and "Lord of the Starfields" display the laid-back acoustic feel and joie de vivre motif that has typified Cockburn's work in the past, there is ample evidence of a new musical maturity. Delicate African tribal rhythms underlay several songs, especially "Giftbearer." A strong, surprising jazz feel crops up in "Silver Wheels." And if there are any doubts about Cockburn's virtuosity on guitar, "Water into Wine," on which he compares favorably to Leo Kottke and John Fahey, should dispel them.

But like the other singer/songwriters mentioned here, Cockburn is an acquired taste. He is a sensitive and gifted musician whose prime concerns are nature and man's abuse of it. At this point in his career his music blends jazz rhythms with the kind of folk music popularized by Gordon Lightfoot, and apt comparisons can be made with anyone from Nick Drake to Neil Young to Tim Buckley. His popularity among Canadians has grown with each album. It is not unreasonable to suggest that, given proper exposure, the same thing might happen in the U.S. (RS 240)

ALAN NIESTER