Did She Mention My Name – GORDON LIGHTFOOT****

Wherefore & Why/Last Time I Saw Her/Black Day In July/May I/Magnificent Outpouring/Does Your Mother Know/Mountains & Maryann/Pussywillows Cattails/I Want To Hear It From You/Something Very Special/ Boss Man/Did She Mention My Name

Did She Mention My Name was the third album from Canadian folk singer Gordon Lightfoot. It features his first use of orchestration. He would achieve his commercial breakthrough at the start of the new decade.

“Of Lightfoot's four United Artists studio albums, Did She Mention My Name is the most heavily orchestrated and ambitious. Many of the arrangements use horns and strings, and a bizarre effect or two is also employed here and there. These stylistic choices could have made for a disastrous result, but since the songs are very strong,the artsy production seems to enhance, not detract from, the listening experience.”

“Some of the songs, such as the excellent leadoff track Wherefore & Why, feature only small orchestral touches. The title track, which is an absolute favourite of mine, with its tasteful vocal harmonies and clever lyrics, is a very straight-ahead folk song. Probably my favourite of all of Lightfoot's United Artists songs, The Mountains & Maryann is a lyrically evocative song with some nice guitar work, accented with strings to great effect.”

“There are so many great songs on this album. The production can be a little jarring at first, but I think it adds to the charm of many of the songs.”

“Did She Mention My Name was the first Lightfoot album I purchased and I have been in love with his music ever since. His lyrics are poetry at its very best. Every song tells a story, every note touches an emotion and every line offers a glimpse deeper into the soul of a true artist.”

“This is probably Gordon Lightfoot's most experimental album, and as experimental albums tend to be, it's somewhat uneven. Most of the experimenting here, however,involves strings. Sometimes this works, as on Pussywillows Cattails. The strings and winds give an air of austerity to an otherwise so-so song."

“For his third album, he occasionally used low-key orchestration. Though a bit more erratic than his earlier efforts, his songwriting remained remarkably consistent. His characteristically bright, uplifting outlook became more diverse as well.”