and cosmic dust, is an infectious anthem about humanity’s dubious role in the universe.

Now that he’s fulfilled his dream of becoming Jim Morrison, performing in The Doors tribute band Riders on the Storm, singer Ian Astbury is back to doing what he does best: rawking out with Cult axeman Billy Duffy. The reunited goth-rock band’s eighth album is chock full of gutbucket vocals and monster riffs on tracks like “I Assassin” and “Dirty Little Rockstar,” which depicts backstage excesses in Spinal Tap fashion. And Astbury delivers some Morrison-style mysticism with the solemnly pretentious “Holy Mountain.”

There’s nothing serene about the sophomore album from Milton, Ont.’s young art-rock sextet. Although the band, which shares a record label with Broken Social Scene, favors dreamy, atmospheric soundscapes, there’s a disquieting, David Lynch-like undercurrent running through much of its work. Songs like the mellifluous “Present of Future End” and the cascading “Sherry and her Butterfly Net,” highlighted by the sweet harmonies of Adrian Jewett and Emma Ditchburn, lull listeners into a dark, distinctly dystopian world.

Until recently, Lavette was one of the great lost soul divas, a victim of record company indifference in the early ’70s whose recordings were known only to a handful of collectors. Then came 2005’s I’ve Got My Own Hell to Raise, which brought Lavette acclaim as a survivor and a powerhouse vocalist. This gritty followup, featuring backing by Southern rockers Drive-By Truckers, will continue to stoke the Lavette revival. Recorded at Muscle Shoals, Alabama, it bristles with astonishing emotional intensity. Sept. 25

Whiteley is a member of one of Canada’s most gifted musical families: like his brother Chris, Ken’s a master of blues, jazz, swing and other styles and plays about 20 instruments (Chris’ kids, Jenny and Dan, are rising stars themselves). Ken’s latest album showcases the depth and range of his talent. Along with cool originals like “Everybody Has the Blues,” featuring pianist Joe Sealy and guitarist Amos Garrett, he deftly tackles gospel, Caribbean folk and even some sizzling Latin music on the rumba-fied title track. Sept. 25

Blondie legend Debbie Harry has been enjoying a resurgence of late, with her presence on Cyndi Laupers’ True Colors Tour and receiving major props from Lily Allen. Harry’s first solo album since 1993’s Debravation is further cause for celebration. Dance-friendly tunes like “Two Times Blue” and her inspired tribute to jailed rapper Lil’ Kim (“Dirty and Deep”) are sure signs the pop icon is back. But it’s her work with Blondie’s Chris Stein, especially the thrilling, tribal-beat experimentalism of “Jen Jen,” that really shines. Sept. 25

Having released the double album In Your Honor, consisting of a hard rock disc and an acoustic one, it makes sense that the Foos would eventually blend their two musical personas together. Here, Dave Grohl mixes stomping stadium rockers like “The Pretender” and “Long Road to Ruin” with such folkie, finger-picked tracks as “Ballad of the Beaconsfield Miners” and “Stranger Things Have Happened.” Nirvana’s former drummer even plays piano on “Statues” and the orchestrated “Home.” Still, it’s strange. Sept. 25