Gordon Lightfoot Book, Music and More!

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 ...

Like a ballroom orchestra high on amphetamines, the Los Angeles-based Chicano band Los Lobos conjures up contradictory, even comic, images when it is performing its frantic norteño music--an infectious hybrid of Mexican dance and German polka styles. How Will the Wolf Survive?, the quintet's refreshing debut album, opens with blistering rockabilly, and Cesar Rosas' gravelly vocals on "Don't Worry, Baby," and switches to a sweet country ballad in "A Matter of Time." On the carnival romp of "Corrida #1," David Hidalgo's speedy manipulation of his button accordion produces a euphoric, yodelling effect. Add some full-blooded rock 'n' roll in the style of Bo Diddley, one traditional Mexican ...

The music of Talking Heads has always been on the fringe of pop. True eccentrics, the members of the group have created songs on such unlikely topics as buildings, civil servants and mental health set to music ranging from American new wave to African tribal rhythms. Their new album, Little Creatures, continues to examine everyday thoughts and things--from television to babies and domestic bliss--and, because the group has now dropped African rhythms in favor of simple pop tunes, the album's music is easier to understand. On "Creatures of Love," an amiable country-and-western tune about human reproduction, David Byrne sings with childlike amazement about how "little creatures come out" after...

Artistic genius, or howling, lost-on-the-moor madwoman? Kate Bush has always defied description—and divided audiences along the way. As British author John Mendelssohn put it, when Bush “came out of of nowhere in 1978 with her jaw-droppingly eccentric debut single ‘Wuthering Heights,’ screeching like a banshee, flapping her arms as though trying to take wing, pulling alarming faces, people either adored or loathed her.” But absence has benefitted Bush. Since dropping out of the music world to raise a family, a massive cult has grown up around the reclusive, publicity-shy singer. There are now Kate Bush fashions and fan conventions, while the truly obsessive celebrate her birthday as “Katemas...

Quique Escamilla’s music is a tantalizing blend of sweet and sour, light and dark. The talented Canadian troubador’s entrancing second album opens with the Manu Chao-like reggae vibe of the title track, a tart tale of historical corruption and exploitation in his Mexican homeland, and ends with the gorgeous “Tú Sólo Tú” (“You Only You”), a pedal-steel-drenched traditional ranchera about obsessive love, a song Tejano pop star Selena covered before her tragic death. As with his debut album, the Juno-winning 500 Years of Night, Escamilla doesn’t shy away from other hard-hitting subjects, including “Highway of Tears,” about British Columbia’s remote highway where so many Indigenous women and gir...

Rustico, P.E.I., native Lennie Gallant tended in his first two albums, Breakwater and Believing in Better, to focus on social issues. But on his third recording, The Open Window (Sony), Gallant’s first for a major label, the Maritime singer-songwriter shifts his emphasis to matters of the heart. Although he has been compared with Bruce Springsteen and John Mellencamp for his issues-oriented material, on his latest—a mix of folk-rock and country numbers—Gallant sounds more like a cross between Gordon Lightfoot and Stan Rogers. The romantic ballads, including “Three Words” and “Embers,” a love-on-the-rocks tale featuring producer Colin Linden’s chiming guitar, are a cut above the usual contemp...

Steeped in voodoo lore, New Orleans has a reputation for casting a spell on visitors. Known to its residents as “the Big Easy,” the city has a tropical climate and a French and Spanish colonial history that give it an atmosphere unique in North America. Tourists are charmed by its annual Mardi Gras festivities and its world-famous Cajun cuisine. But for many people, music provides the city’s most potent magic. Although it has long been associated with such traditional styles as Dixieland, New Orleans also produced some of the liveliest rhythm and blues of the 1950s. Later, its musicians provided rock ‘n’ roll with exotic flavorings. Now, the city is experiencing a musical boom that extends f...