eltic play in Toronto with hn McDermott, the Irish cendants and Mary Jane ond — and a whole

: I saw in the show you a couple of John Prine ngs. Do you know John

ine?

: John is an old friend of ine. I met John many, any times. I’m going to him on the 17" or 18" of ptember; he’s playing in ronto. I’m going to see m and we'll probably go

t that night. But he’s a

ar friend, and here’s a guy o's a wonderful song-

iter and artist. Songwrit- are the lifeblood of the ole music business, and hn Prine has had a won- rful career. It was an nour to get to meet him the early ‘70’s on stages at e Mariposa Folk Festival at nter Island in Toronto.

u know, sitting on stage ith Prine and Stevie oodman and Bruce ockburn and Gordon ghtfoot and those people, u meet everybody.

: Just to finish off, could

u tell me about your first » ar’?

: My first cartar, yes. ell, my first cartar was ught at Hughie John acIntyre’s store in Port astings for 14 dollars and cents, and my father

brought it back and he said “well John Allan, if you don’t learn her I’m going to sell her.” And, as I say, I learned her! I learned to play that and I’m passionate. One of my favorite quotes is that “man is not only a ravished recipient of cosmic disclosures, but is also a passionate pilgrim of the universe.” I think it’s ex- ceedingly important for a person to have a passion for what they do, and my pas- sion is for Celtic music, and there’s no end in sight for me. I mean, I will go until I can’t do it anymore. But I have a lot of energy and I get an adrenaline rush every time, I just did this theater three weeks ago, and it’s amazing, and it means that you've reached the people, the ordinary people. I’ve survived with virtually no air play nationally, that’s alright. The people see you as a positive human being who love what you do.

RO: Do you know why your father called it a cartar? Was it Gaelic?

JC: No, no, he couldn’t pronounce it. He never heard guitar before! G-U-I- T-A-R, guitar, some people say “gitar,” my father couldn’t say it, he was a Gaelic speaking person, he said “cartar.” [laughs] I have a friend of mine, Tony MacManus, he’s a great guitarist from Scotland. He’s going through Scotland

~ now and at his concerts he’s

talking about “cartar” to the audiences. And incidentally,

there’s a lot of pub bands over in Scotland who are playing “Getting Dark Again” and all those songs from “Glencoe Station,” which is nice.

Review, etc.

John Allan Cameron

Glencoe Station

His tenth release, this CD (B) is jam-packed with Cape Breton’s top musicians — all playing backup for “the Godfather.” From John Allan telling the story of “Saban The Woodfitter,” to the catchy sounds of “Get- ting Dark Again,” “Island- ers,” and “Evangeline,” this album is one of the best East Coast albums around. Also included is “The Parlour Session,” a Celtic guitar piece, and “The Kitchen Session,” a fiddle duet with John Allan and Ashley Maclsaac. You can’t go

wrong with this CD.

O’Connor

Glenn Yarbrough

Time To Move On Folk Era/Brass Dolphin

A recent reissue, this is Yarborough’s first solo release after leaving “The Limeliters.” Originally released in 1963, the CD (B-) features a blend of his smooth tenor voice and soft musical arrangements. Included are renditions of “Four Strong Winds,” “San Francisco Bay Blues,” and “The Honey Wind Blows.” Carefully remastered, this CD sounds great and has a timeless feel.

O’Connor

SPAN B CULL

Pavement

Terror Twilight Matador Records

A sometimes inaccesible song writer, a moody, chronic pouter, lead singer and a fragile genius, Steve Malkmus (S.M.) is all of these. His band, Pavement, has made yet another jangly

classic. It shares its best

moments with Willie Nel- son’s early records, and Television’s Marquee Moon. The writing, as per usual, is the most striking aspect of Terror Twilight.

( “I hear they live in creamatoriums / and smoke your remains.”) The band has never received the en masse kind of exposure that others of their time have, and this has allowed them to make music on the margins of popularity, play for a select audience, if you will. Here’s hoping that the band’s successes remain within the group that truly appreciates them. It takes a certain kind of ear to hear why they, like Rage Against the Machine, will be of the few bands noteworthy in

twenty years time. (A+)

Bruyneel