OLD-WAYS MAILING LIST:  Frequently Asked Questions

September 1995

Prepared by:  Linda Slater
(Comments, criticisms, amendments, suggestions for additions,
etc. can be sent to me at :  linda.slater@ualberta.ca )

This FAQ has been created to answer questions about Loreena
McKennitt, the subject of The Old-Ways Mailing List (created
and maintained by Christian Walters).   

From Aug 31 through approximately Sept 10th, the Old-Ways Mailing 
List will be "on hiatus" while it is being relocated.  Anyone 
presently on the list will automatically be moved over to the new 
location.  New subscribers will have to subscribe when the list 
resurfaces.  If anyone would like to be informed as to when this 
happens, and how to subscribe once it does happen, email me and I 
will contact you when the List is up again.

This FAQ may be accessed via following sites:

1.    The Loreena Homepage at 


The above site will be changing addresses very soon.  (If it doesn't 
work now;  try again soon, but use the old URL in the meantime.)  The 
new address will be:


The Loreena Homepage is maintained by Aaron McMahon
(drcool@halcyon.com).  Pictures and soundbites are available,

2.    Via the Ceolas archives (maintained by Gerard Manning)
at the following addresses:


Anonymous FTP:

The FAQ and various pictures (of Loreena, and related pictures)
are available at the following location (administered by Dave
Liebson, dliebson@mit.edu):

WWW:  http://moocow.mit.edu/

Anonymous FTP:  ftp://moocow.mit.edu/

Questions in the FAQ have been derived from messages sent to
The Old-Ways List, as well as from other sources (e.g. Usenet
groups, particularly alt.music.lor-mckennitt and alt.music.enya). 
Questions have also been manufactured in order to present
information that all those who enjoy Loreena McKennitt's music
_should_ know (specifically the spelling questions), whether or
not anybody has actually asked for the information.  [Yes, this is
rather fascistic, but every once and awhile an authoritarian
tendency emerges in me that I cannot suppress! LGS]

On to the Questions!

Contents of this FAQ:

1.	Spelling/Wording:
	A.  What is the correct spelling of Loreena's name?
        B.  How do you spell The Lady of Shalott?
	C.  What is the exact name of Loreena's fifth album
2.	Is there a Usenet group devoted to Loreena?
3.	Is Loreena McKennitt Irish and is she related to Enya?
4.      What is the date of Loreena's birthday?
5. 	What kind of harp does Loreena play?
6.	Who is Loreena?
7.      Is Loreena married and other "dirt"?
8.	Hey, what about those Pagan tendencies (or, is Loreena
	McKennitt a Pagan?)
9.	Discography
10.     Does Quinlan Road have an email address?
11.     Has Loreena made any videos?
12.	TV Programs and Movies which have feature Loreena's  
13.	Where can I get NFB Films
14.     Has sheet music been published for Loreena's songs?
15.     Is Loreena touring or performing anywhere?
16.     Who are the musicians Loreena has worked with on her    
        albums and on tours?
17.	List of Sources (To prove that I'm not making any of this 
18.	What Other Artists Do Old Ways List Members Listen To?


A.	How do you spell Loreena McKennitt's name correctly?

Exactly as above.   Two e's;  two t's.  _Not_ Lorena.  (There is
a famous person with this first name, and we definitely don't
want to get Loreena mixed up with her!)  And _not_ McKennit. 

It is understandable that people on Usenet groups or people new
to the old-ways mailing list may spell Loreena's name wrong  --
they may have only heard her name on the radio and not seen it
in print, so please don't hold it against anybody if they spelled
Loreena's name wrong at some point in time.

B.	How do you spell Shalott, as in The Lady of Shalott?

Again, as above, two t's.  This word gets mis-spelled in the
media even more often than McKennitt.  In fact, it is even
spelled wrong in the liner notes of the 1991 release of The Visit
on the next to last page of the liner booklet.  The 1992 release
does not contain the sentence with the spelling error in it,

[Because I am spending so much time quibbling about spelling, it
may seem that in addition to being slightly fascistic, I might also
be slightly anal-retentive.  This is not true!  REALLY, it's
NOT!!!  L.S.]

C.	What is the exact name of Loreena's fifth album?

	Loreena's fifth album is called:  the mask and mirror.  It
is often referred to as The Mask and _the_ Mirror, but there is no
second "the" in the title.  I also notice that in Quinlan Road
promotional material the title is spelled entirely in lower case.

2.	Is there a Usenet Group devoted to Loreena.

Yes, there is, and it is called alt.music.lor-mckennitt.  It is not
available on all newsreaders because it was not created via the
formal channel of consulting the powers-that-be in alt.config. 
Loreena also gets  discussed in rec.music.celtic and occasionally 
on alt.music.enya.

3.	Is Loreena McKennitt Irish?

No.  Loreena was born in Morden, Manitoba, Canada and has
lived in Stratford, Ontario since 1981.  Her family has been in
Canada for at least a couple of generations although the origins of
her family on both sides are Irish.    Loreena has spent quite a bit
of time in Ireland, however, and now owns a cottage in County

Loreena is not related to Enya, contrary to rumours that Loreena
is either her sister or cousin.  (Enya _is_ however sister to the
members of Clannad and, consequently Maire Brennan.) 

4.         What is Loreena's birth data?

Loreena was born on February 17th, 1957 at 7:00 pm.  

5.	What kind of harp does Loreena play?

The harp that Loreena used in performance and for recording through 1994 
is a Lyon and Healy Troubador harp. She recently acquired a new harp 
which is a newer version of her old Lyon and Healy Troubador. 

6.	Who is Loreena?

	Who is Loreena?  What is she,
	   That all our swains commend her?
	Holy, fair, and wise is she;
	   The heavens such grace did lend her,
	That she might admi-red be.

	Is she kind as she is fair?
	   For beauty lives with kindness.
	Love doth to her eyes repair,
	   To help him of his blindness,
	And being helped, inhabits there.

	Then to Loreena let us sing,
	   That Loreena is excelling.
	She excels each mortal thing
	   Upon the dull earth dwelling.
	To her let us garlands bring.

	(William Shakespeare, The Two Gentlemen of Verona,
	  Act IV, scene ii, 39-53.)

Early years (60's-70's):

Loreena's earliest musical activities centred around piano lessons
and singing lessons in her hometown of Morden, Manitoba where
she also sang in the town children's choir and played the organ in
the  local United Church.  After she moved to Winnipeg to attend
Grade 12 she became involved in the Winnipeg folk scene and
was exposed to the celtic music tradition through recordings of
such groups as Planxty, Steeleye Span, and Alan Stivell (who
sparked her interest in the harp).   Soon Loreena became known
locally as a folk performer and performed at local folk venues
including the Winnipeg Folk Festival.  

During this same period (late seventies), Loreena was also
involved in other less "folky" musical ventures including:   
localmusical theatre (children's theatre;  productions of "mini"
Broadway musicals at a Winnipeg dinner theatre called "The
Hollow Mug";  and a Winnipeg production of My Fair Lady); 
singing in lounges;  and appearing in at least one television
commercial (a spot for the Manitoba Liquor Commission in
which she sang the immortal words "I don't drink gin and
tonic....").  Her musical education at this time included
attendance at the Manitoba School for Theatre and Allied Arts. 
At one point, Loreena started university in an agriculture
program with the intention of eventually becoming a veterinarian,
but called a halt to her studies in order to pursue the musical
opportunities that began to present themselves at this time.  

In 1977/78,  Loreena competed in the first du Maurier Search
For Talent competition.  1,500 performers from across Canada
were auditioned for the competition, and the field was narrowed
down to 15.  These fifteen semi-finalists received a prize of
$2,000  each and were featured on a series of specials on CBC in
which each was given the opportunity to showcase their talent. 
>From these 15, five winners were chosen by votes cast by
television viewers, as well as a panel of judges representing the
Arts community.  Loreena's showcase was a scene from My Fair
Lady that obviously impressed both the viewers and the judges
and resulted in her being selected as one of six finalists (it was
only supposed to be five, but the calibre of the competition was
such that the competition organizers allowed a sixth finalist to be
chosen).  The six finalists each received $5,000 and the chance to
work on future CBC productions.

An interesting side note from this time period:  until she was able
to support herself entirely through her music, Loreena
supplemented her income by working in the office of her father's
livestock business which often involved "hands-on product
management", i.e. helping out with rounding up cattle.  [Think
about that next time you find yourself getting too caught up in
Loreena's ethereal, ever-so-feminine on-stage image!]
Middle years (1981-1990):

The next period of Loreena's career began when she moved to
Stratford, Ontario in 1981, where she found work with the
Stratford Shakespeare Festival as both a performer and a
composer.  She played the role of Ceres in the 1982 production
of The Tempest;  composed the music for the 1983 production of
Blake (a theatrical look at the life and work of poet William
Blake); and composed the music for, and performed in, the 1984
production of Two Gentlement of Verona.  Her skills as a
composer were honed by a brief stint in 1985 at the Royal
Shakespeare Company in Stratford-on-Avon, England where she
studied with then composer-in-residence, Guy Wolfendon. 

