Composer, producer and performer Phil Coulter was the reigning king of contemporary Celtic music, becoming the best-selling Irish artist of his generation. Born in Derry, Northern Ireland in 1942, Coulter began his career while studying music at Belfast's Queens University, writing the Capitol Showband's 1963 hit "Foolin' Time" and later penning... [+] Read More

Composer, producer and performer Phil Coulter was the reigning king of contemporary Celtic music, becoming the best-selling Irish artist of his generation. Born in Derry, Northern Ireland in 1942, Coulter began his career while studying music at Belfast's Queens University, writing the Capitol Showband's 1963 hit "Foolin' Time" and later penning the ensemble's 1965 Eurovision Song Contest entry "Walking the Streets in the Rain." Other notable compositions of the era include Twinkle's 1964 smash "Terry" and Them's oft-covered garage-rock classic "I Can Only Give You Everything." Still, Coulter enjoyed his greatest success as a writer after teaming up with collaborator Bill Martin; together they authored some of the biggest pop hits of the period, including Sandie Shaw's Eurovision-winning "Puppet on a String" and Cliff Richard's "Congratulations." Despite his pop success, he remained drawn to the Irish folk of his youth, working with acts including the Dubliners, Planxty and the Furey Brothers while concurrently writing a series of hits for the Bay City Rollers. After his partnership with Martin ended during the late '70s, Coulter turned increasingly to performing, and in 1983 issued his solo debut Classic Tranquility; its meditative, lushly-orchestrated renditions of traditional Celtic favorites immediately scored with Irish audiences, and on the strength of subsequent efforts including 1984's Sea of Tranquility and 1985's Phil Coulter's Ireland, he emerged as the country's best-selling artist. Later material including 1990's Words and Music, 1993's Recollections and 2000's Highland Cathedral introduced Coulter to a growing international audience as well. The intimate Songs I Love So Well was issued on Shanachie in early 2001. ~ Jason Ankeny, All Music Guide [-] Hide

Clannad bridged the gap between traditional Celtic music and pop. Usually, their results were an entrancing, enchanting form of pop that managed to fuse the disparate elements together rather seamlessly. Such fusions have earned the band an international cult of fans.

Taking their name from the Gaelic word for "family," Clannad... [+] Read More

Clannad bridged the gap between traditional Celtic music and pop. Usually, their results were an entrancing, enchanting form of pop that managed to fuse the disparate elements together rather seamlessly. Such fusions have earned the band an international cult of fans.

Taking their name from the Gaelic word for "family," Clannad formed in 1970 when the Brennan family -- Maire (vocals, harp), Ciaran (vocals, guitar, bass, keyboards), Pol (guitar, percussion, flute, vocals) -- began playing at their father Leo's tavern with two of their uncles, Padraig Duggan (guitar, vocals, mandolin) and Noel Duggan (guitar, vocals). Soon afterward, the group began playing folk festivals in Ireland. They released their self-titled first album in 1973, yet the band didn't earn any widespread success until they toured Germany in 1975. Maire's sister, Enya, joined the group in 1979, yet left in 1982, just as the group was beginning to come into some pop success in the U.K. Clannad recorded the theme song for the television program Harry's Game; the single hit number five on the charts and won the band an Ivor Novello Award. The band recorded the soundtrack to the television production Robin of Sherwood in 1984; it won a British Academy Award for best soundtrack the next year. Clannad's success continued in 1986, when U2's Bono was featured on the Top 20 hit "In a Lifetime." The band continued to release albums into the 1990s, building their pop following without losing their folk audience. Landmarks, was issued in early 1998. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

An in-demand producer (U2, Patrick Street) and keyboardist during the 1980s and early '90s, Bill Whelan launched his solo career in the mid-'90s as the composer of 1995's Riverdance, an experimental fusion of traditional Irish music. With over 80 dancers attached to the revue, Riverdance toured America -- appearing in several sold-out shows at... [+] Read More

An in-demand producer (U2, Patrick Street) and keyboardist during the 1980s and early '90s, Bill Whelan launched his solo career in the mid-'90s as the composer of 1995's Riverdance, an experimental fusion of traditional Irish music. With over 80 dancers attached to the revue, Riverdance toured America -- appearing in several sold-out shows at Radio City Music Hall in New York -- during 1995 as well as Europe and Australia. ~ John Bush, All Music Guide [-] Hide

The daughter of a nurse mother and a livestock trader father, songstress Loreena McKennitt studied classical piano and vocal training and learned to dance in the Highland style as a youngster. Her love of traditional music was strengthened in the folk clubs of Winnipeg, which she frequented during the brief period she studied veterinary science... [+] Read More

