Gordon Lightfoot Book, Music and More!

This reviewer was a friend of Paul Quarrington’s and played on two of the tracks included here. That personal connection should make a review off limits. But this solo debut album by the award-winning writer-musician, who succumbed to cancer in January, is simply too good to pass up. Confessionals like “All the Stars” and “This Old Body” and the wry talking-blues numbers “Big Ol’ Bass” and “Hello Jim,” the latter recorded just three days before he died, trigger a mix of tears, laughter and reflection—just like the best of Paul’s novels.

Most drummers stick with the backbeat. With few exceptions (Levon Helm, Ringo Starr, Don Henley and Father John Misty come to mind), the dudes behind the kits rarely step forward to become solo artists in their own right. Toronto’s Martin Worthy has always been a different kind of drummer, one who could easily pick up a guitar and croon a sweet folk ballad or a wry country tune—songs he’d come up with when no one was watching. Although he started out in high school pounding the skins in various rock and soul bands, Worthy was really a singer-songwriter trapped in a drummer’s body. During the 1970s, Worthy partnered with his friend Paul Quarrington in a Seals & Croft-style folk duo called...

It is a particularly eerie case of life imitating art. In Paul Quarrington’s novel Whale Music, rock musician Desmond Howell writes a song called “Claire” that unexpectedly becomes a hit single. Recently, the Rheostatics, a Canadian rock band with no previous hit singles to its credit, recorded a sound track for the film adaptation, including their own version of “Claire.” The song, a dreamy slice of melodic pop, is now getting airplay on commercial radio stations across Canada, exposing the critically acclaimed group to its largest audience to date. “Normally, we just follow our instincts on our albums,” admits guitarist Dave Bidini. “Here, we got a chance to pretend to be someone else...

It’s the inevitable fate of a multi-faceted artist as ridiculously talented as Paul Quarrington that one creative field should overshadow the others. In Paul’s case, his musical career was rudely hijacked by his literary success. Long before the awards for fiction, humour and screenplays, Paul was a musician—and an extremely good one. He played bass and sang in the eccentric cult-rock band Joe Hall & the Continental Drift, a band his guitarist brother Tony once described as “an acquired taste that no one acquired.” He wrote songs, played guitar and sang with lifelong friend Martin Worthy in the underrated folk duo Quarrington Worthy—even scoring a number one hit in 1980 with “Baby and th...

On the Sunday before he died, Paul Quarrington was doing what he’d spent the last seven months doing: as much as possible. Whether it was writing, performing, recording, travelling, fishing, watching his beloved Leafs or partying with family and friends, Paul was packing it in, squeezing the juice out of everything before taking his leave.On this particular Sunday, Paul was in the studio laying down one more track for his solo album, in this case a part for his brother Joel, an accomplished classical double bassist. I wanted to witness this session featuring two talented individuals who’d been in my life since childhood.Back then, I was best friends with Joel and knew Paul as his shy and ins...