During this period, Loreena was also involved in several non-
Stratford-Festival-related projects.  These included:  writing the
score for the Canadian feature films Bayo (1985) and Heaven on
Earth (1986;  Loreena also had a bit part in this film as one half
of a kind-hearted couple who get duped into helping out an
orphan at a train station);  being musical director of and
performer in a production called Lilly at the Blyth, Ontario
Summer Festival (1986);  working as composer and performer in
a 1988 production of St. Stephen's Green at the Abbey Theatre in
Dublin;  and being musical director of and performer in the
Toronto Young People's Theatre production of Kidnapped in

Loreena was also involved in a number of productions of the
National Film Board of Canada.  These include:  To A Safer
Place (1987);  Mother Earth (1991);  and a trilogy of films
produced by Studio D (the NFB's women's studio) on women's
spirituality that includes:  The Goddess Remembered (1989), The
Burning Times (1990) and  Full Circle (1992).

Between productions such as the above, Loreena began her career
as a recording artist and performer.  In 1985 she produced her
first album, Elemental, under her own label Quinlan Road.  She
credits a book called How To Make Your Own Recording by
Diane Rappaport with the advice needed to "do-it-herself".  
Once produced, she marketed the album by mail-order out of her
home, at concerts, while busking in places such as Toronto's St.
Lawrence Market, and by dropping off copies to be sold at places
patronized by the kind of people who might like her music --
record stores, book stores, cafes, and such like.   Keeping a
mailing list of people who were interested in her music allowed
Loreena to keep her audience in touch with her activities without
having to resort to more formal and more expensive means of

Much of Loreena's following at this time was developed by word
of mouth, and this worked so well for her that she was able to
sell 30,000 copies of Elemental.  The success of Elemental
allowed her to finance her next two albums, To Drive The Cold
Winter Away (1987) and Parallel Dreams (1989), both self-
produced.  Parallel Dreams went gold in Canada which meant
that sales exceeded 50,000 copies.

With this kind of success, the Canadian media began to notice
Loreena, and she began being featured in newspaper articles and
on radio and television.  Probably one of the best pieces of
exposure Loreena got was being featured on Adrienne Clarkson's
Summer Festival (CBC, 1988) in a half-hour spot called
"Breaking the Silence" in which she was seen in performance as
well as being interviewed.

By the end of the eighties, Loreena was able to tour Canada and
perform to sold-out audiences. She began touring outside of
Canada, as well.

Recent years (1991 -- ):

The next big step forward for Loreena was the Canadian release
of The Visit  in the fall of 1991.  The Visit saw Loreena venture
away from the musical traditions of the British Isles slightly to
include overtones of east Indian and middle eastern musical
traditions in her work.  Continued word of mouth bolstered by
increased radio play, more exposure by the media and a
distribution deal with Warner Music resulted in The Visit
eventually going  double-platinum in Canada with sales of over
400,000 and reaching sales of over 700,000 world-wide.  The
Visit would win the 1992 Juno Award (Canadian equivalent of
the Grammies) for the Best Roots and Traditional Album. 
Loreena toured heavily in support of The Visit and performed to
sold out audiences across North America and Europe.

Prior to The Visit, Loreena distributed her recordings herself
through her private label, Quinlan Road. But the increasing
demand for her albums reached a point where Loreena saw the
benefits of establishing an arrangement with a record company to
facilitate wider distribution of her albums than she was capable of
herself.   This resulted in her present association with Warner
Music which began with the release of The Visit.  Warner Music
now distributes all of Loreena's albums, although she continues
to make them available by mail order through her own label,
Quinlan Road.   Much has been made of the "great" deal Loreena
was able to negotiate on the strength of her past success in
producing and marketing her earlier albums.  Her refusal to
accept anything less than an equitable deal has resulted in a
situation where she has been able to maintain more control over
her career than most artists, and she has been able to keep more
of the money from her album sales in her own pocket, thus
allowing her to be able to afford to do things her own way.  
Loreena continues to be her own manager and to be heavily
involved in more than just the artistic aspects of her career.

The release of "the mask and mirror" in 1994 is Loreena's most
recent accomplishment.   The album made an immediate impact in Canada, 
debuting at #7 in the charts, and has received a lot of recognition in 
the U.S., Europe and elsewhere.  At the 1995 Juno Awards, "the mask and 
mirror" was awarded the Juno for Best Roots and Traditional Album.

On "the mask and mirror", Loreena took the exploration she
began on The Visit several steps further and incorporated
Spanish, middle eastern, and north African musical influences
into her compositions.   It is obvious  -- from what Loreena states
in the liner notes, from what she has said in recent interviews,
and most importantly, from the songs themselves -- that
spirituality and the search for religious meaning are the major
themes explored on this album.  

A tour of Europe that included Spain, Sweden, Norway,
Germany, England, Ireland, Italy, France and Belgium and North
America was launched upon the release of "the mask and mirror"
followed by a month's (May, 1994) worth of North American
dates.  A more extensive tour of North America took place
Oct-Dec of 1994.  Loreena performed in the UK and other parts
of Europe in Jan/Feb/March 95 and performed in Australia and
New Zealand in the latter part of March.  

Loreena has not been very specific about what her next
endeavours will be except to state that she hopes the next album
will be ready some time in the spring of 1996.  She said in a
recent article that she has been pursuing an interest in Italian and
Greek culture, as well as reading the works of Dante.  Whether
or not these interests will be reflected in her next album remains
to be seen (or more specifically "heard"). 

7.	Is Loreena married and other "dirt"?

[Raise your hand everybody who zipped to this part of the FAQ
first!  Now that you're here, sorry to disappoint you.  There is no

Loreena is not married and does not have any children.  She does
however have two dogs, Julius and Maeve, as well as a couple of
cats, Isis and Minnaloushe.

As for whether Loreena is involved with anyone human at this
particular moment....  do you really expect moi to know that?!? :-)  
But for those of you curious to know whether Loreena has ever had a
romantic relationship -- she's had at least two boyfriends in her 
life.  In a 1994 Saturday Night article (see List of Sources below), 
it was stated that Loreena moved from Winnipeg to Ontario with a 
boyfriend, and that she'd had a relationship with actor Cedric Smith 
(who sang on Loreena's first two albums and who presently appears in 
the TV program Road to Avonlea) which ended around the time "Elemental" 
was finished.  

More recently, in a 1995 Chatelaine article, one of Loreena's responses 
to questions about her personal life was that she's "not prepared to
sacrifice my being engaged in the world for just any relationship."   
[I _like_ that statement! I think  anybody out there who gets hounded 
about why they are not married or heavily involved with one particular 
person should adopt it as their own.  Hopefully, Loreena won't mind if 
you "steal" her words in this case. :-)] 

Other than the above, I haven't seen or heard anything else
discussed in the media on the topic of Loreena's love life.  So,
either there's nothing to discuss, or else she's one of those people
who prefer to keep their private life private.  

8.	Hey, what about those Pagan tendencies (or, is Loreena
McKennitt a Pagan)?

[At this point, let me hand it over to Dave Gosselin who knows
much more about Paganism than I do for the next couple of
paragraphs. LGS.]

Let me address two issues before the question of whether or not
Loreena is a Pagan gets answered:   What is Paganism, and why
would one even ask if Loreena McKennitt is a Pagan?

When we speak of Paganism, with a capital "P," we are talking
of the Neopagan community which is basically the magical
religions which have seasonal celebrations.  This is slightly
different than the dictionary definition of paganism, which is
"religions that are not Christian, Moslem or Jewish."  There are
many different traditions ("denominations" if you will) within the
Neopagan community.  The most widely known are Wicca and
Druidism.  The adherents of Paganism have seasonal celebrations
at the Solstices and Equinoxes as well as the cross quarter days
(the days half way between the Solstices and the Equinoxes). 
Pagan beliefs tend to include such beliefs as: divinity is both the
immanent and transcendent (God/dess is within and without),
reincarnation, that "Goddess" makes as much sense as "God",
and that Nature is divine, and that we are part of Nature, not her
"rulers."  Most Pagans use Magic as part of their rituals.  One of
the most important Pagan holidays is Samhain, also known as
Halloween and All Soul's Night, at which time Pagans (and
Christians, influenced by this tradition) honor the dead and
attempt to communicate with them.  Samhain (pronounced sow-
ane or sow-een) is also the Celtic New Year.

So why would someone ask if Loreena McKennitt is a Pagan? 
She did the music to three very important Pagan-positive films by
the NFB, (The Goddess Remembered, The Burning Times, and
Full Circle).  There is also a great deal of Celtic imagery in her
music, and Pagans rely heavily on Celtic traditions.  The titles of
many of her songs use names that are Pagan Holidays or images. 
These include, "Samhain Night" and "Huron 'Beltane' Fire
Dance" (Beltane is considered second in importance only to
Samhain in the Pagan community), "All Souls Night" and "The
Old Ways".  The Old Ways is a synonym for Paganism.  There
are also a few songs that invoke Pagan sympathies due to their
environmental tone, or magical vision, such as "Bonny
Portmore" and "Courtyard Lullaby."

[Thanks, Dave!  Back to me for the rest, but before I proceed.... 
everything stated below is derived from what I have read or
heard in articles/interviews with Loreena.  Discussing
somebody's spiritual beliefs -- especially those of somebody you
don't know -- is a tricky business, and I hope people will read the
following as a distillation of what I have read/heard and not as a
conclusive statement of what Loreena McKennitt believes or does
not believe.  L.S.]

Loreena has never stated in an interview that she is a Pagan or
that she participates in any Pagan religious rites, this combined
with the tenor of what she has said in interviews where the topic
has come up would lead me to believe that she is not.  She has
indicated that she knows she has a Pagan following and
acknowledges that some of the images she uses in her music
(those derived from nature or mythology) would attract those
with some kind of environmental orientation to her music. 
Loreena and her family attended the United Church of Canada (a
mainline, liberal Protestant denomination) when she was young,
but in reference to her current religious practices, Loreena has 
said that she doesn't attend church or belong to any particular
religion, but that she finds renewal in settings that bring her in
closer touch to nature.   

