But Gord — stolid, fame-averse Gord — just kinda kept on truckin’ with guitar and voice and a handful of chords he never tired of combining in arresting, uncanny ways. Along the way he became one of the most prolific pure hitmakers on earth. If you are a Canadian in the neighbourhood of 50 years old, Gordon Lightfoot was part of the furniture you grew up amongst. As far as the radio was concerned, there was no possibility of refuge from Gord.
He took the simplicity and universality of folk music absolutely as far as it could go commercially, subsiding gradually into a curious but comfortable obscurity. He was probably pretty wealthy from “Ribbon of Darkness” onward, but having disastrous relationships with women, hitting the bottle and oozing picturesque, gentle songs from the resulting wounds was his way of being, not some conscious scheme for success.
He adhered to Canada, of course, in a way that never invited questions or attention — and we all recognize him as being among the most Canadian of singer-songwriters even if we prefer the unpredictable Young or the boulevardier Cohen. He’s the only person on our folk Rushmore who didn’t quit the country, the only one who had a relatively uncomplicated and concrete attachment to it.
in 2010. I find unexpectedly that I will miss that periodic reassurance: no more will I be reminded that the world, and my country, still includes such an elemental, fertile, naturally gifted creator.
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