Gordon Lightfoot Book, Music and More!

Having worked in new wave and electronic music and dabbled in salsa and samba, Byrne was bound to try his hand at serious opera. Here, the former Talking Head tackles “Un di Felice” from Verdi’s La traviata and teams up with Rufus Wainwright on “Au Fond du Temple Saint” from Bizet’s The Pearl Fishers. The classical strains of the Tosca Strings can be heard throughout. But the eclectic artist’s humorous side is also evident on tracks like “She Only Sleeps,” about a man’s unflinching faith in his disastrous girlfriend.

They began as a wholesome father-and-kids trio from Trenton, Ont. After relocating to Nashville and scoring a hit with “26 Cents” the Wilkinsons became major country stars while Amanda and Tyler were still in their mid-teens. Although Amanda, now 22, sings about womanly desires in songs like “You Want Me” and “Williamstown” on the group’s third album, the highly polished material still lacks lyrical depth and intrigue. They may be all grown up, but the Wilkinsons remain a boringly wholesome father-and-kids trio.

With intimate, observational lyrics and falsetto-laced vocals, Kingston, Ont.’s Sarah Harmer is already one of the world’s best singer-songwriters. Harmer’s second album is every bit as assured as her debut, mixing infectious numbers like the moonlit “Silver Road” with such darker songs as “Greeting Card Aisle.” The pulsing “Almost” seems to channel the Tragically Hip, while the dreamy “Dandelions in Bullet Holes” is a joyous masterpiece—more uplifting humanist hymn than meaningful anti-war anthem.

Canada’s hardly a bastion of soul—blame it on a cold and indifferent music industry. But with the likes of Glenn Lewis and Remy Shand, the country has become a source of soulful singers. Toronto’s Jacksoul is one of the few groups to emerge, with singer Haydain Neale at its helm. On Jacksoul’s third album, Neale sings sweet, Motown-style soul numbers like “Still Believe in Love” and “I Think You Should Know” with enough passion and conviction to warm even the coldest hearts in the Great White North.

Moore’s an original. After busking in Europe as a teenager, she returned to her native Hawaii to sing with the inventive worldbeat band Poi Dog Pondering. A solo career led to a Grammy nomination and appearances at Lilith Fair, before Moore fell in with record mogul Clive Davis, who wanted another Michelle Branch. Fortunately, the multi-instrumentalist was able to break free and deliver this assured and diverse indie album, featuring distinctive folk-pop songs like “No Fear,” “Taking Chances” and “I Win.”

Currently on the NME Brats Tour with the Von Bondies et al, Franz Ferdinand is the latest “It Band” from the Old Sod. Where these art-school rockers from Glasgow differ from others is in their joyous mix of influences, ranging from the edgy political punk-funk of the Gang of Four to the reckless abandon of the Strokes. Like Canada’s brilliant Hot Hot Heat, Franz Ferdinand knows how to have a skankin’ good time with the best elements of ’80s rock. Most addictive tracks:  “Darts of Pleasure” and “Take Me Out.”

Wacko’s sister’s in a tailspin. How else to explain Janet’s “wardrobe malfunction” at the Super Bowl? The exposure smacked of publicity stunt. But the massive media boost from Nipplegate cannot save Janet’s sagging career. “Just a Little While,” the first single rush-released by her label, is merely lightweight pop-funk with shades of Prince and the Go-Gos. At press time, Jackson was rumored to be writing a song about her breast-revealing incident, but even that topicality will not prevent this album from going (ahem) tits up.

The 29 songs that blues pioneer Robert Johnson wrote and recorded have been covered by rockers from Led Zeppelin to the White Stripes. Clapton himself delved into the songbook while a member of Cream and John Mayall’s Bluesbreakers. But these loving interpretations represent the first time he’s devoted an entire album to the seminal bluesman—it’s a wonder it wasn’t done before. On gritty classics like “Love in Vain” and “Come On in My Kitchen,” ol’ Slowhand has rarely sounded so inspired.

At his best, on his first two mid-’80s albums with his band the Commotions, the bookish Brit rocker successfully juggled cynicism and pretension—with irony as his foil. Cole’s star fell after moving to New York, where he’s become an articulate depressive. Here, he sings in his conversational drone about disaffected romance, drugs and Los Angeles. And while he admits on “Shelf Life” that he’s “consumed by delusions of grandeur,” he adds that he’s “no longer waiting for the publisher’s call.” Which is probably a smart move.

Canadian divas get all the attention these days, but Ron Sexsmith is one of the best songwriters this country has ever produced. On his latest album, Sexsmith proves he’s more than just a tunesmith with a knack for pretty ballads. Featuring sweet vocals and upbeat tempos, songs like the driving “Wishing Wells” take a refreshing pop direction while the r&b-flavored “Whatever it Takes” finds Sexsmith channeling Stevie Wonder. But the best is the string-laden “Tomorrow in Her Eyes,” a song of breathtaking beauty.