It is obvious from the themes she explores on "the mask and
mirror" and things she's said recently in interviews that Loreena
spends a certain amount of time pondering spiritual matters, but I
have never heard her say anything in the media like "I believe..." 
or "God is... "  or  "I am a [insert name of institutionalized
religion of your choice]...."  Most of the time when she's talked
about religion or spirituality, she's tended to ask questions, like
"What is god?"  "What is the soul?" rather than stating what she
herself believes to be true. 

(For those of you who have a particular interest in the answer to
this question, I will report some Old Ways hearsay:  somebody
posted a message on the list saying she'd met Loreena at a
promotional appearance and asked her point blank whether she
considered herself a Pagan, and Loreena said "No".)

9.	Discography:


Compiled by Chris Seet s335090@student.uq.edu.au 

Greetings all! 

In this discography, I have endeavoured to list releases on all formats, 
commercial or promotional, by Loreena McKennitt. Please note that, where 
albums have been released in many countries around the world, not all of 
these international releases have been recorded. 

Please note also that some entries contain speculated information. 

With special tidings and thanks to Dave Liebson, Konrad Vasterman, Linda 
Slater, Brian (charismatically challenged), Karen Shook, The Old Ways 
List, Todd Samost, Tim Haynes and Laura Reiter for their valuable 
conversations and contributions. 

And of course to Ms McKennitt, whose music helps so many of us through 
the everyday stresses and complexities associated with life in this day 
and age - and perhaps rekindles a magic in this world that we thought had 
long since vanished. 

If you should have any suggestions, additions or corrections - please 
feel free to e-mail me at the above address. Thank you. 

Enjoy, - C H R I S - brisbane, australia 

CD = Compact Disc / MCS = Music Cassette / LP = 12 inch Vinyl Record 

Albums / Singles / Promotional Material / Miscellany /Availability 



Blacksmith / She Moved Through the Fair / Stolen Child / The Lark in the 
Clear Air /
Carrighfergus / Kellswater / Banks of Claudy / Come by the Hills / 

Canada - Quinlan Road 
CD QRCD 101 MCS QR 101 


In Praise of Christmas / The Seasons / The King / Banquet Hall / Snow / 
Balulalow /Let Us the Infant Greet / The Wexford Carol / The Stockford 
Carol / Let All That Are To Mirth Inclined

Canada - Quinlan Road 
CD QRCD 102 MCS QR 102 


Samain Night / Moon Cradle / Huron Beltane Fire Dance / Annachie Gordon / 
Standing Stones / Dicken's Dublin (The Palace) / Breaking the Silence / 
Ancient Pines 

Canada - Quinlan Road 
CD QRCD 103 MCS QR 103 

THE VISIT (1991)

All Souls Night / Bonny Portmore / Between the Shadows / The Lady of 
Shalott / Greensleeves / Tango to Evora / Courtyard Lullaby / The Old 
Ways /Cymbeline 

Canada - Quinlan Road / WEA:
MCS QR 104
LP ? 

Europe - QR / WEA:
CD 9031-75151-2
MCS 9031-75151-4
LP ? 

This is the first pressing of The Visit, and features the original 
Canadian cover as well as the first version of The Old Ways (Track 8). 
All pressings from 1992 onwards,  regardless of country, contain a new 
mix of this song. 


Disc One: The Visit Canada - Quinlan Road / WEA CD75151 

All Souls Night / Bonny Portmore / Between the Shadows / The Lady of 
Shalott / Greensleeves / Tango to Evora / Courtyard Lullaby / The Old 
Ways /Cymbeline 

Disc Two: The Visit Interview Canada - QR / WEA PRO-CD-5554 

Greensleeves / Interview / Stolen Child / Huron Beltane Fire Dance 

Canada - Quinlan Road / WEA 

CD QRCDB 104 Canadian Version
CD QRCDU 104 American Version 

This is a 2CD set that was only available from Quinlan Road (but is no 
longer). (See section on availability). Disc two is a Warner Music Canada 
promotional disc containing an interview by Tim Wilson (of CBC 
Broadcasting, Canada) 34 minutes in length recorded especially for this CD.
This set caining an interview by Tim Wilson (of CBC Broadcasting, Canada) 
34 minutes in length recorded especially for this CD. This set came in 
two versions, American and Canadian. The American version featured different
artwork to the Canadian. There was also an additional booklet with the 
interview CD. (See also  the Promotional Material section.) 

THE VISIT (1992)

All Souls Night / Bonny Portmore / Between the Shadows / The Lady of 
Shalott / Greensleeves / Tango to Evora / Courtyard Lullaby / The Old 
Ways /Cymbeline 

USA - QR / Warner Brothers
CD 9 26880-2
MCS 9 26880-4

American release - features totally different artwork to The Visit discs 
from other countries. Track 8 is a different version of The Old Ways -- a 
drum track that was present on the Canadian version has been removed the 
American version, plus there are some additional backing vocals provided 
by Loreena. 


The Mystic's Dream / The Bonny Swans / The Dark Night of the Soul / 
Marrakesh Night Market / Full Circle / Santiago / Ce He Mise Le Ulaingt? 
The Two Trees / Prospero's Speech 

Canada/USA - QR / WEA
CD 9 45420-2
MCS 9 45420-4
LP 9 45420-1

Australia - QR / East West CD 4509952962
MCS 4509952964


Disc One: The Mask and Mirror Aust - QR / East West / WEA 4509998332/1 

The Mystic's Dream / The Bonny Swans / The Dark Night of the Soul / 
Marrakesh Night Market / Full Circle / Santiago / Ce He Mise Le Ulaingt? 
The Two Trees / Prospero's Speech 

Disc Two: Live in San Francisco Aust - QR / East West / WEA 4509998332/2 
at the Palace of Fine Arts 

The Mystic's Dream / Santiago / She Moved Through the Fair / Between the 
Shadows /The Lady of Shalott / The Bonny Swans 

Australia - QR / East West / WEA CD 4509998332 

This set was released to commemorate Loreena's tour of Australia and New 
Zealand in March 1995. Disc two contains highlights from the US 10 track 
Live in San Francisco promotional CD (see section on promotional 
material), recorded live in San Francisco at the Palace of Fine Arts. 

This set is also available, in limited quantities, direct from Quinlan 


The Mystic's Dream / Santiago / She Moved Through the Fair / Between the 
Shadows /The Lady of Shalott / The Bonny Swans 

Canada - Quinlan Road 

CD ? 

All tracks recorded live in San Francisco at the Palace of Fine Arts. 
This disc is the same as the second CD from the _The Mask and Mirror - 
Australasian Tour Edition_, and is available exclusively from Quinlan Road.



Huron Beltane Fire Dance / All Souls Night / ? / ? 

Europe - QR / WEA=20 

CD ? 


The Bonny Swans (Edit) / The Lady of Shalott / Prospero's Speech / The 
Bonny Swans 

Europe - QR / Australia QR / WEA 4509-95670-2 



The Lady of Shalott (Edit) / All Souls Night (Edit) / Greensleeves / 
Tango to Evora /The Lady of Shalott 

Europe - QR / WEA


Greensleeves / Interview / Stolen Child / Huron Beltane Fire Dance 
Canada - QR / Warner Music Canada / WEA 

CD PRO-CD-5554 

Contains a 34 minute interview conducted by Tim Wilson. Note this is also 
the disc that comes as the second CD of the The Visit - Special 
Collector's Edition set that was only available from Quinlan Road. 


Interview Segment One / All Souls Night / The Lady of Shalott / Interview 
Segment Two / Bonny Portmore / Greensleeves / Courtyard Lullaby 

USA - QR / Warner Brothers
CD PRO-CD-5809 

Interview segments run for approximately 15 minutes each. 


The Mystic's Dream / The Bonny Swans / The Dark Night of the Soul / 
Marrakesh Night Market / Full Circle / Santiago / Ce He Mise Le Ulaingt? 
The Two Trees / Prospero's Speech 

USA - QR / Warner Brothers
CD PRO-CD-6775 


Interview Segment One / Interview Segment Two 

USA - QR / Warner Brothers
CD PRO-CD-6821 


The Mystic's Dream (Edit #1) / The Mystic's Dream (Edit #2) / The Bonny 
Swans (Edit #1) / The Bonny Swans (Edit #2) / Santiago (Edit) / The Dark 
Night of the Soul (Edit) / The Two Trees (Edit) 

USA - QR / Warner Brothers
CD PRO-CD-6898 


The Bonny Swans (Short Edit) / The Bonny Swans (Edit) 

USA - QR / Warner Brothers
CD PRO-CD-7032-R 


The Mystic's Dream / Santiago / She Moved Through the Fair / Between the 
Shadows /The Stolen Child / The Dark Night of the Soul / Marrakesh Night 
Market / The Lady of Shalott / The Bonny Swans / Prospero's Speech 

USA - QR / Warner Brothers
CD PRO-CD-7255 

All tracks recorded Live in San Francisco at the Palace of Fine Arts. 
This promotional CD contains four extra tracks not available on other 
Live in San Francisco discs for sale commercially. 



Loreena contributed a non-album track _The Bells of Christmas_ to this 
movie from Walt Disney Pictures / Buena Vista. The song was incorporated 
into the soundtrack. 

I am uncertain as to whether a soundtrack CD exists for this movie. 


A compilation of on-air performances recorded for the Seattle radio  
station KMTT. Loreena has a shortened version of The Lady of Shalott on 
this album - performed whilst on her Mask and Mirror Tour in December, 1994. 

