Album Review, “Sundown” by Gordon Lightfoot

Album Review, “Sundown” by Gordon Lightfoot

Lightfoot is a folkloric tentmaker.  Expressions reveal lots to be concerned about- troubled islands, shaken lands, oceans wild and blue.  The songs are listed on the countryside of life and numbers on “Sundown” indicate freshness through the exhibited music.  Of course, numbers on any album could become technical through some kind of impersonal acquaintance with the viewers, who may lay on their sides and bring something out of the yolk for taste and sincerity.  Love appears to be in a mist stretching beyond the eons of time as history in the making, for privilege of course.  The title song track visualizes itself on royalty from what’s sin to false sense of wealth on her lover’s part- North America is a tent, which is filled of houses of prayer or secretive devotions that let us absorb our feelings in a good deal of relief over the incoming breeze of elapsed changes.  North America is filled with tents, right?  As such, every guy’s house becomes an object for passion along the lines of real estate to believe miracles in, as “Too Late for Prayin’” informs us of forgotten causes in addition to related wounds of spirits all over.  So it’s evident from my judgement here that “Sundown” is quite religious in the aspect of forced circumstances upon us realized with wake-up calls, alarms not far off into eternity in which years may close one’s mind to wanderlust and times of struggle, as “Carefree Highway” more than justifies because of the incidental challenges over rhyme; that is, how words apart from each other can seem closer due to resounding thuds of speech, implicated in the sheer notion of glory among languages for which tribalism leaves singers and poets holding enough passion for displayed vibes.  Folk music often dominates by trying not to dominate at all.  Mystery around us causes despair and anxiety, like what’s created and shown in a song like “Seven Island Suite”, when “any woman or a man with a wish to fade away could be so blessed”, like a holiday taken in danger of morality or vision tampered by dark experiments.  Certainly tracks such as “Somewhere U.S.A.” expands our horizons to the point of less immediate understanding since mystery before us allows for kindness to melt in fashion for glory along the ways towards paths, sliced leaves, tidbits of nature in front of us, as understood from the stairs a lover in “Sundown” becomes light of for passed-off scrutiny.  How can our sense of feeling and acceptance for reviews on Lightfoot’s works come to fruition while there’s so much negativity, doubt, and cloudless behaviors within humanity’s borders of conduct?  Fate, like glory of care or simple math problems, usually gives off an aurora under our gaze as far as mortality sinks beneath the ruins of poverty and military endeavor, as “Circle of Steel” should withhold the judgement it deserves to have on poverty-born childhood, a mother weeping on healing hands across the board into vengeful sadness, God (or a creator) linking past with future until the present moments appear distraught with flesh given to forbidden bloods of compromise, beggars and rats acting as if their natural habitats are deserved for scurrying and hurrying of fruitless vanities.  This review doesn’t contain everything known for the album by Lightfoot fans; however, at least I’m opening some tents under the bigger tent of North America, Canada and U.S.A. and other places explored on universality included. 

http://www.songfacts.com/detail.php?id=3833