SUNDOWN

Stepping back from the commercial arena in 1973, that calendar year marked the first occurrence where Lightfoot had no new product on offer since he had begun his professional recording career in the sixties. The consistent grind of write/record/tour had put heavy demands on his time, left little opportunity for family concerns and saw his intake of alcohol increase exponentially ("Somewhere USA" sums it all up). An intensely private man, he soldiered on through his commitments. His marriage imploded and the relationship he had with then girlfriend Cathy Smith would inspire both tumult and new songs. The restless artist internalized these experiences and turned them into what can arguably be cited as his best work to date.

Sundown (the album) is a consolidation of all musical avenues that he had taken over the past few years, with a nod to prevailing trends in soft rock and jazz. He was clearly utilizing new colors on the palette to paint pictures in sound and a more muscular approach is evident in the rhythm section, with session veteran Jim Gordon on drums. Synthesizers make their first appearance on a GL disc, though they are tastefully deployed. The result is akin to capturing lightning in a bottle.

THE BIG ONES

The title track is one of the most recognizable in his impressive canon. Sporting a killer hook in the chorus, simple but tasty guitar licks punctuating the verses and vaguely menacing lyrics, it is work that few writers would hesitate to sign their name to. Though the author has made little public comment on the matter, the aforementioned affair with Smith and some legendary partying are deftly woven into the narrative.

She's been lookin' like a queen in a sailor's dream
And she don't always say what she really means
Sometimes I think it's a shame
When I get feelin' better when I'm feelin' no pain

No mindless bouncy pop sentiment is present in the refrain, which found this bit of shade subversively dominate the playlists of countless radio stations and inhabit the minds of millions of listeners. Brilliant from top to bottom, it gave him his first US number one single.

Sundown you better take care
If I find you been creepin' 'round my back stairs

"Carefree Highway" owes its existence to a stretch of road in Arizona that bears the name. Lightfoot instantly co-opted the title and it followed "Sundown" into the top ten when issued as a follow up single. All of the stylistic devices he had used in the past coalesce perfectly here from supporting acoustic leads to light orchestration and a big, harmonized chorus that lodges in the brain effortlessly. There is a world-weary feel that creeps in, with the metaphorical highway being the ideal escape route from problems on the homefront. None of this was evident to his listeners at the time.

SURPRISES

Absorbing contemporary sounds, "Seven Island Suite" takes the vocal harmony style of CSN into the arrangement, has a very pretty turnaround and breezes by even at its six minute running time. Very different also is the jazz inflected "Is There Anyone Home" which has a similar feel to the sonic approach that Joni Mitchell took on Court and Spark. Another stunner, it subtly makes comment on his domestic issues, without being too obvious. His gifts as a wordsmith never flag. I would nominate "High and Dry" as one of the most clever takes on relationship insecurities dressed up in a nautical theme. Listen closely to what is being set down and a lot more is revealed about his personal situation at that point. Pointedly, Smith sings backing vocals on this one. "Circle of Steel" is a fine composition saturated with references to the Christmas holidays. Small wonder that this gem doesn't feature with similar seasonal offerings when December rolls around. "Too Late For Prayin'" closes with understated majesty, without percussion and brings the poet/ballad singer persona out as a gentle reminder that this side of his musical personality had not been completely subverted.

Strength follows strength throughout this truly magnificent set, with nary a wasted note to be found. Deservedly attaining the number one position in the US album chart, Sundown is the commercial apotheosis in his discography. International fame and increasingly lucrative prospects followed.