CD ? 

PROGRESSIONS #11: New Music for Progressive Adult Radio October 1994 FMQB 
Album Report

This is a promotional album only, but one Old Ways member found it at a 
second hand store. It included two tracks by Loreena: Prospero's Speech 
and The Bonny Swans. 


Loreena contributed a live version of The Bonny Swans to this album which 
is a compilation of works by 18 different artists who have appeared on 
the WXPN (Philadelphia) public radio station program Live at the World 
Cafe. Anyone making a donation of $25 or more to the station will receive 
a copy of the CD. For more information call: 215-898-6677. 

USA - World Cafe
CD WC 9051 

THE SOUND OF STONE: Artists for Mullaghmore (Claddagh, 1993)

Loreena contributed Bonny Portmore to this album which was produced as a 
fund-raiser to support a group protesting the establishment of an 
interpretive centre on the Burren (the barren limestone-based landscape 
in County Clare) 

CELTIC TWILIGHT (Hearts of Space, 1994)

Loreena contributed Ancient Pines to this album which is a compilation of 
new age celtic artists played on the Hearts of Space radio program. 


Loreena contributed Between the Shadows to this album. 

LULLABY: A Collection for Young People (Warner Music, 1994)

Loreena contributed Courtyard Lullaby to this children's album which also 
includes contributions from performers such as Lady Smith Black Mambazo, 
Take 6 and Judy Collins. 

ETOILES CELTIQUES (Keltia Musique, CD KMCD55, 1995)

Loreena contributed Dicken's Dublin (The Palace) to this compilation CD
which contains cuts from 16 celtic artists.  The CD can be obtain from
Keltia Musique at the following address:
Keltia Musique
1 Place au Beurre
29000 Quimper, France
Tel. (33) 98 95 45 82
Fax. (33) 98 95 73 19


Loreena's five albums, in their most recent pressings, should be 
available from any record store that claims to have good taste in music. 
If not, then they can be ordered directly from Loreena's own record 
label, Quinlan Road, either from the UK or Canada. 

Quinlan Road also stocks some CDs not released commercially, as well as 
some (really nice!) Loreena merchandise including postcards, posters of 
the album covers and t-shirts. 

All Quinlan Road material is also available at Loreena's breath-taking 

You can contact Quinlan Road requesting an order form at the following 
addresses depending on which sibreath-taking concerts. 

You can contact Quinlan Road requesting an order form at the following 
addresses depending on which side of the world you live on: 

In Canada: 

Quinlan Road
Box 933
Stratford, Ontario, Canada N5A 7M3
Ph: (519) 273-3876
Fax: (519) 273-4553 

In the UK: 

Quinlan Road
Box 3129
London, England W6 4SQ
Ph: (071) 625-1778
Fax: (071) 625-4897

Information about items sold be Quinlan Road can be obtained by emailing 
the following address:  postmaster@quinlan.demon.co.uk.

Loreena' singles are most likely deleted, and probably are not easily 
available, if at all. Quinlan Road does not stock these singles nor do 
they stock any of the compilation albums to which Loreena has  
contributed. These you will have to obtain at your local record store or 
through a special ordering service if they are not readily available in 
your favourite store. 

The promotional CDs are of a very limited initial quantity and are 
distributed free to radio stations, DJs, reviewers, stores, etc. and were 
never meant for resale. Sale of these discs is, technically, not too 
legal, but they do appear occasionally on the secondary/collector's/black
market for usually much inflated prices. 

[Thanks, Chris! LGS] 

10.  Does Quinlan Road have an email address?

Yes.  It is:  postmaster@quinlan.demon.co.uk

You are encouraged to bring any questions you think Quinlan Road is in
the best position to answer to the above address (e.g. pricing of the things
they sell;  questions about Loreena's touring plans, etc.).  This is
_not_ Loreena's personal email address (as far as I know, she doesn't
have one), but if you send personal messages to her through this address,
they will be passed onto her eventually (certainly not on a _daily_
basis), presumably in hard copy or by fax.

11. Has Loreena made any videos?

Loreena has made only two videos:  
The Lady of Shalott (1992);  
--  This was not a formal promotional video, but instead a clip of 
    Loreena's performance of an abbreviated version of The Lady of 
    Shalott at the 1992 Juno awards. Ofra Harnoy put in a guest 
    appearance on cello at this performance. This clip has been 
    used as a "video" on Canada's video station MuchMusic and on Bravo!, 
    the Canadian arts channel 

The Bonny Swans (1994).  
--  this was a production video in which Loreena sings the song 
    while the basic story of the song is acted out in Pre-
    Raphaelite montages behind her.

Please note:  Neither of these videos is available for purchase
from Quinlan Road or from any other commercial enterprise. 
The only way I know of to obtain the above is to watch a lot of
MuchMusic (the Canadian MTV) and Bravo (a Canadian arts
channel) and tape the videos when they appear.  

12.	TV Programs and Movies that have featured Loreena's

Besides providing music for films and theatre productions during
the 80's, Loreena has also provided music for more recent
television and film projects.  These include:

Leolo: (a French-Canadian film by Claude Lauzon)
--  The Lady of Shalott (instrumental only)

Northern Exposure (TV)
--  Tango to Evora

The Diviner's (Made for Cdn TV movie)
--  Pique's Song

Due South (TV)
--  Prospero's Speech

The Highlander III
--  The Two Trees
--  Ce He Mise Le Ulaingt
--  Bonny Portmore

13.  Where Can I Get NFB Films:

Loreena contributed music to the NFB films The Goddess
Remembered, Burning Times, Full Circle, as well as to three
others not in the women's spirituality series, To a Safer Place,
Mother Earth and Bayo.

The three films from the women's spirituality series can be obtained 
via mail order from Quinlan Road at a cost of $60 (US or Cdn).  (See 
above under 9.  Discography for Quinlan Road's address.)

As for the other videos.... If you can't get these videos in your local 
video store, you can order them from the NFB (the National Film Board of 
Canada).  If you are American, you  will have to contact the New York 
officeat (212) 586-5131 to order NFB videos.  Another American supplier 
of the  videos is Direct Cinema (800) 525-0000 (they charge $30-35 US 
plus shipping).

In Canada, most major cities have an NFB office (although many
of them may be about to close.  The one in Edmonton closed on Aug 
18th. :-(  ).  If not,  there is a toll-free line that you can
call to order videos (either to buy or rent).  The number is:  
1-800-267-7710.  (I assume this number only works in Canada,
but I suppose you "fer-ners" can always give it a try.)

The woman I talked to at the NFB said that the films cost $26.95
Cdn each with a handling charge of $3.00 (no handling charge if
you go down to the NFB office and purchase in person.  I don't know 
how much they charge for rentals).   

14.  Has sheet music been published for Loreena's songs?

No, there is as yet no published sheet music for any of Loreena's
songs.  Quinlan Road is aware that there is interest in this and
may consider publishing music at some point in the future.

15. Is Loreena touring or performing anywhere?

No, at the present time Loreena is not touring, and she has no 
performances scheduled in the
near future. 

16.  Who are the musicians Loreena has worked with on her albums
and on tours? 

[I wasn't sure how to organize this section -- alphabetically by name
of the artist or by album and the artists featured on it.  I opted for
the latter, although there is a slight bit of jumping around.   If
anyone has suggestions of a better way to organize this section,
please let me know, and more importantly, if anyone has any
additional  information about the musicians that Loreena has
worked with, please forward this to me.    Thanks!  LGS]


On this album, Loreena does most of the work herself,  playing
harp, accordian, guitar and keyboards, although, strangely she does
not use the piano at all on this album.  Another thing worthy of
note about ELEMENTAL is that Loreena plays guitar on this
recording.  I have seen references to the fact that during the early
years of her musical career, when she was known as a "folk singer",
Loreena used the guitar frequently as one of her accompanying
instruments.  After ELEMENTAL, however, she ceased playing the
guitar on subsequent recordings or during performances.

The backing musicians who appear on ELEMENTAL are
GEORGE CREER on bass and PAT MULLIN on cello.  They are
competent musicians, as their contributions to the album would
attest, but they are unknown quantities (at least to me).  The most
"recognizable" names among the contributors to ELEMENTAL are
notable more their acting abilities than for their musical abilities. 
Loreena's roots in the Stratford Festival scene are likely responsible
for her collaboration with both Douglas Campbell and Cedric
Smith.  DOUGLAS CAMPBELL, who supplied his commanding
voice for the recitation on "Lullaby", is a noted stage actor who has
made many appearances at the Stratford Festival (as well as
performing directorial duties there).  Campbell played the role of
Blake in the Stratford production of  the same name, for which,  as
noted on the liner notes for ELEMENTAL, the song "Lullaby" was

CEDRIC SMITH, who provided vocals and guitar on
Carrighfergus and Kellswater, is a leading figure in Canadian stage,
film and TV.   He is probably best known for his current role as
Alec King on the TV program Road to Avonlea, but previous
acting roles such as the lead in the stage production "Billy Bishop
Goes to War" not to mention his appearances on virtually every
Canadian TV program from The Campbells to Street Legal
established his reputation as an actor several years before Road to
Avonlea.  (This man is EVERYWHERE on Canadian TV.  The
morning of the day I wrote this I was watching a program on the
JuJu musical tradition of Nigeria, and who should the narrator be
but Cedric Smith!)  Smith and Loreena shared arranging credits for
the soundtrack to the NFB feature film "Bayo" (1985), which
included the song Carrighfergus, albeit in a slightly different
arrangement than the version that appears on ELEMENTAL.  


