Growing up in the 1970s, Gordon Lightfoot was often perceived as a maker of a couple of catchy tunes. “Sundown,” with its infectious rhythm and enigmatic lyrics, and “The Wreck of the Edmund Fitzgerald,” a dramatic maritime ballad unlike anything else on rock radio, were staples. For many, including myself, these Gordon Lightfoot Songs were the extent of his catalog. It’s easy to categorize artists based on their most prominent hits, and for a long time, Lightfoot remained simply “the Edmund Fitzgerald guy.” Even as my musical tastes broadened in college, delving into the works of Neil Young, Bob Dylan, and James Taylor, Gordon Lightfoot’s deeper artistry remained unexplored.
However, reflecting on Gordon Lightfoot’s recent passing at 84, it brings immense gratitude for the eventual realization of his true mastery and lasting legacy. This appreciation didn’t come through mainstream channels, but unexpectedly through bluegrass music, specifically through the guitar virtuoso Tony Rice. Discovering Tony Rice during college was a revelation. His guitar playing and singing were instantly captivating. It turns out Rice held a similar reverence for Lightfoot. Listening to Rice’s albums, certain songs stood out with their poetic depth and emotional resonance. Liner notes, those relics of physical albums, consistently pointed to Gordon Lightfoot, the very same “Edmund Fitzgerald guy,” as the songwriter behind tracks like “I’m Not Sayin’” and “Cold On The Shoulder.”
“Once I found out that Lightfoot’s tunes were very adaptable to a bluegrass or string band genre, then I was off and running,” Tony Rice explained in the liner notes of the 1996 compilation album Tony Rice Sings Gordon Lightfoot. “There’s a wealth of material Lightfoot has out there that’s highly poetic.” Rice recognized the inherent musicality and lyrical strength in Gordon Lightfoot songs that transcended genre. His rich baritone voice became a perfect instrument for interpreting Lightfoot’s narratives. Over time, Rice recorded an impressive seventeen Gordon Lightfoot songs. Many argue that among the countless artists who have covered Lightfoot’s work, Tony Rice stands as his most profound and consistent interpreter. Indeed, for many, including myself, Rice’s versions often become definitive, showcasing a unique blend of respect for the original material and innovative arrangement. Frequently more relaxed and timeless than Lightfoot’s own recordings, these covers achieve a remarkable fusion of songcraft and emotion.
To guide you into this rich territory, a Spotify playlist featuring eight exceptional tracks from Tony Rice Sings Gordon Lightfoot has been curated, arranged in a personally meaningful sequence. However, to truly grasp the depth of this musical conversation, the entire album is highly recommended. Hopefully, these selected songs will serve as a gateway, leading you, as they did me, to a deeper understanding and appreciation of this Canadian musical icon and his incredible catalog of Gordon Lightfoot songs.
“I’m Not Sayin'”: This track was the initial point of connection between Tony Rice and Gordon Lightfoot for many listeners. It was discovered on the seminal acoustic guitar album Blake & Rice from 1987, a collaboration with legendary guitarist Norman Blake. Amidst traditional tunes and Blake originals, Lightfoot’s song about steadfast independence fits seamlessly into the bluegrass landscape. The original Gordon Lightfoot version, found on his 1966 debut album Lightfoot!, features richer chord voicings and 12-string guitar. Lightfoot! also contains early career hits like “Ribbon Of Darkness” and “Early Morning Rain,” showcasing the breadth of Gordon Lightfoot songs from the outset of his career.
“Ten Degrees (Getting Colder)”: This song marks a significant milestone as Tony Rice’s first recorded Lightfoot cover. It appeared on the self-titled album by J.D. Crowe and the New South, a landmark recording known to bluegrass aficionados as Rounder 0044. At just 24 years old, Rice was already a vocal and instrumental force, lending his burgeoning talent to Lightfoot’s poignant narrative of a freezing, hitchhiking musician. Interestingly, this song about winter’s chill originates from Gordon Lightfoot’s 1971 album Summer Side of Life, recorded in the warmer climate of Woodland Studios in East Nashville. Rice also included another Lightfoot song, “You Are What I Am,” on this same classic album, further cementing the connection between bluegrass and Gordon Lightfoot songs.