The daughter of a nurse mother and a livestock trader father, songstress Loreena McKennitt studied classical piano and vocal training and learned to dance in the Highland style as a youngster. Her love of traditional music was strengthened in the folk clubs of Winnipeg, which she frequented during the brief period she studied veterinary science at the University of Manitoba. Relocating to Stratford, Ontario, she continued to sharpen her skills as a composer and performer. In 1981, she auditioned for a role in the city's Stratford Festival Of Canada. Although she did not get the role, she remained inspired. After reading Diane Sward Rapaport's book How to Make and Sell Your Own Recording, she formed her own label, Quinlan Road. After releasing two albums; a nine-song cassette, Elemental, in 1985; and a collection of Christmas tunes, To Drive the Cold Winter Away, in 1987, she had her first breakthrough with her 1989 album, Parallel Dreams. Distributed through a network of small, independent distributors, the album sold more than 40 thousand copies within four months. Its success was surpassed by McKennitt's fourth album, The Visit. Distributed by Warner Canada, the album sold over 600,000 copies (six times platinum) in Canada and received a Juno (Canada's equivalent of the Grammy) award, as did McKennitt's next recording, The Mask and Mirror, in 1994.

While her albums have featured soothing, ultra-melodic, arrangements, McKennitt's lyrics have reflected her interests in the poetry of W.B. Yeats, William Blake, and Alfred Lord Tennyson. Her unique musical approach was addressed by her lighting director, Tracey Ploss, who explained, "When you get used to pop artists, the songs are mainly verse-chorus-verse-chorus-solo. With McKennitt, it's prologue-bridge-verse. You've got all these segues at different parts of the song."

McKennitt's music has been heard on the soundtracks of numerous plays and films. In 1989, she was commissioned by the National Film Board of Canada to compose the music for a film series, Woman and Spirituality. Her subsequent commissions include such films as Jade, Highlander III, Disney's the Santa Clause, and TV shows, including Northern Exposure, Due South, and EZ Streets.

In 1998, McKennitt scored her biggest hit with "The Mummers' Dance." She became a hit in America, allowing the The Book of Secrets to sell more than four million copies. Sadly, her world crumbled that July when her fiancé, Ronald Rees, died while on a sailing trip with his brother and a family friend in Georgian Bay. Everything immediately stopped in order for McKennitt to grieve. Rumors of her retirement also circulated.

At the time of her fiancé's death, McKennitt was mixing a new album, Live in Paris and Toronto, at Peter Gabriel's Real World studios. Recorded in Salle Pleyel in Paris and Massey Hall in Toronto during the Spring of 1998, the album was released in 1999. All profits from the album have gone to the Cook-Rees Memorial Fund, which McKennitt set up to finance water safety initiatives and education across Canada.

During the new millennium, McKennitt allowed herself some healing time. She didn't disappear from music altogether, however, and worked with a number of local and national charities. Her Spanish version of "Dante's Prayer" was featured in the Canadian/Venezuelan feature film A House With a View of the Sea in 2001. In 2002 she headlined a concert in Winnipeg for Queen Elizabeth and, in 2003, received the Order of Canada. Two years later, McKennitt began work on her seventh studio album. ~ Craig Harris, All Music Guide [-] Hide

If there is a single savior of Celtic music, Alan Stivell is probably it. Since the end of the 1960s, he has done more to revive interest in the Celtic (specifically Breton) harp than anyone in the world and, in the process, almost singlehandedly made the world aware of native Breton Celtic music. Since 1971, he has been recording albums of... [+] Read More

If there is a single savior of Celtic music, Alan Stivell is probably it. Since the end of the 1960s, he has done more to revive interest in the Celtic (specifically Breton) harp than anyone in the world and, in the process, almost singlehandedly made the world aware of native Breton Celtic music. Since 1971, he has been recording albums of extraordinary beauty and diversity, ranging from ancient Breton and Irish material to modern folk-rock and progressive rock.

He was born Alan Cochevelou, the son of a harp maker. His father was the rediscoverer of the Breton harp, but he started his musical life on a somewhat more conventional instrument, taking up the piano at age five. He was given a harp by his father at age nine, and studied for the next several years under the direction of his father and Miss D. Megevand, a concert harpist, freely mixing classical repertory and arrangements of Breton, English, Irish, Scottish, and Welsh folk material.