Cedric Smith reappears on this album to share vocals with Loreena
on "The King".  The only other musician to appear on this very
stark album which predominantly features Loreena accompanying
herself on harp, is Stratford-based musician, SHANNON PURVIS-
SMITH who plays strings.  


PARALLEL DREAMS is the album with which Loreena begins
engaging the services of instrumentalists who had already, or would
soon, establish their reputations as some of the most "in demand"
musicians on the Canadian music scene.  Many of these musicians
would continue to work with her on subsequent albums and would
appear with her in performance.

Loreena's collaboration with BRIAN HUGHES began on Parallel
Dreams.  Brian has not only been the sole guitarist with whom
Loreena has recorded and performed, but he has also collaborated
with her in the production of her albums, and as noted by Ian
Menzies in Canadian Musician, Brian provides "an early sounding
board for [Loreena's] ideas".   Brian, who is originally from
Edmonton, is a highly talented jazz guitarist who has achieved
success apart from his work with Loreena.  He has released two
albums (a third is on its way) both of which enjoyed success on jazz
and adult contemporary charts, and he routinely performs with his
own band, the members of which include Rick Lazar and, and until
recently, George Koller, both of whom have worked with Loreena
for a number of years.  (Whether Brian brought Loreena's attention
to these two musicians or vice versa, I don't know.)  Besides the
guitar, Brian also plays such exotic instruments as the balalaika (a
four stringed, Russian ukalele-like instrument), the oud (a middle-
eastern, fretless lute) and sitar.  I also happen to know that Brian
bought a Greek-style bouzouki, but he has as yet not played it on
any of Loreena's albums, nor played it during performances. 

[Weird, interesting side note:  The reason I know about the
bouzouki is that I was admiring one of them in a local guitar shop,
where Brian used to bring his guitars for maintenance when he still
lived in Edmonton.  The salesman told me, as part of his sales pitch,
that "These instruments are very hard to get.  We only brought in
three of them.  I bought the first one, Brian Hughes bought the
second, and you could have the third." ]

Brian cites as his influences musicians such as Wes Montgomery,
Pat Martino and George Benson, but his style of jazz-rock fusion
has brought him frequent comparisons to Pat Metheny.  In fact,
Brian stated in an interview for Canadian Composer that "The
record company down in the States (Mesa/Bluemoon) says I've
probably sold more Pat Metheny records than Brian Hughes
records.... because when people hear my stuff on the radio they
think it's a new Pat Metheny album and go out and pick up his
latest release."  

A music video, directed by Lance Chilton (whom most viewers of
Much Music will recognize as one of the Fax reporters), was made
of one of Brian's songs, Nasca Lines, and features Brian, George
Koller and Rick Lazar playing their instruments on a sand dune. 
The video airs occasionally on Bravo, the Canadian arts cable

Acoustic bassist/cellist GEORGE KOLLER, also originally from
Edmonton, first started recording with Loreena on Parallel Dreams,
as well.  In the late 80's until about '91/92 he also appeared with her
in performance, but except for occasional "guest" appearances, he
has ceased performing with her on a regular basis.  The reason for
this probably lies in his stated desire to focus on his own work. 
Besides Loreena, George has worked with Brian Hughes, the
Shuffle Demons, jazz trombonist Bob Stroup, Tania Koster,
Women with Horns, the jazz group Mecca, vocalist Terez Malcolm
and jazz singer Julie Michels.   

George has nurtured an interest in East Indian musical forms and as
a result of this interest has studied east Indian vocal techniques and
plays instruments such as the sitar, tamboura (an upright pot-bellied
string instrument which provides a drone sound) and the esrai (a
bowed sitar).  He has produced a couple of recordings:  one called
Sunlight Rain which Edmonton Journal music columnist Roger
Levesque describes as having "the contempletive air of classical
Indian music", but adds that "it's too gutsy to be labelled 'new age'"; 
the other a collaboration with jazz singer Julie Michels called
Singing Naked. 

[For you trivia buffs out there, George calls his acoustic bass
"Sandra" -- she was named for "her" sandy colour.  Evil befell
Sandra a couple of years ago when George was in Edmonton to
perform with trombonist Bob Stroup's Reunion Trio.  The
musicians had gone into the Sidetrack Cafe where they were to
perform, leaving their instruments in a vehicle outside, and when
they came back after only a few minutes, the instruments were
gone.  Sandra was eventually recovered and returned to George,
safe and sound.]

RICK LAZAR started playing percussion for Loreena on Parallel
Dreams and has been her main percussionist in performance and on
recordings since then.  Rick is a Toronto-based musician who not
only plays with Loreena and Brian Hughes, but also has also
fronted his own bands, The Coconut Groove and The Montuno
Police.  Rick and the latter group released an independent album in
1991 called Rick Lazar and The Montuno Police. The Toronto Star
described the latin-funk album as a "salsa and drumfest".   

OLIVER SCHROER played the violin on Parallel Dreams and
performed with Loreena only briefly in 1989/90.  Oliver, who is
based in Markdale, Ont., was classically trained but has produced
recordings that fall very much into the celtic/world beat genre.  His
recordings are played regularly on CBC Radio, and he was featured
on a CBC "Hot Ticket" special in the summer of '94.  Oliver's
arrangements of traditional tunes, as well as his own compositions,
are wild and imaginative and feature not only his virtuoso fiddle
playing, but also instruments such as the hammered dulcimer, guitar
and the ukalin (which is a stringed instrument that I have seen
described as a cross between a ukalele and a violin;  Loreena plays
the ukalin herself on "Breaking the Silence").  

[Those of you who are fans of the Finnish group Varttina can get a
very brief sample of what Oliver's playing style is like if you listen
to the song Kannunkaataja from their album Aitara.  Oliver does
_not_ play on their album, but when I first heard the fiddle
"breakdown" featured in a couple of spots in Kannunkaataja,  I
could've sworn it was Oliver playing.   Except for this brief excerpt
from this one song, Oliver doesn't have much in common musically
with Varttina, but he certainly does share their musical intensity and 
a propensity towards very intricate and exotic rhythms.]

Schroer has four albums to his credit -- the earlier ones being more
celtic in nature, latter two borrowing from other musical traditions
such as the Balkan, Mongolian and Native American.  For those of
you who are really into liner notes, Oliver writes some of the most
"interesting" liner notes I have ever read, and the liner notes on his
latest album "Whirled" are the most difficult I have ever tried to
read (they sort of form a whirling spiral of words!).   Schroer's most
recent activities include playing the Winnipeg Folk Festival with a
group called The Stewed Tomatoes, and he will be touring Ontario
with London-based singer-harpist Jacqueline Brown.

SHELLEY BERGER's only stint with Loreena was to play bass and pzud on 
Parallel Dreams.  (The term "pzud" was a name made up by the musicians 
because they did not know the name of this instrument at the time. It has 
since been discovered that the instrument is actually a Middle Eastern 
string instrument called a "zazz". I could be wrong about  the spelling, 
though. :-) ) Shelley would go on to work with Oliver Schroer and 
Canadian guitarist Don Ross and to release his own solo jazz album.  
DAVID WOODHEAD and PATRICK HUTCHINSON are two other musicians who have 
worked with both Loreena and Oliver Schroer.  [It almost seems like 
Loreena had two camps of backing musicians on Parallel Dreams:  those
who would go on to play with Brian Hughes -- Rick Lazar and George 
Koller;  and those who would go on to play with Oliver Schroer --  
Shelley Berger, David Woodhead and Patrick Hutchinson.]  Patrick 
Hutchinson played uillean pipes on Parallel Dreams, The Visit and The 
Mask & Mirror.  (Hutchinson also plays uillean pipes for the Celtic group 
Pendragon.)  David Woodhead, who played bass, mandolin and accordian on 
Parallel Dreams, has worked not only with Loreena and Oliver Schroer but 
also with Stan Rogers and Anderson & Brown (an Ontario-based duo
consisting of harpist Mary Anderson and guitarist/flautist/vocalist
Ken Brown).

The remaining musicians appearing on Parallel Dreams only show
up briefly and include Ratesh Dasj on tabla and Al Cross on drums. 
Al Cross, who is Jane Siberry's drummer, would again play with
Loreena on The Visit and The Mask and Mirror (although his drum
part for The Old Ways is not included on the track in the non-
Canadian release of The Visit).


Several of the musicians mentioned above will continue to work
with Loreena on The Visit (including Brian Hughes, who is credited
as co-producer;  Loreena, as always, is THE producer.)

The "new kids on the block" are Tom Hazlett  on bass, Anne
Bourne on cello and Hugh Marsh on fiddle.  TOM HAZLETT is an
unknown quantity to me except that I have read he is classically-
trained and has performed with Loreena, I believe,  on the first tour
in support of The Visit, circa fall/winter 91/92.   On her most recent
tour, Loreena worked with bassist STEVE LUCAS, a Toronto-
based jazz musician who recently released his own album called
Jeet Kune Do.  Steve has toured and/or recorded with Bruce
Cockburn, Buffy Ste. Marie, Seals and Crofts, among others, and
has done some radio and film work.

