Gordon Lightfoot Book, Music and More!

Folksingers, the troubadours who inhabited so many coffeehouses and festivals two decades ago, had become an endangered species by the early 1980s. But recently, as rock returned to its roots, folk music has quietly staged a comeback—through adventurous festivals and such popular artists as Suzanne Vega and the punk-influenced Billy Bragg and Michelle Shocked. Two singer-songwriters who have influenced the new wave of folk, John Prine and Steve Goodman, have new recordings out on Edmonton’s Stony Plain label. Their albums reveal the source of folk’s strength: songs of intimacy and insight. Goodman, who died in 1984 after a long battle with leukemia, and Prine, Goodman’s close friend, rank am...

Any traditional music from the British Isles, when played well, can breathe history as if aged in wood. A pair of young Irish folksingers stopped briefly in Toronto to give listeners a taste of the bittersweet ballads and jaunty jigs from another era. Paul Brady and Andy Irvine are former members of Planxty, a now defunct Irish band whose versatile music won them fans all over Europe. As a duo, Brady and Irvine provide all the moods and memories of their homeland, captured in songs of classical splendour. Their performance at the University of Toronto’s Faculty of Education Auditorium gave the audience tales as strange as the instruments to which they’re sung: “Wearing the Britches,” an admi...

On Naked, the latest album by rock’s influential New York City-based Talking Heads, leader David Byrne sings: “’Round and ’round and we won’t let go/And where we stop no one knows.” The song is “Ruby Dear,” and Byrne could well be referring to the new disc’s musical tour around the world. Recorded in Paris with a crew of international musicians, Naked reflects pop’s global village, where Congolese guitars meet Latin-style horns and ancient Middle Eastern melodies play off modern Western synthesizers. The result is one of the band’s best recordings. And by crossing a number of cultural boundaries, Naked signals a strong new trend toward international pop. Rock music h...

Of all the Canadian music autobiographies published in recent years, no two could be more different than Anti Diva and Takin' Care of Business. The former, by Carole Pope, is a titillating walk on the wild side with the former Rough Trade vocalist who once sang “she makes me cream my jeans when she comes my way.” By contrast, Randy Bachman’s account of his life is like a sober family history with all the spicy stories about drunken aunts and rakish uncles left out to protect 1 innocent ears. In that respect, both books accurately reflect their subjects: Pope is a lesbian trailblazer and pop provocateur who has revelled in sex and drugs, while Bachman, the burly guitarist with ...

    Here are 19 favourite things I heard this year (in alphabetical order):   Aldous Harding Designer Third album from the New Zealand singer-songwriter hits the mark with engaging, quirky and original folk music for the 21st century.   Angelique Kidjo Celia  The African pop queen pays tribute to Cuban musical goddess Celia Cruz, with the same rich results she had with Talking Heads’ Remain in Light.   Bruce Cockburn Crowing Ignites With his stunning, all instrumental album, the Canadian folk legend proves his exceptional guitar playing deserves as much acclaim as his songwriting.   Bruce Springsteen Western Stars The 19th ...

There's plenty to love about Martin Scorcese's new Netflix documentary about Bob Dylan's Rolling Thunder Revue tour. There are some illuminating present-day interviews with cast members including the masked ringleader Dylan himself, although he claims to barely remember anything about the tour, as he wasn't "even born yet." The story itself is one of rock's great dramas. Rolling Thunder was an entirely different way of touring. It began with the idea of Dylan, his buddy Bobby Neuwirth and mentor Ramblin’ Jack Elliott playing small venues while traveling around in a station wagon. When that proved impractical, it grew into a larger, illustrious cast of characters that included Joan Baez, Roge...

Mouth of Steel marks the return of Canada’s legendary bluesman King Biscuit Boy to recording after an unfortunate 10-year absence. Biscuit, also known as Richard Newell, of Hamilton, Ont., apprenticed with Rompin’ Ronnie Hawkins and served with the Canadian blues band Crowbar before striking out on his own. His confident comeback album ably showcases his gutsy voice and mournful harmonica style. The piano boogie of “Route 90” and the Latin-tinged instrumental “Necromonica” display his considerable talents and those of his skilful session players. The album’s real gem is “Done Everything I Can,” on which Biscuit bends harmonica notes as soulfully as he contorts his own gravelly vocals. Mouth ...

With last year’s Caribbean crossover album Killer on the Rampage, Guyana-born Eddy Grant proved he could create a successful solo album by working alone in his Barbados studio. Grant wrote, arranged and produced every song on that album, including the gritty hit single “Electric Avenue,” and played all the instruments as well. But his follow-up album, Going for Broke, suggests that he is now suffering from artistic isolation. The circus-style reggae of “Only Heaven Knows” and the somnolent ballad “Blue Wave” reveal senseless content and inexcusably sloppy technique, while an irritating, indulgent guitar solo mars the vigorously rocking “Romancing the Stone,” which he wrote for the recent fil...

CANO, the Franco-Ontarian group from Sudbury, has changed the focus of its music and language—from folk to rock and French to English—so many times that even the group’s closest fans have become bewildered. Now, CANO has issued an all-French album, Visible, but the chaos has taken its toll, and the quality of the material is uneven. “Pauline” begins as a touching ballad about two lovers separated by war, but a cheerily sung chorus soon shatters the tragic mood. The title song offers more mood shifts than most complete albums, but the track’s inventiveness strays. Still, in “Fond d’une bouteille (Bottom of the Bottle)” an alcoholic’s desperation provides some dramatic imagery, and “J’ai bien ...

A mystical master of Gaelic rhythm and blues, Van Morrison has for more than 20 years served up musical puzzles to which he has offered no answers. But on A Sense of Wonder, his first album since Warner Brothers, his long-time label, reportedly dropped him, the Irish-born singer has stopped asking questions altogether. The result is lacklustre music with none of Morrison’s usual gut-wrenching soul. On the title track, Morrison contemplates nature’s beauty; with “Ancient of Days” and “The Master’s Eyes” he thanks the Creator for His generous ways; on the dirge-like “Let the Slave” he delivers the 18th-century visionary poet William Blake’s “The Price of Experience” in rapid monotone. Only on ...