“Go My Way”: A lesser-known gem from Summer Side of Life, “Go My Way” transforms into a delightful example of Rice’s folk-jazz fusion. Driven by Mark Schatz’s bass and Wyatt Rice’s rhythm guitar, Tony’s vocal delivery on this courtship song is both graceful and alluring. His guitar solo injects vibrant energy, revealing the song’s hidden potential. Tony Rice’s interpretation illuminated “Go My Way” for the bluegrass world, inspiring subsequent covers by other bluegrass-oriented bands who recognized the song’s newfound possibilities through Rice’s arrangement.
“Early Morning Rain”: This is one of the Gordon Lightfoot songs that propelled him to widespread recognition. “Early Morning Rain” became a signature tune, covered by a diverse array of artists even before Tony Rice approached it for his 1986 album Me And My Guitar. Versions by Ian & Sylvia, Judy Collins, Elvis Presley, and Bob Dylan already existed, highlighting the song’s universal appeal. Rice’s rendition, while not a radical departure, is imbued with a touching vulnerability and played with meticulous precision. This precision is reminiscent of Rice’s well-known hobby of watch repair, reflecting his attention to detail in both crafts.
“Shadows”: “Shadows” exemplifies Tony Rice’s deep appreciation and keen ear for uncovering overlooked gems within Gordon Lightfoot’s catalog. The title track from Lightfoot’s 1982 album, “Shadows” itself isn’t considered among his strongest works. The original arrangement features a somewhat dated synthesizer motif and a less fluid vocal performance. Rice, seemingly among the first to recognize its potential, reimagines “Shadows” with a warm, acoustic arrangement, pouring emotion into the song. Inspired by Rice’s version, Alison Krauss later recorded her own beautiful interpretation, featuring Tony Rice on guitar, further solidifying the song’s resurgence thanks to Rice’s insight.
“The Wreck of the Edmund Fitzgerald”: Already recognized as a storytelling masterpiece, “The Wreck of the Edmund Fitzgerald,” inspired by a Newsweek account of the tragic maritime disaster, was perfectly suited for Tony Rice’s solo album Church Street Blues in 1983. Stripped down to its essence, the narrative power of Gordon Lightfoot’s lyrics shines even brighter in Rice’s solo acoustic performance. The poignant line about the old cook saying, “Fellas, it’s been good to know ya,” remains chilling and impactful, particularly in Rice’s understated delivery.
“Cold On The Shoulder”: “Cold On The Shoulder” holds the unique distinction of being an album title for both Gordon Lightfoot (1975) and Tony Rice (1984). Rice’s version injects a lively bluegrass energy, enhanced by Sam Bush’s mandolin. Rice’s distinctive guitar intro is often studied by aspiring guitarists as a prime example of his concise and impactful musicianship. The song’s recurring themes of needing time, trust, and faith in the face of life’s challenges resonate deeply, especially when underscored by the subtle urgency of Rice’s bluegrass arrangement.
“Song For A Winter’s Night”: This Gordon Lightfoot song has achieved broad popularity, especially among Canadian artists like Sarah McLachlan and Blue Rodeo, who have offered their own interpretations. Written during a summer thunderstorm in Cleveland, it appeared on Lightfoot’s second album, The Way I Feel, in 1967. “Song For A Winter’s Night” is a delicate ballad of romance and longing, evoking the quiet beauty of a snowfall. Tony Rice’s version from Me And My Guitar captures the song’s timeless loveliness, adding another layer of depth and emotion to this already classic Gordon Lightfoot song.
Through Tony Rice’s interpretations, the richness and depth of Gordon Lightfoot songs are illuminated anew, extending far beyond his initial “two-hit wonder” perception. Exploring these covers offers a profound entry point into the vast and rewarding catalog of one of music’s most gifted songwriters.