ANNE BOURNE is probably best known for her keyboard work
with Jane Siberry.  She has provided keyboards, vocals and/or cello
on all of Jane's albums, appeared in a number of her videos, and
toured with her up until Jane cut back her larger touring group in
favour of a smaller, more intimate group.  Besides working as a
back-up musician for Jane and Loreena, Anne has worked with a
wide range of names from the Canadian music scene, including Blue
Rodeo, Lost and Profound, Allannah Myles, The Waltons, Meryn
Cadell, Spirit of the West, and a host of others too numerous to
mention.  [If anyone wants the complete list which was provided to
me by Clint Hawks and Tam Trutwin of the Siblings list, let me

Besides working as a backup musicians for others, Anne has
pursued solo musical endeavours including the following:  as lead
singer and keyboardist of  the group "All Her Brothers Were
Drummers",  she contributed "Silver Wheels" to the Bruce
Cockburn tribute album "A Kick at the Darkness: Songs of Bruce
Cockburn/Intrepid Records";    she contributed "Blue Ballet" to the
1989 Windham Hill compilation album:  Legacy: A Collection of
New Folk Music, and she contributed "Evangeline" to the 1990
Moose Compilation album.

Anne toured with Loreena from 1989 (?) through 1993, playing not
only cello, but keyboards, accordian and tamboura, as well as
providing background vocals.  Although Anne made a "guest"
appearance on one date in Toronto during the last "mask and
mirror" tour, from 1994 onwards, the "seat" she formerly occupied
on Loreena's tours was occupied first by cellist/keyboardist KIKI
MISUMI (Kiki plays cello/keyboards on "Live in SF") and more
recently by DONALD QUAN on strings, keyboards and tabla. 

Donald was a member of the rock group Eye Eye (Duke St.
Records) and is currently a member (not to mention founder) of the
ethno-cultural ensemble "Novaterra" which "explores the roots of
traditional music around the world and creates new works from
these explorations"  (an endeavour I'm certain a lot of us Old Way-
sers would have an interest in).  Donald has also performed and/or
recorded with a number of well-known Canadian musicians
including Meryn Cadell, Lighthouse, Kaleefa,  and Lost and
Profound.  Recently, Donald released an instrumental album called
"Tear of the Sun", a collaboration between himself and Japanese
flutist Ron Korb.  He is also the producer and co-composer of this

In addition to his numerous performing activities, Donald is
involved in A LOT of "behind-the-scenes" musical activities such as
album production and programming in a wide range of genres from
rap to classical to ethnic music and composing music for film,  TV, 
and radio, as well as dance and theatre productions.   As if this
were not enough, Donald is also the owner of Q Music
Productions, a company which does music editing for film and TV.

HUGH MARSH is probably Canada's best known non-Cape Breton
fiddler.   Originally from Ottawa, Hugh started classical violin
lessons when he was five and would eventually study under Sidney
Mann, one-time concert master of the Canadian National Arts
Centre Orchestra.  In his teens, however, he developed an interest
in jazz and rock styles.  Hugh's earliest performing experiences took
place in Ottawa where he formed a jazz-fusion band that, although
it did not perform too many times together, still gained a following
nonetheless.   Eventually, Hugh's style would evolve into a kind of
jazz-dance-funk fusion that, while not evident in his work with
Loreena, is highly evident in his solo work.

In the early 80's, Hugh joined Canadian singer-songwriter, Bruce
Cockburn's band which would result in international recognition of
his talent.   While working with Cockburn, he also pursued his own
musical interests and has two solo albums under his belt, The Bear
Walks (Duke Street, 1985 which features contributions from tenor
sax player Micheal Brecker) and Shaking the Pumpkin (Duke
Street, 1987, featuring contributions from Robert Palmer, Bruce
Cockburn and Lisa Dalbello).   (Hugh was able to enlist the help of
Robert Palmer on vocals for Shaking the Pumpkin after he sent
Palmer a demo tape of his work.)  A live recording of Hugh's
performance at Toronto's The Diamond club was broadcast on the
CBC Radio program "The Entertainers" in Nov. 1987.  After the
release of Shaking the Pumpkin, Hugh prepared to go on a
Canadian tour with his band in 1988, but the tour had to be
cancelled when he broke his finger while tossing a football with a

Other artists that Hugh has worked with include Canadian band
Chalk Circle and Canadian rap star Devon.  Hugh, Devon and
former Parachute Club guitarist Dave Gray collaborated to write
the title song for the album "X Marks the Spot", an album produced
to raise funds in support of South Africa's first free election and
which featured contributions from artists like Peter Gabriel, Paul
Simon, the Neville Brothers and many others.   A collaboration
between Hugh, Jonathan Goldsmith, Rob Piltch and Martin Tielli
on Joni Mitchell's "River" appeared on the album Back to the
Garden:  A Tribute to Joni Mitchell/Intrepid Records.  Hugh also
produced and performed on "Anhata", a collaboration between
Hugh, Randev Pandit (who I believe composed the album's music
which is heavily East Indian in flavour) Rick Lazar, Steve Lucas
and Shiv Naimpally.

Hugh has appeared in at least a couple of music videos (besides the
video made from Loreena's performance of "The Lady of Shalott"),
these include his own video "Versace" (a song from The Bear
Walks which Hugh describes as "dance groove with a 12 tone row
melody"), as well as the Devon video,  "Who Says You Can't Say
'Yo' to a Princess".

>the mask and mirror<

On this album, Loreena works with most of the same musicians she
worked with on The Visit.  In addition, however, she enlisted the
services of several guest artists, including some fairly "big names". 
OFRA HARNOY, the Canadian classical cellist with whom
performed "The Lady of Shalott" at the 1992 Juno Awards.  Ofra
also made a guest appearance during one of Loreena's Toronto
performances during her last "mask and mirror" tour.  DONAL
LUNNY is the other "big name".  He is a major player on the Irish
traditional music scene, having been part of the band Planxty, and
more lately being involved in album production for several Celtic

Other musicians on "the mask and mirror" include:  ABRAHAM
TAWIK (who plays the nai, a middle-Eastern flute-like instrument); 
NIGEL EATON (who plays the hurdy-gurdy, the instrument on
"Santiago" that sounds like an irritated bee;  Nigel was a member of
the now-defunct British traditional band Blowzabella); and
Canadian tabla player RAVI  NAIMPALLY;  Ravi substituted for
Rick Lazar for a couple of dates during the Spring '94 "mask and
mirror" tour when Rick was called away to a family emergency.  He
is also one of the performers on the album Anhata (see section on
Hugh Marsh).  Loreena also uses a string ensemble on the album
(for "The Two Trees"), as well as a male choir, THE VICTORIA
SCHOLARS, who appear on "The Mystic's Dream".

Loreena has taken to referring to her present configuration of
musicians as "idling porsches" in reference, I assume, to the high
degree of "performance power" they represent.    [Or maybe she
just means they're very expensive, and it takes forever to get
replacement parts when they break down! :-) ]  I think the fact that
Loreena has been able to attract such high caliber musicians, and
keep them working with her through several recordings and tours,
speaks volumes for her reputation as a creator of the kind of music
"musicians' musicians" wish to be associated with.  I think it also
attests to her ability to single out musicians who bring out the best
in her music.  Loreena once said in an interview that she has never
wanted anything in the music business so badly that she has made
the wrong decision.  Obviously, her ability to make wise musical
choices has extended to her choice of the musicians with whom she

(Please note:  I have only sketchy information about certain of these
recordings, e.g. labels on which they were recorded, where to get
them.  If anyone can provide more info, please do so. :-)   I have
also only included recordings for which a musician who has worked
with Loreena was totally responsible or had a major hand in.  It
would've taken more effort than I was willing to expend to list,
_every_ single recording her musicians had appeared on as back-up
musicians.  I did _not_ include in this discography the works of  
people who I don't consider regular collaborators with Loreena,
e.g. Ofra Harnoy or Donal Lunny.)

Between Dusk and Dreaming (1990), Justin Time Records 
Under One Sky (1992), Justin Time Records
(Note: in the US, Brian's albums are available through Blue

The Bear Walks (1985), Duke Street Records
Shaking the Pumpkin (1987), Duke Street Records
Anhata (1994?)
[Hugh also released another  independent cassette of his work
which is currently unavailable due to copyright problems.]

Rick Lazar and the Montuno Police (1991).
Anhata (1994)

Jeet Kune Do (1994)
Anhata (1994)

Tear of the Sun (1995), EMI/Oasis

Sunlight Rain (1994), ZSAN
Singing Naked (with Julie Michels), 1995

Millie's Waltz (1988)
Another Darn Fiddle Tape (1992)
Jigzup (1993)
Whirled (1994)
[All available from Big Dog Music, c/o Oliver Schroer, RR #4,
Markdale, Ont, NOC 1HO]

Shelley Berger (1995), Basil Records.


Print Sources:

It all started one night at the 'Y'.... [re.  George Koller & Julie
            Michels].  Network.  Jun/Jul/Aug 1995, p. 8.

Ginsberg, Murray.  A Visit with The Mask and The Mirror. 
	International Musician, v. 93(10), Apr. 1995.

Alaton, Salem.  Velvet Gown,  Iron Soul.  Chatelaine.  March,
	1995, pp. 60-63.

The  1994 honor roll: a salute to extraordinary Canadian
	achievers:  Loreena McKennitt.  Maclean's.  v.107(52)
	December 26, 1994 pp.  66-67.

Aylmer, Kevin J.  Loreena McKennitt: Diary of a Celtic
	Sojourner.  RMM: Rhythm Music Magazine.  v.3(10),
	1994, pp.28-33

Loreena McKennitt: Canada's celtic maven. Canadian Musician 
	v.16(3) June, 1994 pg 42-44

Zeitoun, Mary-Lou. Loreena McKennitt: Let them scramble. 
	Impact.  May. 1994, p.14

McGlynn, Cindy.  Loreena McKennitt: The Spirit That Sends
	Her.  Network.  No. 42, Apr/May, 1994, pp. 12-13,15.

