Gordon Lightfoot Book, Music and More!

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.

Toots Hibbert is an original and, as Little Richard would say, “an originator.” Hibbert was the first to mix r&b and gospel with reggae in the early ’60s. This all-star collection features a still-robust Toots singing his biggest hits in duets with rock gods (Eric Clapton on “Pressure Drop,” Jeff Beck on “54-46 That’s My Number”), third-wave ska bands (No Doubt on “Monkey Man”) and alt-rock stars (Ryan Adams on “Time Tough”). It’s an impressive tribute—and proof that Toots’ infectious brand of reggae’s still got soul.      

In his heyday, with the Animals and War, Burdon was one of pop’s most distinctive stars, blessed with a powerful blues-rock voice. Like Long John Baldry and others, Burdon has since struggled to rise above the nostalgia circuit—often with mixed results. This self-financed album is a case in point: while rocking salutes to heroes like John Lee Hooker (“Can’t Kill the Boogieman”) are welcome, Burdon’s attempts at Leonard Cohen (the title track) and ska (“Black and White World”) are over-wrought and ill-advised.

Although she covers Tom Waits, the big news is that Krall is emerging as a fine songwriter. Where the glamour puss previously penned only several songs, here she co-writes six with influential husband Elvis Costello. Some, like “Abandoned Masquerade” and “I’ve Changed My Address,” are stark jazz ballads. But others put Krall in either Norah Jones territory (the catchy, pop-flavored “Narrow Daylight”) or the Joni Mitchell camp (the cool, confessional narrative of “Departure Bay”). Clearly, marriage suits her.

As in Toronto blues belter John Dickie and the Sisters Euclid, the instrumental outfit led by guitarist Kevin Breit. A versatile musician (Folk Alarm, Supergenerous), Breit hit paydirt playing on Norah Jones’ two albums (she performs his song “Humble Me” on her latest). This live-off-the-floor album is a spasmodic affair, lurching from Tom Waits-style junkyard noise on “Gun” to the Band-inspired “A Better Way.” But it does include one genuine gem: the stirring ballad “Faithful,” a nod to Little Feat’s Lowell George.

Another child of a rock star. In Wilcox’s case, her father is Canrock guitar god David Wilcox, who played with country-rock pioneers Great Speckled Bird and whose “Rockin' the Boogie” became an anthem for Canada’s Olympic gold-winning figure skaters. Unlike most celebrity offspring, Simon isn’t a bored brat who takes talent for granted. Raised by family friends, she worked hard at her craft and reveals a dark, intriguing character here on songs like “Kissed” and the hypnotic “Mommies & Daddies.”

Toronto’s Tangiers has left behind the Strokes comparisons to forge a fresh and sparkling sophomore album. With a greater emphasis on clean vocals and the addition of crisp keyboards, there’s a bouncier, more accessible side to songs like the driving “Walk Run Walk” and the insanely memorable “Ro-Ro-Roland.” Although a raw, garage edge still exists, it’s less self-conscious this time around. Like Victoria, B.C.’s fabulous Hot Hot Heat, Tangiers is crafting joyous dance music for people who don’t usually dance.

On her website, Holland describes her music as “new old time: spooky American fairy tales,” placing her alongside nouveau traditionalists like Oh Susannah and the Be Good Tanyas, a group she co-founded. On her second CD, the Texan singer-songwriter, who counts Tom Waits and Nick Cave as fans, invokes spirits as diverse as Billie Holiday, Stephen Foster and the Carter Family on stirring songs like “Amen,” “Poor Girl” and the haunting Civil War ballad “Faded Coat of Blue” that linger like musical ghosts.

The Canadian bass goddess has already enjoyed a fairytale career as a member of Hole and Smashing Pumpkins. Now, with high-powered management and a solid debut album, Auf der Maur’s solo future seems assured. Featuring choirgirl vocals and an industrial-strength rhythms, songs like “Followed the Waves” and “Beast of Honor” will attract the Montreal native both goth and heavy metal fans alike. And the sexy playfulness of “I’ll Be Anything You Want” has an infectious quality that could make it a surefire hit. 

The British groove-meisters return with their third self-produced album. As always with the publicity-shy quartet, the emphasis is on dreamy, rhythmic soundscapes rather than rock-star posturing. While the band continues to draw from dub and electronica, tracks like the anthemic “Assessment” features the refreshing sound of dueling guitars. Other highlights include the galactic pop of “Space Beatle” and the tribal thrash of “Out-Side,” which blends samples of dogs, seagulls and trains into a dizzyingly eclectic dance mix.