I for one think this is a bit more complex than--yeah, it's a classic without a single mediocre track--or—no, it's a complete disappointment. There are so many different ways to look at Gord's music--many levels that one can appreciate.
Some of the songs are lyrically simplistic but emotionally charged. Harmony is the best example. I hate to interpret someone's work, but I can't help but project my thoughts on to the song. To me, Lightfoot is searching for that elusive ability to create--musically, artistically--to birth a song. Where are you? Where have you gone? You're a part of my nature. When I see it this way, this song goes very deep. And as one who likes to write when the spirit comes, I can relate.
When listening to End of All Time, Sometimes I Wish and Clouds of Loneliness, one can almost see a man wondering the rooms of his house, looking for someone who is no longer home. It's quite haunting. Lightfoot has touched a depth of soul that has been largely missed in recent projects. He may go deeper here than in any of his previous work. I think this is why some listeners rank Harmony among his best work.
Inspiration Lady, for me, is a real gem. But again, it seems stronger on emotion than some descriptive portrayal of a place or time his earlier work would have drawn us to.
So what is lacking? Songs like Couchiching and No Hotel don’t come through with the depth of the others, and seem rather monotonous. I see these songs more akin to some on PPT. Musically and lyrically, things can be picked apart even on some of the better songs. But we have to keep in mind he co-produced this from a hospital room, with no opportunity to refine his basic tracks. Shellfish seems to aspire to something better. I especially like the lead-in instrument. But it never breaks or rests or finds a familiar hook or repeat. The lines all run together. The song fails to drive home a central theme, but rather wanders, looking for a place to land.
I think Lightfoot has made great strides since his previous album--even though PPT also has some real keepers. Overall, Harmony is much more sensitive and deep. Perhaps Lightfoot has begun to refocus on pouring more of himself into his music. He seems to have recovered an important piece of his "knack", his "harmony". But if the Lightfoot of the 70s was a man for all seasons, Harmony seems much more focused on deep personal experiences--more melancholy than anything he has done.
What might still be lurking in Lightfoot’s mansion is his renowned ability to tap those emotions with the artistry and craftsmanship it took to write If You Could Read My Mind. That song was also the result of a divorce. But going beyond deep emotion, Lightfoot poetically portrayed the drama, the interplay, and strangely--deep romance, even in the story of a break up. And having done that, he was able to change gears and write a song about growing up and facing the folks in a time of war (Sit Down Young Stranger), or any number of other themes found on that album.
True, he visits other themes in Harmony, but the melancholy stays dominant. Flying Blind may be a stab at the great outdoors, but the feel is tied up to the memory of his mother. The organ tones are a bit too eerie. No Mistake About It has a wonderful jazzy feel we haven’t heard in some time, but the lyrics are rather flat.
The fact that some are comparing Harmony to work from Lightfoot’s hay day is a good enough sign. Who can blame us for being enthused about a rejuvenated legend still working his craft? In Harmony, Lightfoot focused intently on recovering some personal depth to his music, which is a great stride forward. Having done this, let’s hope he will bring back more dimensions of his music on the next project. And if there is a next project, let’s hope he builds quickly on this momentum, and does it sooner than we’re accustomed.
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