On my mind BALLOT BATTLES:  X Marks the Spot.   Network. 
            Apr/May 1994, p. 19

Levesque, Roger.    Koller keying on  his solo career. Edmonton
           Journal, Apr 6, 1994, p. C12.

Jennings, Nicholas.  Celtic Dreams.  Maclean's.v. 107 (13), 
	Mar. 28, 1994,  pp. 58-59.

Schwartzberg, Shlomo.  'New' McKennit [sic] evokes old Spain.
	The Financial Post. Mar. 12, 1994, p. S10.

The widespread appeal of Loreena McKennitt.  Toronto Star. 
	Mar 6, 1994, pp. C1, C4.

Feniak, Peter.  Irish Soul.  Saturday Night.  v. 109 (1), Feb., 
	1994, pp. 42-47.

Marston, Don.  Loreena McKennitt's Celtic Quest.  Courtyard
	Group [suppl. to The Globe and Mail].  Winter/Spring, 
	1994, pp. 29-30.

Jones, Christopher.  Sideman or star?  Jazz guitarist Brian Hughes
            navigates the middleground.  Canadian Composer, Summer   
           1993, p. 12.

s.v. McKennitt, Loreena.  Encyclopedia of Music in Canada, 
	2nd ed.  Toronto:  University of Toronto Press, 1992.

Canadian guitarist takes comparisons to Metheny in stride.  Globe
& Mail (Toronto) - Metro Edition.  Nov 27, 1992, p. C11.

Metella, Helen.  Strains of harp music not all soothing.  
	Edmonton Journal, Sunday, Nov. 23, 1992, p. C6.

More than a pretty face.  Calgary Herald, Oct. 23, 1992, p. C1.

Bell, Karen & Pope, Kevin.  A visit with Loreena McKennitt. 
	Performing Arts & Entertainment in Canada.  v. 27(3) 
	Summer, 1992, pp. 12-14.

Gudgeon, Chris.  Loreena McKennitt:  home made gold. 
	Canadian Musician. v. 14 (2) April, 1992, pp 36-38.

Prasad, Anil.  Loreena McKennitt:  The Visit.  Dirty Linen.  
	no. 39, Apr/May 1992, pp. 18-19, 84.

Plucky Manitoba harpist gives Celtic music a pop following. 
	Montreal Gazette.  Feb 21, 1992, p. D5.

Harpist plucks way into mainstream on Celtic wave.  Vancouver
	Sun.  Nov. 25, 1991, p. C5.

The darling of old folkies and New Agers plays it her way. 
	Toronto Star.  Oct. 29, 1991, p. E1.

Loreena McKennitt:  The Visit.  Globe & Mail (Toronto;  metro
	edition).  Oct. 28, 1991, p. C2.

McKennitt weaves Celtic spell with gentle stroke of harp.  
	Halifax Chronicle Herald. Oct. 22, 1991, p. B11.

Rick Lazar and the Montuno Police.  Toronto Star.  Jul 27, 1991,
           p. H10.

Foster-MacLeod, Lauren.  An Interview with Loreena
	McKennitt.  Folk Harp Journal.  no. 72, Spring, 1991,
	pp. 24-27.

Harpist refuses to fit into folk stereotype:  McKennitt's music
	includes jazz, pop and tribal influences.  Calgary Herald. 
	Dec. 6, 1990, pp. C1-2.

Celtic harpist Loreena McKennitt gives ancient twist to new
	music.  Halifax Chronicle Herald.  Sep. 17, 1990, A14.

McKennitt and the Winter Garden:  not the odd couple they
	seem.  Globe and Mail (Toronto;  metro edition).  Apr.
	13, 1990, p. C6.

Pass forces Marsh to pass on concerts.  Globe & Mail (Toronto) -
           Metro Edition.  Jun 3, 1988, p. E10.

Flohil, Richard.  The violin's new sound: Hugh Marsh builds an
           unusual instrumental fusion with classical training and 
           jazzier inclinications.  Canadian Composer, October, 1987, 
           pp  4, 6, 8

Fiddler Marsh flying solo with no strings attached.  Globe & Mail
(Toronto) - Metro Edition.  May 28, 1985, p. M11.

Bailey, Billyann.  Search for talent:  young performers' chance at
	the big time.  Performing Arts in Canada.  v. 15,
	Summer 1978, pp. 46-49.

Keys, Janice.  'No gin and tonic' singer moves up fast. 
	Winnipeg Free Press.  Weds, Dec 14, 1977, p. 25.

Non-Print Sources:

Featured on Creators, WTN (Women's Television Networks),
Feb 1, 1995

Interview with Peter Gzowski on Morningside, CBC Radio, May
5, 1994.

Interview with Kevin Newman on Midday,  CBC
Television/CBC Newsworld, May 5, 1994.

Interview with Karen Gordon on On The Arts, CBC Newsworld,
Apr 24, 1994.

Interview with Kim Clarke-Champniss on The New Music, Much
Music (??Mar/Apr 1994).

Interview with Steve Anthony & Denise Donlon on Much Music
Spotlight (???late 93/early 94;  interviews were repeats of ones
done in 1991/92).

"Breaking the Silence", originally broadcast in 1988 as part of
Adrienne Clarkson's Summer Festival, CBC Television;  re-
broadcast in Spring 1992 with update interview with David
Grierson on Sunday Arts, CBC Television.

Segment on Loreena McKennitt on W-5, CTV, by Christine
Nielsen, Nov. 22, 1992.

Interview with Tim Wilson from the two-CD Collector's Edition
of The Visit, 1991. 

Information has also been gleaned from promotional material
sent to this list from Quinlan Road, as well as from a transcript
of the CompuServe Online Conference with Loreena that took
place on Oct. 25, 1994.


Every once and awhile a new member to Old Ways  may ask
about a particular artist or ask  the more general question: 
"What other artists are there that I might like"?  What usually
happens is a thread starts discussing the question, and soon
after, there is a backlash from others who think that such
discussion is "off topic" and shouldn't take place on the Old
Ways List.

I thought that perhaps if a List were kept of artists that have
been mentioned on Old Ways, new List members could check
this List:  a)  to find out whether an artist they are interested in
has been mentioned;  and b) to answer the question:  "What
other artists do Old Ways List members listen to?"

Quite a while ago I posted a message asking people to send me
a list of their favourite artists (including a brief description of
their music), so that an artist list could be compiled.  Only a
handful of people responded, which I suppose should have
clued me in that maybe people aren't all that interested in a
compiling a List.  But the "What other artist...." question
continued to be asked on the List, so I thought I would plod on
in this endeavour and take the few submissions I got and add to
that names of artists that were mentioned in past  Old Ways

You will note that there are some commentaries running
through this.  These have not been supplied by me (well, a couple
have :-) ), they were supplied by other List members.  I did not 
indicate whocontributed what because I was not sure whether or
not  they wished to be contacted should someone be interested in
discussing what they'd stated.  I, however, did slot the artists
under  the various categories mentioned in the List, and I admit
that I may not be correct in all cases.  If I hadn't heard of an
artist, and there was no indication of genre, I tended to put
them in the "Pop, Rock, Blues" category.   I suppose I could've
contacted the people who mentioned the artist and questioned
them about the category their artist fell into, but frankly, I 
reallydidn't want to spend the time doing this.  If anyone notices 
any errors, please let me know.

So, what I envision is that those of you who wish to find out
more about any artists on this list should post a message to Old
Ways saying something to the effect of   "Could anybody who
likes Luka Bloom contact me?  I'm interested in finding out
more about his music."  It would then be up to any Luka Bloom
fans to contact you and enter into any kind of discussion (off
List) that you see fit.  If no one responds, you will have to
assume that the Luka Bloom fans have either unsubscribed from
the List, or are too busy to respond to your message.   In that
case, you may want to try posting at a later date when more
Luka Bloom fans have joined the List, or the existing fans are in
a better position to respond to your message.

Anyone who wishes to add other artists to this List is
encouraged to do so.  Simply post your recommendation to the
list with the subject header:  Recommendation:  Name of Artist
and include a brief description of the artist in the text. 
Everyone who is interested will get the initial chance to see
your recommendation, and then I will copy your message text
into the "What other artists...."  list.   

If anyone notes any errors in how I have classified any of the
artists, please let me know.  And if anyone would like to
contribute _brief_ descriptions of any artists listed, again, please
send me a message with your description.

Anyhow.... I hope this List succeeds in the purpose in which it
is intended, which is to allow people to find out about other
artists whose works they may like, while at the same time,
cutting down on the amount of non-Loreena-related Old Ways

Categories Listed:

a)   Celtic and Celtic Rock Fusion
b)   Harpists
c)   Folk, Folk Rock and Country
d)   Classical/Performers & Composers
e)   New Age and Heavily Synthesized Music
f)   Pop, Rock & Blues
g)   Worldbeat
h)   Recommended Albums



Anonymous 4

If you don't know, they're a Celtic vocal group, playing stuff
from now to way back, and include some instrumentation when
called for. If you've tried Anonymous 4 and found them
somehow lacking, you may well like Anuna'a stuff. I do.The cd
is on the Celtic Heartbeats label.

