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27 of 28 people found the following review helpful:
5.0 out of 5 stars
Lightfoot Stays Dignified After the Hits Had Gone, December 9, 2003
"Shadows" is among Gordon Lightfoot's best three albums. It's also one of his best efforts after the hits stopped coming: released in 1982, it was only a minor success, peaking only at #87. But it's the music that makes the album, not the chart numbers, and Lightfoot paints one of his most interesting portraits.
There are many strong hints and references to lost loves and oppurtunities, with more pastoral glimpses of a genuine range of emotions all throughout the album; Lightfoot starts off "Shadows" in classic form, with the bittersweet '14 Karat Gold,' followed by an excellent vocal performance that echoes desperation and hope on 'In My Fashion.' Another one of Lightfoot's most exceptional stands at the microphone is 'Baby Step Back' (the album's only "hit," making it to #50). This song features the singer-songwriter pioneer at his most snide and sneering. Songs like the fine title track and the interesting 'Triangle' strongly reflect his earlier works, while the likes of the strong 'Blackberry Wine' and 'I'll Do Anything' seem to be in opposite camps. Also a highlight is an overlooked masterpiece, 'Heaven Help the Devil,' one of Lightfoot's greatest songs.
The terms "underrated" and "underappreciated" are shamelessly thrown around a lot, but it's nonetheless a mystery why "Shadows" isn't more widely regarded as one of Gordon Lightfoot's most mature and dignified accomplishments. The title says it all; "Shadows" is an honest whisper, and a mature, dignified accomplishment.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
Classic Contemporary Lightfoot!, February 21, 2006
By the time "Shadows" was released in the early 1980s, Gordon Lightfoot had been written off by most critics as a songwriter who was long past his prime. Nonetheless, Lightfoot still had a sizeable cult-like fanbase, and he didn't let them down with this offering.
This album, more than any album before it, sees Gordon Lightfoot playing more adult-contemporary ("soft rock," as it is sometimes called) rather than his trademark acoustic folk. His melodic guitar is backed by a band that chimes in with subtle, soothing keyboards, light drums, and even an occasional slide guitar. Because of this, "Shadows" is not as bare-bones as some of Lightfoot's earlier albums, but the full instrumentation gives the tunes a welcomed feeling of being thick and layered. Songs like "Baby Step Back" and "Blackberry Wine" settle into nice rock-n-roll grooves and are accented by non-offensive electric guitars. And yet, other tunes like the nautical "Triangle" and the forgotten Lightfoot classic, "Heaven Help the Devil" are wisely kept as mainly acoustic numbers. Even the opener, "14 Karat Gold," is wonderful in the way it slips in and out of an acoustic verse and a more grooving, almost funk-influenced chorus (thanks to one heck of a driving bass line).
In terms of the album as a whole, "Shadows" is dominated by two themes -- lost love, and songs of the sea. Lightfoot was going through a divorce at the time of this album's release, and songwriting seems to have been a type of therapy. All emotions are presented in regards to love - happiness, nostalgia, anger, confusion. Moreover, Lightfoot seems to view the ocean as an escape from all his romance troubles, as imagery of boats, sailing, and water dominate nearly half of the tunes.
Bottom Line: This album is easily the best of Lightfoot's later years, and perhaps the most accesible non-greatest hits album in his catalog. At a running time of almost 40 minutes, it's just the right dose of folk-influenced rock from the man who does it best.
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Simply the best, September 15, 2002
By A Customer
If you've ever liked a Gordon Lightfoot song or have one or more of his albums and enjoy it, then you will not be taking a gamble if you pick up SHADOWS. In an illustrious career filled with memorable songs and exceptional albums, this, to me, is his finest moment. And when you take into account the fabulous material on his other albums, that's saying something. The songs are impeccably performed, sung, produced, and most of all, written. I've played this over and over and over since it was released in the eighties and it's as fresh and rewarding today as it was back then. How this album didn't become a hit is hard to explain, but if Lightfoot had released it a few years earlier when he was getting more airplay, this would probably be more widely recognized as the classic album it is. If you've never heard it, you're in for a very special treat.
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