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A round up of the best reviews from Canadian and American magazines and newspapers: “Perhaps the greatest gift of Lightfoot is that [it leads] you right back to [his] music. Feels like you never left, only better.” Maclean’s magazine “an informative, highly readable book...Lightfoot fans should rejoice.”   Globe & Mail “This portrait of a stoic, deeply talented and driven man is an engaging and moving one. An essential read for anyone who cares about late 20th century troubadours.”  Buffalo News “Jennings as always is a master storyteller . . . His deft manipulation of narrative, told in clear language, draws the reader in immediately . . . Jenning...

Dallas and Travis Good have worked with Neil Young, author Margaret Atwood, Randy Bachman, Buffy Sainte-Marie and actor Gordon Pinsent. But it was another Canadian icon—one with whom they’ve yet to collaborate—who offered some crucial wisdom. It was 1996, when their band the Sadies was getting started, and Dallas’ and Travis’ father, Bruce, of bluegrass heroes the Good Brothers, was celebrating his 50th birthday at Toronto’s Horseshoe Tavern. Into the club walks Gordon Lightfoot, who’d had the senior Goods open for him during the 1970s. “Afterwards,” Travis recalls, “Lightfoot turned to us and says, ‘The only advice I’ll give you is do your own songs.’ We took heed and started getting rid of...

By the mid-1960s, Gordon Lightfoot was spending more and more time drinking and hanging out with Ian Tyson and Ronnie Hawkins. Bar crawls on Yonge Street weren’t always possible, since the three would often be working. But Hawkins, who pretty much had the run of Le Coq d’Or, kept the place open and made sure the club’s go-go dancers stuck around so he and his buddies could trade songs and party with the girls long after closing. Lightfoot had even written a wistful lament about one of the dancers, “Go Go Round,” which became a hit record for him in early 1967 and was ultimately featured on his album The Way I Feel. Friendship with Hawkins led Lightfoot to write another song. It all stem...

I’m driving north up Toronto’s Bayview Avenue on a winter’s night in early January. I turn east on Post Road and into the Bridle Path neighbourhood, an ultra-posh enclave known as “Millionaire’s Row.” I slow down opposite Rapper Drake’s monster palace, complete with indoor basketball court, and turn toward the stately home that belongs to Gordon Lightfoot. Much had transpired since the publication of my book, Lightfoot. For one thing Lightfoot reached the milestone age of 80, celebrating with a benefit concert in his hometown of Orillia. For another, he was in the spotlight for a feature-length documentary that had him discussing his storied career and timeless back catalogue of songs, ...

It’s not surprising that Gordon Lightfoot’s latest album—the 20th of a long and illustrious career—is also his most reflective. After all, Lightfoot has looked death squarely in the eye, having fought his way back from an abdominal hemorrhage in September 2002 that very nearly killed him. Nothing like a brush with the Grim Reaper to put things in perspective. The songs gathered here revisit many of the themes familiar to fans of Lightfoot’s best work: travel, nature, loneliness and love in all of its many forms. The eerie “Flying Blind” places a northern pilot in peril as he tries to land amid oil rigs, ice caps and polar bears. The stirring “River of Light” conjures up bucolic visions of mi...