Gordon Lightfoot Book, Music and More!

Amos has messed with multiple personalities before: Strange Little Girls included a different photographic persona for each cover song. Now the flame-haired diva with the Bösendorfer piano is channeling five female characters, drawn from goddesses in the Greek pantheon, through songs on her latest album. Beyond the brave concept, Posse features some first-rate material, including the honky-tonk stomp of “Big Wheel” and the bright, lush pop of “Bouncing Off Clouds.” And Amos is taking all of the girls on tour.

Kidjo reigns as world music’s greatest star, an African diva whose albums and videos have consistently set the highest standards. Previously, she’s collaborated with Dave Matthews and Cassandra Wilson and covered Hendrix and Gershwin. But on her eighth album Kidjo pulls out all the stops, teaming up with chums Peter Gabriel, Josh Groban, Alicia Keys and Joss Stone, with whom she belts out a beat-crazed version of “Gimme Shelter.” But the real highlight is her stunning acapella rendition of Ravel’s “Bolero.”

This Toronto garage pop power trio is fronted by Lucas Silveira, a transgendered male who sings with the passion and panache of Chrissie Hynde. Moe Berg, of the Pursuit of Happiness, was impressed enough by Silveira’s songwriting to produce this gritty, infectious debut. While the first track, “Complicated,” has already been featured on The L Word, tortured numbers like “Misery” and “Back in Style” and the group’s reggae-fied take on Justin Timberlake’s “Cry Me a River” are damn-fine Clik tracks not to be missed. Apr. 24

Is this Portland trio really the new Coldplay? Listening to Kevin Calaba’s dreamy voice and the group’s soaring songs, it’s easy to think so. The band’s “Movies of Antarctica” is a giddy slice of guitars and electronic programming that aims for arena-rock greatness. And Calaba’s and guitarist Jason Bell’s harmonies on “Arithmatik” are undeniably cool. But as emotionally rich as “With You” is, it never climaxes as powerfully as Coldplay’s “Fix You.” Ultimately, the new kids on the alt-pop block can’t quite win the foot race. Apr. 24

Gilberto’s father, Joao, is the godfather of Brazilian bossa nova, while her stepmother, Astrud, is the voice behind “The Girl from Ipanema.” Bebel stepped out of her family’s shadow with Tanto Tempo and its companion remix album, both tinged with electronica. Her self-titled sophomore album stuck closer to chill-out samba sounds. Here, working with producer Guy Sigsworth (Madonna, Björk) she goes for mid-tempo grooves like “Bring Back the Love,” a sensuous dance number featuring New York’s Brazilian Girls. Apr. 24

It must please Mitchell no end that nearly half of the songs by admirers here come from her often overlooked post-folk period. Björk, Elvis Costello and jazz pianist Brad Mehldau all tackle material from The Hissing of Summer Lawns, while Caetano Veloso brings his Brazilian vibe to “Dreamland” from Don Juan’s Reckless Daughter. Mind you, there are several songs drawn from Mitchell’s quintessential album Blue, including Prince’s stunning, falsetto-drenched version of “A Case of You,” which steals the show. Apr. 24

Having Ry Cooder produce this album by the gospel great is an inspired choice. Cooder brings a rootsy edge to civil rights anthems like “We Shall Not Be Moved,” featuring South African choir Ladysmith Black Mambazo. Staples, still vibrant and ever soulful, covers Cooder’s tender “I’ll Be Rested” and delivers a stunning rendition of “Jesus is on the Mainline,” a song Cooder once recorded. And she adlibs her way through bluesman J.B. Lenoir’s “Down in Mississippi” (also featuring Ladysmith) to brilliant effect. Apr. 24

Has it really been nearly 20 years since the Junkies released The Trinity Session? A commemorative DVD is in the works for release later this year. In the meantime, the Junkies have released one of their most potent albums to date. From the sublime ballad “Spiral Down,” featuring a fiddle floating over Margo Timmins’ chilling vocal, to the ravaged “Cutting Board Blues” and the almost trip-hoppy “It Doesn’t Really Matter Anyway,” it also stands as one of the band’s most varied releases. Happy anniversary. Apr. 24   

Like their siren sister Neko Case, The Sadies are masters at mining roots music and making it their own. But where Case turns everything she touches to gothic gold, The Sadies take a more cosmic approach, adding surf, rockabilly and psych flavors to their spaghetti western stew. The band’s fifth studio album mixes all of those elements on a dozen cinematic songs like “Anna Leigh” and “What’s Left Behind.” Dallas and Travis Good pick and harmonize their way through the material like only badass brothers can. Sept. 18

After his excellent solo album, La De Da, Halifax hero Plaskett is back with his Emergency band. The group’s latest, produced by Gordie Johnson (Big Sugar, Grady), is a mostly raw rock-and-roll record. The blistering “Drunk Teenagers” details getting plastered, suburban-style, while “Fashionable People” mixes riff rock and synth-pop elements to hilarious effect. But then Plaskett pulls out “Chinatown/For the Record,” a gorgeous ballad with acoustic guitar and orchestral strings. A prolific renaissance man. Apr. 17