SIT DOWN YOUNG STRANGER

Following the issue of his contractual obligation album, Sunday Concert (live recording at Massey Hall in 1969), Lightfoot was free to leave the United Artists label and sign a new deal elsewhere. Landing at Reprise Records, he now had Mo Ostin in his corner. No ivory tower executive, Ostin knew music and was a great champion of the artists that he brought on board with the company. Similarly, Lenny Waronker had a golden ear with a knack for finding and cultivating talent. With the dream team in place, sessions began in September of 1969 to commit new songs to tape. A few special guest contributors (John Sebastian, Ry Cooder, Randy Newman and Van Dyke Parks) showed up to lend a hand along the way.

Leading off with the sublime “Minstrel of the Dawn”, Sit Down Young Stranger (his sixth album) was another step forward for Lightfoot as a composer. One track in particular towers over all of the others in every respect. “If You Could Read My Mind” skillfully conveys images of a relationship in decline with clarity; the emotion projected in his voice pairing perfectly with the sweeping string arrangement. Supported by delicate acoustic guitars, this stunning creation manages to conjure up a plot in cinemascope all within the boundaries of four minutes. The strength of this tune prompted the record company to ask for a change of LP title not long after release. When he balked at the prospect, he was told what this would mean in terms of sales figures.

Approved!



It then flew out of record stores as fast as they could press them.

Storytelling figures prominently throughout the disc. John Prine took more than a few cues from “Sit Down Young Stranger” (the song) when he was pulling together his debut (think “Sam Stone”). Gord’s take on “Me and Bobby McGee” does not have the intensity of Janis Joplin’s cover, though he delivers an intimate version that more accurately captures the pathos in the narrative. Kris Kristofferson had to have been flattered. “The Pony Man” is a surprising flight of fancy that aims directly at the fertile imagination of a young child. Written for his own children, this tender tune closes out the proceedings on a gently positive note.

Best descriptor for this set? It’s a grower, revealing layers of subtle charm incrementally with each listen. The monster hit single helped break Lightfoot in a very big way. His writing had previously scored with musical peers who covered his material to great success. Now he was reaping the rewards of running up the chart on his own. The next steps would elevate him to even greater commercial and critical heights.