Sundown

Gordon Lightfoot has always been known to take great care in assembling an album, here is an example of the rewards of perfectionism. Sure, the album boasts 3 hits, but there's so much more beyond them. This is truly the most atmospheric piece that Lightfoot has done. Songs like "Seven Island Suite" almost take you to the astral plane while the jubilance of "High & Dry" bounces along nicely. The only low point (if it is indeed a low point) is the pessimistic ending of "Too Late For Prayin'". The song is a good song, but to close out such a great set with a down note is a questionable decision.

All of Lightfoot's bandmates are in top form also. Rick Haynes keeps great rhythm in the bass area on half of the songs, while the bass trickery is handled by John Stockfish (bassist with Lightfoot in the 1960s and with Jim Croce). Terry Clements and Red Shea also share lead licks tastefully.

This is Gord's most commercially successful album and certainly some of his best work - possibly his very best (although I have a slight preference for Don Quixote and Summer Side of Life). The sound of Sundown is an extension of what he was developing in Old Dan's Records. You can't really call it folk anymore. It borders on country, but without the steel guitar that would show up on his next few albums. To me, Sundown is unique in the Lightfoot library because of the confidence and frankness with which he sings. This almost provocative sound results in some of his most memorable lines. Listen to the criticism of urban life in "Seven Island Suite", his frustration with hopeless low-lifes in "Circle of Steel", and his jealous reprimand of an unfaithful lover in the classic "Sundown". My personal favourite track on the album is "The Watchman's Gone", a simple song about a transient parting with an acquaintance before jumping aboard a train while the watchman is busy "kickin' the bums about". Lightfoot's "theme" of frankness and dissatisfaction is again evident in the line "Whatever I was, you know it was all because/I've been on the town washin' the bull***t down". I like to think that this relates to why Gord has fallen from public consciousness in recent years. Popular culture doesn't reward the truly authentic. It rewards the bull***t.

In Summary: the music is relatively simple on Sundown, the talk is straight, the hits are there, and the talent is incomparable.

Gordon Lightfoot released a string of superlative albums between 1970 and 1976 for Warner/Reprise; Sundown is definitely one of the real standouts. From the relaxed, almost serene feel of the previous album (Old Dan's Records), Sundown (released in 1974) makes a sudden departure in mood. Many of the songs deal with moving and with restlessness. And yet, it's not the idea of going out and searching for something; rather it's the sort of restlessness you feel when you simply want to get away and get out on the road without any sort of specific game plan. It's this notion that makes the album so compelling.

A couple of Lightfoot's big hits can be found here; the title track, of course (with Red Shea's classic guitar solo, and Terry Clements' beautiful acoustic licks); and "Carefree Highway." But there are many, many other gems here as well: the chance-encounter scenario played out in "Somewhere USA"; the social commentary of "Circle of Steel" (with some beautiful recorder work by Jack Zaza); the stunning epic "Seven Island Suite"; fan favorite "The Watchman's Gone" (with, again, some beautiful acoustic work by Clements); and the evocative "Too Late For Praying" (a song which, after the events of 9/11, has taken on yet another shade of meaning). Additionally, the album is beautifully produced by Lenny Waronker: it's a clinic on how to record acoustic guitars. Lightfoot's trademark Gibson B45 12-string rings bright and clear on this recording, as do all the guitars. For the songs that utilize strings, the arrangements by Nick DeCaro are elegant and understated, never becoming obtrusive. The musicianship is, as usual, of the highest calibre: Lightfoot on 12 and 6 string guitars; Shea on acoustic, classical, and Telecaster; Clements on acoustic; John Stockfish (who was Lightfoot's regular bassist from 1966-69) appears along with Rick Haynes to contribute bass, and session ace Jim Gordon is on drums (it would be another couple of years before Lightfoot added a drummer to his regular touring band).

This is truly an essential Gordon Lightfoot album. If you've perhaps bought the recently-released Complete Greatest Hits and have become interested in adding some Lightfoot CDs to your collection, Sundown is certainly not a bad place to start!