Gordon Lightfoot Book, Music and More!

The Weakerthans’ John K. Samson is Canada’s poetic punk-rock laureate. Need proof? Check out just two of the titles on the Winnipeg band’s latest album: “Hymn of the Medical Oddity” and “Virtue the Cat Explains Her Departure.” When he isn’t writing thoughtful narratives and singing them with The Weakerthans, Samson publishes leftist fiction, non-fiction and cultural studies. But the most radical thing about the band is his wildly inventive songs, including the brilliant hockey tribute “Elegy for Gump Worsley.” Sept. 25

Khan’s first new album in a decade is a freakin’ riot, a funk-filled return to form for the old-school soul diva. Produced by Jimmy Jam and Terry Lewis, it features Khan covering Prince’s “Sign O’ the Times,” Jimi Hendrix’s “Castle Made of Sand” and Joni Mitchell’s “Ladies Man.” There’s also “Disrespectful,” a tear-the-roof-off-the-sucker duet with Mary J. Blige. Best of all, the album features a medley of “Pack’d My Bags” and “You Got the Love” by Khan’s pioneering ’70s funk band, Rufus. Be prepared to be Rufusized. Sept. 25

Rush-released digitally weeks ago to thwart internet leaks, Stars’ fourth album will soon be available in tangible form—with evocative cover painting and song lyrics. While it might seem impossible to top Set Yourself on Fire, the dream-pop collective’s newest collection succeeds with the vocal interplay between Torquil Campbell and Amy Millan on such memorable tracks as “The Night Starts Here.” “Take Me to the Riot” is a surefire pop hit, while the epic title track is a perfect marriage of personal and political themes. Sept. 25

It’s not surprising that Drew’s solo debut sounds like a stripped-down Broken Social Scene album. Drew uses many of the same elements (whispered vocals, quirky melodies, roaring guitars) as the sprawling indie-rock collective he co-founded with Brendan Canning (who releases his own solo album early next year). Drew does conjure up a few magical moments, including the gorgeous “Tbtf” and the stirring “Lucky Ones.” But, overall, his album lacks the majestic power and chaotic beauty of most BSS recordings. Sept. 18

Denmark’s Figurines have a deep affection for Sixties music. But, unlike many of their Scandinavian counterparts, the band’s tastes run more to Beach Boy pop than Who-style riffage. Figurines’ latest album features such harmony-drenched songs as “Hey Girl” and “The Air We Breathe” that could fuel many a summer soundtrack. The band takes an economical approach to its material, with most tracks clocking in around the three-minute mark. One exception is “Drunkard’s Dream,” the album’s spacey, psych-rock highlight. Sept. 11

PEI’s MacLellan comes by her craft honestly. Her father, Gene MacLellan, wrote such Can-folk classics as “Snowbird” and “Put Your Hand in the Hand,” covered by Anne Murray, Elvis Presley, Joan Baez and others. The twentysomething MacLellan’s second album features a dozen finely etched songs about facing life’s challenges that sound as timeless as her dad’s. Whether singing about the effects of winter (“Snow Day”) or shattered hopes (“Dreams Dissolve”), she displays a wise talent well beyond her years. Sept. 11

Heart’s hard-rock mama who roared through hits like “Barracuda” and “Crazy on You” reveals a social conscience on her solo debut, covering classic protest songs. Wilson teams up with Alison Krauss on Neil Young’s “War of Man” and Rufus Wainwright and Shawn Colvin on Bob Dylan’s “A Hard Rain’s a-Gonna Fall.” But she unwisely tackles overworked numbers by The Animals and Creedence Clearwater Revival and, worst of all, lends her shrieking vocals to Led Zeppelin’s woefully dated “Immigrant Song.” Sept. 11

Swedish bands are becoming as ubiquitous as IKEA. This Stockholm group debuted in 2005 with its oddly titled album Howl Howl Gaff Gaff, a collection of songs that ran from lovesick to lovelorn. Singer-guitarist Adam Olenius remains the central problem: whenever the band sends a number soaring skyward, his annoying whine always manages to deflate the euphoria. The group is better served by keyboardist Bebban Stenborg, whose beguiling vocal on “Blue Headlights” provides one of the album’s few highlights. Sept. 11

With singer-keyboardist Steve Bays’ yelping vocals and cascading curls, Canada’s Hot Hot Heat has stood out from the synth-pop pack. Bays’ inventive wordplay and the band’s retro sound haven’t hurt its profile either. Taking more chances musically, including tribal drums on “Harmonicas and Tambourines” and orchestral strings on “Outta Heart,” the group’s latest CD is a welcome stretch. But HHH”s pogo-ing fans needn’t worry: “Let Me In” and “My Best Fiend” are tailor-made for the dancefloor. Sept. 11

If an artist can be judged by the company he keeps, Joe Henry gets top marks. He has produced artists as diverse and accomplished as Ani DiFranco, Aimee Mann, Solomon Burke, Elvis Costello and Allen Toussaint. Along the way, Henry’s own albums have grown increasingly dark and sophisticated. His latest is no exception. Numbers like “Civil War,” featuring the nostalgic piano of Van Dyke Parks, and “Our Song,” about meeting a disenchanted Willie Mays in Home Depot, are haunting elegies to America. Sept. 11