Stivell was playing concerts at age 11, and he began taking up the more general study of traditional popular Celtic music, including the Scottish bagpipes, drum, Irish flute, and tin whistle, while in his teens. He ultimately became well versed in all of these and won honors in national piping competitions in Scotland, and chose the professional name of Stivell, the Breton word meaning fountain, spring, or source. By the age of 21, while studying for his degree in English, he became an established folk musician, recording songs to his own harp accompaniment. While his singing is less effective than his harp or bagpipe playing, his voice is expressive, and most of his albums feature a mix of vocal and instrumental music. In 1967, he formed a group consisting of himself on harp, bagpipes, and Irish flute and Dan Ar Bras on electric guitar, backed by bass and drums. He released several albums during this period, including Reflections (1971), A L'Olympia (1972), Chemins de Terre (1972), Celtic Rock (1972), and E. Lagonned (1976). He left the group in the mid-'70s to concentrate exclusively on a solo career -- by this time, he had become a major influence on a multitude of folk-rock musicians with his interweaving of electric and traditional instruments.

During the early '70s, he acquired a popular following in France and England. By the mid-'70s Americans -- and not only those of Irish or, more rarely, Scottish, Welsh, and Breton descent, but those interested in things Celtic -- were discovering Stivell in growing numbers, prompting labels such as Rounder to begin releasing his work (until then, available only as expensive imports) in the United States. Stivell's first major solo album, Renaissance of the Celtic Harp (1972), remains a favorite among fans of the stringed instrument, while his later albums also display his abilities with bagpipes and as a singer. For a time during the mid-'70s, his success placed traditional Breton and Celtic music on the English charts on a regular basis.

Stivell's biggest accomplishment, however, involved the rebirth and rediscovery of an instrument and an entire cultural history. His career brought to fruition the revival of the Breton harp that his father had begun in the 1930s and '40s. The harp had a long and honored place in the history of the Celtic peoples, first embraced (and possibly invented) by the primordial Irish people, who carried it to Scotland and Wales, and later to Brittany and the rest of the European mainland. Although preserved as an image in numerous works of art, the Breton harp had receded from memory and use well before the 20th century. Alan Stivell played his father's first modern Breton harp for the first time in 1953, and within 20 years there were over 100 players where there had been none. Stivell has also uses harps from Ireland, Scotland, and Wales in his recordings and performances.

More recently, he has moved in two different directions simultaneously, into the realm of folk-rock with a band of Breton musicians, and serious music with his Celtic Symphony, a work for mixed ensemble of orchestra, Breton and Irish instruments, and voices. A somewhat enigmatic figure, given his focus on Breton culture, Stivell is one of the most compelling of folk musicians, and has achieved stature outside the folk music world, such that musicians like Kate Bush have appeared on his recent albums.

Alan Stivell's music has found an audience among people who have never been anywhere near Brittany, Ireland, Scotland, or Wales. The Celtic peoples were among the western-most settlers of Europe, and occupied some of the bleakest yet most starkly beautiful land in Europe -- the Romans, in particular, couldn't understand why any sane race would want to live in those places; but, of course, the Romans are gone, buried, and seldom discussed save for their language and a handful of literary works and historical figures; by contrast, hardly anybody born outside of Scotland or Wales can speak those native languages (or would want to -- and the last native speaker of Manx died some years ago), but their music is still played, and their culture exerts a pull on people the world over. Celtic music has always had an element of loneliness, of the single harpist, piper, or drummer looking out across the vastness to the West (all that lay west was, of course, the Atlantic Ocean and America some three thousand miles away), and Stivell, more than any other single musician, captures the inherent joy, wistfulness, and loneliness in this music.

Additionally, some of the more recent developments in music and audiences have expanded his audience even further. His harp recordings, with their enveloping lyricism and tightly interwoven patterns of variations, can appeal to more serious listeners of new age music. Stivell's main audience, however, lies with fans of Celtic music and culture, and English folk music. Embracing ancient and modern elements, but (apart from his folk-rock work) making no compromises to modern melodic sensibilities, his music captures the mystery and strangeness of Breton, Irish, Welsh, and Scottish landscapes that are both ageless and timeless. It is haunting, mysterious, and beautiful, with no equivalent in modern popular music and few peers in the realm of commercial folk music. ~ Bruce Eder, All Music Guide [-] Hide

Phil Coulter's Irish/Celtic style of piano and orchestral classics can be heard again on his newest release called Scottish Tranquility. This is his eighth release... ~ MusD, All Music Guide

Phil Coulter's Irish/Celtic style of piano and orchestral classics can be heard again on his newest release called Scottish Tranquility. This is his eighth release... ~ MusD, All Music Guide [-] Hide

Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt's composing and songwriting abilities lacking of any luster... [+] Read More

Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt's composing and songwriting abilities lacking of any luster (as they most certainly are not), her voice would still possess the strength to hold her fifth album, The Mask and Mirror, up on its own. But the combination of this talented woman's vocal prowess and songwriting ability makes her all the more similar to her work -- ethereal and almost unbelievable in its level of quality. A mythical menagerie, The Mask and Mirror contains songs that lift the veil to reveal the soul of McKennitt's work in eight dreamlike, Celtic-inspired tracks. The opening track, "The Mystic's Dream" (featured on the TNT movie The Mists of Avalon, based on the novel by Marion Zimmer Bradley), is a haunting tune that features McKennitt at her most heavenly peak as a vocalist, evoking the spirits of the instruments and Gregorian chant-like background vocals that accompany her on the track. The album excels at conjuring up mythical visions in the listener's imagination, as with the gypsy-like tune "Marrakesh Night Market," which echos of the picturesque scene the title invokes. The soul-searching "Full Circle" best exhibits McKennitt's ability to transpose the true meaning of the lyrics into her songs. Even after the song ends, the somber mood lingers softly in the air. The balalaika (a three-stringed triangular-shaped instrument), the bouzouki (an eight-stringed instrument), and the hurdy-gurdy (a stringed instrument that also has keyboard and percussion parts) are among the rare, strange instruments introduced on many of the songs, including the lighthearted, uplifting "Ce He Mise Le Ulaingt? (The Two Trees)," on which these instruments demonstrate their incredible quality and prowess. The lyrics of this track are none other than the words of the poem of the same name by William Butler Yeats. McKennitt's unique use of the lyrical words of William Shakespeare, combined with her skillful adaptation of the words to the heavenly, undulating music, make the final track, "Prospero's Speech," an inspiration in itself. [In 2004, Mask and Mirror was re-mastered and re-released with new liner notes and a bonus DVD that featured videos for "the Bonny Swans" and "the Mummers' Dance," as well as a twenty-six minute documentary exploring the artist's myriad of influences.] ~ Kerry L. Smith, All Music Guide [-] Hide

Really only the best of their Shanachie releases, it's still a great compilation. ~ Steve Winick, All Music Guide

Really only the best of their Shanachie releases, it's still a great compilation. ~ Steve Winick, All Music Guide [-] Hide

Even though the visual elements are missing, this soundtrack to Riverdance sounds quite spectacular, making a no-holds-barred attempt to captivate the listener with grandiose variations on Celtic musical forms. Adding to the grandeur and magic of the music are performances by artists such as Davy Spillane, Maire Breatnach, Anúna, Nicola Parov,... [+] Read More

Even though the visual elements are missing, this soundtrack to Riverdance sounds quite spectacular, making a no-holds-barred attempt to captivate the listener with grandiose variations on Celtic musical forms. Adding to the grandeur and magic of the music are performances by artists such as Davy Spillane, Maire Breatnach, Anúna, Nicola Parov, and others who are forces to reckon with individually. The music transits between soaring vocal pieces and floor-shaking orchestral numbers that possess astonishing energy. Lead ceilidh dancer Michael Flatley left the production under something of a cloud, turning up later with the derivative and far more mediocre Lord of the Dance. On this recording he, female lead Jean Butler, and the other ceilidh dancers can be heard providing taps on three tracks, including the thunderous "The Countess Cathleen/Women of the Sidhe." ~ Steven McDonald, All Music Guide [-] Hide

Alan Stivell's latest album is a journey into traditional Celtic music, adapted and arranged in settings ranging from soft folk-rock ("Ye Banks and Braes") to full electric band ("Brian Boru"), accompanied by a group that includes Maire Breatnach (vocals, fiddle), Ronan Browne (pipes, flute, whistle), Tracey Booth (vocals), Marc Chantereau... [+] Read More

Alan Stivell's latest album is a journey into traditional Celtic music, adapted and arranged in settings ranging from soft folk-rock ("Ye Banks and Braes") to full electric band ("Brian Boru"), accompanied by a group that includes Maire Breatnach (vocals, fiddle), Ronan Browne (pipes, flute, whistle), Tracey Booth (vocals), Marc Chantereau (percussion), Guy Delacroix (bass), Jean-Jacques Hertz, Martin Meissonnier, and James Dollar (electric guitars). The effect is spellbinding, as polyrhythms intersect and interweave, electric guitars, harps, and pipes complement each other (most strikingly on the high-energy "Sword Dance"), and Stivell's vocals -- sounding like they come from a far and distant place -- carry the listener into new levels of musical creation and invention. Some of the music, such as "Let the Plinn," lacks much more than chanting and a vigorous percussion attack, but most of this album is filled with melodies that seduce and beguile the modern listener with amazing ease. Highlights include the dazzling title track, "Mna Na hEireann," and "Mairi's Wedding," the latter one of the most passionate rock-style songs Stivell has ever cut. ~ Bruce Eder, All Music Guide [-] Hide