Frankie Armstrong
Black 47 (f)
Boiled in Lead
Bothy Band
Maire Breatnach
Maire Brennan

Scottish folk music taken a few steps further, with Loreena-
style instrmentation. Karen Matheson's voice is good, but not as
good as Loreena's! Recommended album: "Delirium"

Celtic Aire (f)
Cherish the Ladies
Aoife Clancy
Colour of Memory:  cross between Clannad and 80's synth pop.
De Dannan
Connie Dover
Teresa Doyle
Fairport Convention

Flairck is a Dutch music group! Their style is a mixture of
classical music and folk music. Most of it is instrumental. The
last line-up (1994 concert) was -acoustic guitar, flute, double-
bass, accordeon, cello, all kinds of percussion. In the past the
basic line-up was acoustic guitar, violin, flute and double-bass.
They are using a lot of folk instruments. On "The Parade" they
were using more than 20 different instruments. As they say
themselves, it's hard to name their style. It sounds like 
folk music, but most of their songs have a classical structure. 

Gallagher & Galbraith
Hothouse Flowers

Plays contempary Christian music and happen to be Irish who's
subject is the old Celtic christian faith.

Jem and Arianne (formerly known as Passages)
Dolores Keane

Flute, harp, hammered-dulcimer, and some guitar and violin.

Talitha Mackenzie
Jacquie Manning
Aine Minogue
Christy Moore
Mouth Music (f)
New St. George
Nightnoise (f)

Belgian musicians, plus one french. Keyboard, guitar,
accordion, fiddle and nickelharp.

The Oyster Band

British folk group, been together 20 years, significant individual
performers like Jacqui McShee and Bert Jansch

Pogues (f)

The Poozies
All-female Scottish folk group. Very pleasant, laid-back. The
Scottish 'Bangles'???

Kate Price               The Time Between                 Priceless
     I find this music to be very similar to McKennitt's in a way
but the feeling is really very much simpler(less rich). I find it
refreshing to listen to for a while.

Maddy Prior
Rankin Family

Scottish folk-rock, with the emphasis on the 'rock'. Donnie
Munro's voice isn't to everyone's taste, but they are massive in
Scotland. Recommended albums: "Once in a Lifetime" or
"Transmitting". (Both live albums)

Maggie Sansone

Sean Talamh:  They play really good Irish folk.

Sharon Shannon
Steeleye Span
Andy M. Stewart
Silly Wizard
June Tabor
Tannahill Weavers

 Kathryn Tickell
Northumbrian pipes (no vocals). Kathryn is probably the
world's leading exponent of this instrument, but isn't afraid to
extend its traditional range into new frontiers, along with
Loreena-style instrumentation. She has a new album out
("Signs") which I haven't heard yet, but I hear it's her best yet.

Robin Williamson
Wolfstone (f)
Scottish folk-rock again, but a more traditional feel. Real head-
banging stuff for dancing to!

The Wolftones


Patrick Ball
Karen Bruner
Ann Heymann
Alison Kinnaird
Judith Pinter
Sue Richards
Kim Robertson
Alan Stivell

c)  FOLK  & COUNTRY [(c)=country]:

All About Eve
Frances Black
Mary Black
Luka Bloom
Jimmy Buffet (c)
Jackson Browne

Eliza Carthy
Part of the "new" British folk tradition

Mary Chapin Carpenter (c)
Leonard Cohen
Nanci Griffith (c)

Jack Hardy 
He writes complex lyrics, his best known song is titled The
Tinkers Coin, it has been covered by several different artists.
His stage style is, eccletic.  he usually dresses in a black
velvet jacket with a lace sleeved white shirt underneath.  he
plays guitar, and is often accompnied by an electric bass.
As to his voice... well, he sounds kind of like Bob Dylan would
if Bob could could sing.

Anne Hills
Tish Hinojosa
Innocence Mission
James Keelaghan

Kenny & Tzipora.  A multi-talented husband-and-wife team
who wrote and performed some terrific music up until their
break-up (both professionally and personally) a couple years
ago.  I knew the both of them quite well, so I guess I'm
prejudiced, but I think they were pretty dern good.  At least one
of their tapes was produced by Kicking Mule, but I think they
produced most of their stuff themselves.  For those who are
interested, you might try writing to them at PO Box 534,
Belmont, MA 02178, but I don't know if they still
have that box (having lost touch with both of them somewhat). 
Their music was folky, with a combination of traditional and
original tunes, and a heavy infusion of Pagan themes.  If
anyone's really interested, I could probably track them down
and find out how to get their tapes. Sorry, they broke up before
making their first CD, so it's all on tape.

Nancy Kerr
Part of the "new" British folk tradition.

Sandy Lam

The Levelers.  
A kinda folk-ish rock band, with a heavy social-consciousness
theme in the one album of theirs I've been able to find (and that
a bootleg!).  They are almost certainly from the British Isles,
probably Ireland or Scotland I'd guess.

Kenny Loggins
Peg Loughran
Laura Love
Kate & Anna McGarrigle
Joni Mitchell
Micheal Martin Murphy (c)
Carrie Newcomer
Maura O'Connell
John Prine
Stan Rogers
Boz Scaggs

Fred Small.  
Folk, with a heavy social consciousness.  His piece on the
heroism of the Danes smuggling Jews out of Denmark has
brought tears to my eyes more than once, and I think he wrote
"The Last Leviathan" about the killing of the last of the whales,
which brings me to uncontrollable sobbing *every* time I hear

Diane Taraz:    She is one of the very few current female
American folksingers who have the kind of dramatic projection
in her voice that Joan Baez and Judy Collins had in the early
60's (don't judge them by more recent stuff!).

James Taylor
Cheryl Wheeler
Kate Wolf


Cecilia Bartoli
Van Cliburn
Aaron Copland
Victoria de los Angeles
Hildegard of Bingen
Sergei Prokofiev

e)  NEW AGE:

Darrell Anger
Bel Canto
Suzanne Ciani
Cirque du Soleil
Dead Can Dance
Mannheim Steamroller's _Fresh Aire_ series
Mike Marshall
Mike Oldfield
Surrealistic Art
Andreas Vollenweider


Bryan Adams
Tori Amos
Barenaked Ladies
Blues Traveller
Gaven Bryars
The Burns Sisters
Kate Bush
Cocteau Twins
Larry Coryell
The Cranberries (Celtic folk, heading rockwards)
Dare to Dream
Deep Purple
Melissa Etheridge

The best way to describe them? A happy alternative indie pop
pub band that had a huge hit a couple of years ago, "Ordinary
Angels". Angie Hart, the leadsinger, looks exactly like Scarlett
from the movie_Four Weddings And A Funeral_ and is just as
cute. She has a beautiful melodious voice, kind of schoolgirl-
pop with an angelic edge. The music ranges from indie-pop to
some beautiful acoustic sets that complimentAngie's voice
wonderfully. They recently released "Bizarre Love Triangle", an
acoustic cover of the old original, as an EP. I tend to compare
Frente! to Juliana Hatfield- same kind of style, yet completely
different. Wowee! Frente! is spanish for "fun!", by the way. :) 
Peter Gabriel
King Crimsom
Steve Hackett
The Halfbreeds
Kristin Hersh
Peter Himmelman
The Horseflys

This is the group that formed in the late 1970s from what
was left of the original Renaissance.  (Jane Relf was the lead
signer rather than Annie Haslam.)  They're the "art-rock" genre
of which Renaissance was a part.

Jethro Tull
(old) Elton John
Michael Kamen
Cyndi Lauper
Led Zeppelin
Adrian Legg
Ray Lynch
Maria McKee
Sarah McLachlan
Billy McLaughlin
Miranda Sex Garden
The Murmurs
The New St. George
October Project
Alan Parsons
Pink Floyd
Bonnie Raitt
Edie Reader
Happy Rhodes
Cliff Richards
Jane Siberry

Skyclad: Thrash-metal band playing with a female violonist...
strange, but nice

Talking Heads
10,000 Maniacs
Widespread Panic
David Wilcox
Cassandra Wilson
Paul Winter


Tarek Abubakar and the Afronubians:  a Toronto-based band
with strong African sound and a fantastic horn section.

Sheila Chandra

Tuvan folk music(Outer Mongolian). Amazing vocal
techniques,  pretty wild, but really quite musical.

 A women's group which sings music from all over the world
which can only be described as spiritual. There is a strong pagan
flavor to it as can be seen in the title of their first (I think)
release, "A Circle is Cast." Other title is "Fire Within" but Circle
is my favorite. My little boy listens to it to go to sleep. I love
women's voices in harmony and there is no better than this.
Many seasonal and spiritual songs. I believe they are keeping
some old music alive that may be difficult to find elsewhere.

Baaba Maal (Senegal)

Panta Rhei:  plays European traditionnal music.

Ravi Shankar and Philip Glass
     Indian music compositions by both with orchestration.

Strunz and Farah

Varttina:   Finnish;  energetic female vocals and virtuoso
instrumentalists (especially the accordion player and the

Willie and Lobo


Narada's Celtic Odyssey
(see Web page at http://www.ceolas.org/Narada/)

A Woman's Heart with the likes of Maura O'Connell, Delores
Keane and Mary Black.

Ann Heymann and Allison Kinnaird -- the harper's land (a
collection of 
tunes done on both wire and gut-strung harps, some duets.
Emphasizes the differences and similarities between the two

Victoria de los Angeles  Songs of the Auvergne  (traditional
folk tunes orchestrated for a soprano voice - achieves the
"tingle factor")

Hildegard of Bingen "Sequentia"

Van Cliburn               Rachmaninoff Concerto #3        RCA

Huun-Huur-Tu            60 horses in my herd            Shanachie

Willie and Lobo          Fandango Nights                  Mesa
Willie and Lobo          Gypsy Boogaloo                   Mesa