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Not many artists can keep breaking new ground, album after album. But, with his 38th studio recording, Cockburn proves he’s one of the rare exceptions. The dozen new songs take the acclaimed singer-songwriter-guitarist into familiar territory—folk, blues and jazz-inflected numbers about topical and spiritual concerns. Yet he never repeats himself. “To Keep the World We Know” addresses climate change, while “Orders” counsels love and understanding, even in these times of political divisiveness. There’s humor in the whimsical “King of the Bolero” and joy in the jazzy “When You Arrive.” It all sounds fresh which, for Cockburn, is his modus operandi. 

No sophomore slump for this femme-rock quartet. Toronto sisters Jordan and Kylie Miller and friends Leandra Earl and Eliza Enman-McDaniel have bounced back from relationship breakups and major record label rejection. Like modern-day Go-Gos or Bangles, the Beaches employ infectious pop songs celebrating freedom and sisterhood, as on the viral hit “Blame Brett,” a wry kiss-off to Jordan’s real-life ex, Brett Emmons of the Glorious Sons. “I’m done dating rock stars,” she sings, “from now on only actors, tall boys from the Raptors.” More than a breakup album, the winning collection also includes the defiant “Everything is Boring” and the dreamy hymn to horniness, “My Body ft Your Lips.” 

This is only Russell’s second solo album, but already the Montreal native sounds wise and accomplished. That’s because she paid her dues with Po’ Girl, Birds of Chicago and Our Native Daughters. Where Russell’s folky solo debut, Outside Child, chronicled her pain and abuse growing up in foster care, the bi-racial artist’s followup is a funky affirmation of her survival. Joined by guitarist Wendy Melvoin and keyboardist Lisa Coleman, of Prince’s Revolution, Russell serves up syncopated celebration on “Shadowlands” and “Rag Child.” Best of all is the gospel-like closer “Requiem,” where she sings with a choir that includes Brandi Carlile.

Despite approaching it with some trepidation, I thoroughly enjoyed the movie Bob Marley: One Love in the end. Kingsley Ben-Adir, who looks nothing like Marley, seemed awkward in the role at first and his dreadlock wig was not at all convincing. But the English actor seemed to grow into the part as the film progressed, even his dreads became more natural, and he wound up capturing well the spirit, struggle and message of the man.  The filmmakers chose to frame the story between Marley getting shot 1976 and 1978’s One Love Peace Concert, when he brought political enemies Michael Manley and Edward Seaga together onstage. And there are some wonderful flashbacks, including the youn...

Once again, I look back on a year of music. For me, 2023 was rich in some phenomenal sounds. But much of what I consumed was through live performances, less through studio recordings. The Polaris Music Prize offered plenty of new discoveries, including Debby Friday and her winning Good Luck debut, Aysanabee's Watin and Begonia's Powder Blue. For compilations of the past year, nothing for me can top Written in Their Soul: The Stax Songwriter Demos, a stunning seven-CD set compiled by Cheryl Pawelski of stripped down gems by unsung heroes who wrote the classic songs of Otis Redding, Carla Thomas, Sam & Dave and the Staple Singers. Jason Wilson's Ashara album, ...

Leger is crazy prolific, having released almost an album-a-year of original roots rock since 2005. Specializing in image-rich narratives of heartache sung in a reedy tenor, the Toronto native has drawn inevitable nods to Dylan. At the star-studded tribute to the Band’s Last Waltz at Massey Hall in November, Leger was chosen to cover Dylan songs—and stole the show. With his latest album, the comparisons will only continue. “I Was Right to Doubt Her,” with its sneaky organ and sleepy border-town feel, conjures up Dylan’s “Just Like Tom Thumb Blues,” while the piano-laced ballad “Wounded Wing” boasts admirable Dylanesque poetics. Leger is unstoppable, his talent undeniable. 

The talented troubadour's fifth album, and first since 2018's Starter Home, offers no big surprises—just more first-rate folk and country songs, many of which sound like they're destined to join such other Paisley classics as “Drinking With a Friend” or "No One But You." But consistency is a virtue worth celebrating. And Paisley's intimate songwriting, warm voice and crisp guitar work is never anything less than exceptional. He's like a modern-day Kristofferson or Lightfoot who keeps hitting it out of the park.  This time around, Paisley works with Afie Jurvanen (Bahamas), who produces and provides additional guitar, as well as sterling side players including drummer Don Kerr, guit...

"Best of" lists are, frankly, silly. How can one possibly decide the finest work unless all works in that category are considered? When it comes to recordings, there simply aren't enough hours in a day (or even a year) to listen to everything that's been released. As the saying goes: so much music, so little time. Rather than declare these nine albums the best of the year, I'm calling them nine of my favourite recordings that I came across in 2022.        Warm Chris - Aldous Harding One of the most intriguingly inscrutable singer-songwriters working today, the New Zealand-born, Welsh-based Harding defies predictability, with a chameleon-like voice that changes in tim...

There are seminal events in music history, seismic shifts that occur when forces of personality, timing and circumstance collide to create something truly monumental. Sometimes, they are individual moments, like when Chuck Berry wrote his genre-defining “Maybelline,” John Lennon met his future collaborator Paul McCartney or Bob Dylan plugged in and launched a musical revolution.  Other times, the milestone involves a gathering such as Woodstock or the Harlem Cultural Festival, known informally as the Black Woodstock, which became the subject of the recent award-winning documentary Summer of Soul. Both of those events took place in 1969, a year that saw a flurry of festivals; that s...

Los Angeles singer Tom Waits has always viewed his favorite denizens of the night with a charming romanticism. But with Rain Dogs Waits’s derelict characters have taken on gritty, three-dimensional life. On "Cemetery Polka" a sad accordion and rude trombone flesh out his vivid portrait of a wildly eccentric family. And the tinkling, aimless piano in "Tango Till They’re Sore" is well suited to the rambling imagination of the song’s narrator. But Waits is most coherent when he sticks to shattered dreams and tin-can sounds of alleyways. On several songs he uses makeshift percussion instruments to create a kind of hobo’s orchestra. His gift for idioms has always been impressive, but now, with a ...