Gordon Lightfoot Book, Music and More!

Produced by electronica artist William Orbit, Katie’s fourth album has an elegant formality that suggests England’s best-selling pop diva has spent time listening to the veteran Kate Bush, especially on the dark, string-laden epic “The Flood.”  But Katie is also capable of venturing off in more surprising directions like the playful cabaret of “A Moment of Madness,” the ambient folk of “Tiny Alien” and the ethereal ballad “Red Balloons,” co-written with quirky U.K. artist Polly Scattergood. Delightfully eclectic.

The studly Welsh baritone is now 70. It’s hard to imagine women throwing their panties at him anymore. But Tom’s still sexy, due to his ever-vibrant vocals and admirable openness to new sounds. Having collaborated with Wyclef Jean and covered Arctic Monkeys in the past, Tom is now turning to blues and gospel. His latest features some stunning covers, including Bob Dylan’s “What Good Am I?” and John Lee Hooker’s “Burning Hell,” performed as a holy-roller rave up, that signal a dramatic artistic rebirth.

Born in Kennett, Missouri, 100 miles from Memphis, Sheryl Crow grew up with the soulful sounds of Otis Redding, Delaney & Bonnie and many others. But her career path took her to Los Angeles where, after a stint as a music teacher and jingle singer, she moved in a rock-pop direction, including a gig as Michael Jackson’s backup vocalist. Now, with her seventh album, Sheryl has found her way back home.      100 Miles from Memphis features Stax-style horns, gritty guitars and steamy vocals. “This music called for emotion, a place of sensuality and sexuality,” Sheryl admits. “Sometimes it’s easier to hide behind more intellectual lyrics. So it was a great stretching experience for me.” She adds: ...

What do you get when one of the world’s most popular singers performs the songs of the world’s favorite opera? A surefire hit—especially when it’s tenor Andrea Bocelli singing well-known numbers from George Bizet’s classic Carmen. Welsh bass-baritone Bryn Terfel joins Andrea on a rousing rendition of “The Toreador,” while Russian mezzo-soprano Marina Domashenko duets with him on a highly passionate “Habanera.” But Andrea shines brightest as Don José, the title character’s spurned and murderous suitor.

Ever since Ozzy became known to millions as the dumb rock-star dad in the reality TV series The Osbournes, it’s been hard to take the former prince of darkness seriously. With his 10th studio solo album, Ozzy is once again trying to regain his heavy-metal crown. But Scream, a collection of lackluster numbers like “Life Won’t Wait,” is a far cry from his best work with Black Sabbath. Only the anthemic “Let Me Hear You Scream,” with its arena-ready chorus, has any real staying power. Maybe it’s time for a family album.

With the Freudian album title and tracks like “Psychopath,” you might fear that the world’s most distinctive soul singer has been on the therapist’s couch and turned all dark and introspective. In fact, her latest is a giddy romp through rock, funk, disco and hip-hop and even includes the wild, Threepenny Opera-ish “Oblivion.” Turns out, Gray just got in touch with her freak side and went for full-on eclecticism.

Soft, subtle, subdued, seductive. Canada’s celebrated singer-pianist seems to attract alliterative adjectives with her brand of smooth and sophisticated jazz. No surprises here, just more exquisitely phrased chestnuts, a sensuous Latin tinge and stately backing by the London Symphony Orchestra. Krall could be accused of playing it safe, but why mess with such a successful sound?

An institution in their native province, La Bottine Souriante are Quebec’s answer to Louisiana’s Beausoleil or Ireland’s The Chieftains. Taking Quebec fiddle tunes, absurdist ballads and bawdy drinking songs, the nine-piece ensemble put an infectious, modern spin on vintage Canadiana. With the right marketing, these guys could become the musical glue that holds the country together.

Take a dozen oldies, chop and mix in a blender, changing tempo and adding a woman’s perspective and—voila!—retro rock with a feminist twist. Amos’ recipe produces powerful results, recasting 10cc’s “I’m Not in Love” and Neil Young’s “Heart of Gold” as dark commentaries on the state of the sexes. But the best is a recent cover, an inspired version of Eminem’s disturbing “’97 Bonnie & Clyde.”

Montreal’s Merlin has never been content with the rapper label, despite his hip-hop heavy debut, A Noise Supreme. Rap is just one useful tool in his bag of tricks. Piano ballads, symphonic strings—even Nirvana-esque guitar on “Ultrasensitive”—all come in handy on the singer-producer’s latest, ambitious album. If Merlin has one obvious influence, it’s that tiny perfect multi-tasker Prince.