With her blend of folk melodies, synthesized backdrops, and classical motifs, Enya created a distinctive style that more closely resembled new age than the folk and Celtic music that provided her initial influences. Enya is from Gweedore, County Donegal, Ireland, which she left in 1980 to join the Irish band Clannad, the group that already... [+] Read More

With her blend of folk melodies, synthesized backdrops, and classical motifs, Enya created a distinctive style that more closely resembled new age than the folk and Celtic music that provided her initial influences. Enya is from Gweedore, County Donegal, Ireland, which she left in 1980 to join the Irish band Clannad, the group that already featured her older brothers and sisters. She stayed with Clannad for two years, then left, hooking up with producer Nicky Ryan and lyricist Roma Ryan, with whom she recorded film and television scores. The result was a successful album of TV music for the BBC. Enya then recorded Watermark (1988), which featured her distinctive, flowing music and multi-overdubbed trancelike singing; the album sold four million copies worldwide. Watermark established Enya as an international star and launched a successful career that lasted well into the '90s.

Enya (born Eithne Ní Bhraonáin) was born into a musical family. Her father, Leo Brennan, was the leader of the Slieve Foy Band, a popular Irish show band; her mother was an amateur musician. Most importantly to Enya's career, was her siblings, who formed Clannad in 1976 with several of their uncles. Enya joined the band as a keyboardist in 1979, and contributed to several of the group's popular television soundtracks. In 1982, she left Clannad, claiming that she was uninterested in following the pop direction the group had begun to pursue. Within a few years, she was commissioned, along with producer/arranger Nicky Ryan and lyricist Roma Ryan, to provide the score for a BBC-TV series called The Celts. The soundtrack was released in 1986 as her eponymous solo album.

Enya didn't receive much notice, but Enya and the Ryans' second effort, Watermark, became a surprise hit upon its release in 1988. "Orinoco Flow," the first single, became a number one hit in Britain, helping the album eventually sell eight million copies worldwide. Enya spent the years following the success of Watermark rather quietly; her most notable appearance was a cameo on Sinéad O'Connor's I Do Not Want What I Haven't Got. She finally released Shepherd Moons, her follow-up to Watermark, in 1991. Shepherd Moons was even more successful than its predecessor, eventually selling over ten million copies worldwide; it entered the U.S. charts at number 17 and remained in the Top 200 for almost four years.

Again, Enya was slow to follow up on the success of Shepherd Moons, spending nearly four years working on her fourth album. The record, entitled Memory of Trees, was released in December of 1995. Memory of Trees entered the U.S. charts at number nine and sold over two million copies within its first year of release. In 1997 came the release of a greatest-hits collection, Paint the Sky with Stars: The Best of Enya, which featured two new songs. Enya's first album of new material in five years, Day Without Rain, was released in late 2000. In 2002, she contributed material to the first film in Peter Jackson's award-winning Lord of the Rings trilogy, scoring a hit with the single "May It Be." Amarantine, her first full-length recording since Day Without Rain, followed in November of 2005. ~ Stephen Thomas Erlewine & William Ruhlmann, All Music Guide [-] Hide

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

A pan-Celtic approach is taken by the British group House Band; while their sound is rooted in traditional music, their repertoire includes tunes from Ireland, Scotland, Brittany, Bulgaria and even Africa. In addition to numerous folk songs and instrumentals, the House Band has interpreted songs by contemporary songwriters ranging from Archie... [+] Read More

A pan-Celtic approach is taken by the British group House Band; while their sound is rooted in traditional music, their repertoire includes tunes from Ireland, Scotland, Brittany, Bulgaria and even Africa. In addition to numerous folk songs and instrumentals, the House Band has interpreted songs by contemporary songwriters ranging from Archie Fisher and Richard Thompson to Elvis Costello and jazz pianist Abdullah Ibrahim (Dollar Brand).

The House Band was formed as a quartet by Ged Foley (vocals, guitar, Northumbrian pipes), Chris Parkinson (accordion, harmonica, melodeon, keyboards), Iain MacLeod (ten-string mandolin, guitar, vocals) and Jimmy Young (smallpipes, flute, whistle). They were together for just over a year and recorded the band's self-titled debut album.

A native of County Durham, England, Foley had performed on the British folk circuit before joining the Battlefield Band in the early 1980s. The grandson of a piano player, he received his first guitar at the age of 14 or 15. After seeing a musician play Northumbrian pipes, a scaled-down version of the Highland pipes played with bellows, he acquired his own instrument and taught himself to play.

Yorkshire, England-born Parkinson began playing harmonica at the age of three of four and later taught lessons on the instrument. He received his first melodeon as a teenager. At the age of 21, he was introduced to folk music by a sister who was interested in folk dancing. In 1976, he acquired a piano accordion and taught himself to play in a French Canadian or French-influenced style that he dubbed Lancashire Cajun. An active session player in the early 1980s, Parkinson was a member of the tradition-rooted band Yorkshire Relish.

In 1986, MacLeod and Young left the group, and John Skelton (flute, bombarde, whistle, bodhran) joined along with vocalist Brian Brooks after the demise of their London-based group Shegui (she-gwee). Skelton, who grew up in Somerset, England, played tin whistle for dances as a youngster. While attending college near London, he rediscovered Irish music and started traveling to Ireland for several weeks each summer. He acquired a flute after hearing a performance by Mikey Cronin of Bally Desmond, County Kerry. As a member of Shegui, he sharpened his skills by performing in Irish pubs six nights a week and Sunday mornings. In 1973 he bought a bombarde, trading lessons in Irish music for instruction on the instrument.

When Brooks left the House Band after two years, the group temporarily continued as a trio. The band's newest member, Roger Wilson (guitar, fiddle, vocals), joined shortly before the recording of the House Band's seventh album, Rockall, in 1996.

Tracks from the House Band's first two albums, The House Band and Pacific, were released in the United States as Groundwork in 1993. ~ Craig Harris, All Music Guide [-] Hide

The original traditional Irish folk band, as far as anyone who came of age in the 1970s or 1980s is concerned, is the Chieftains. Their sound, built largely on Paddy Moloney's pipes, is otherworldly, almost entirely instrumental, and seems as though it comes out of another age of man's history. That they became an international phenomenon in the... [+] Read More

The original traditional Irish folk band, as far as anyone who came of age in the 1970s or 1980s is concerned, is the Chieftains. Their sound, built largely on Paddy Moloney's pipes, is otherworldly, almost entirely instrumental, and seems as though it comes out of another age of man's history. That they became an international phenomenon in the '70s and '80s is testament to their virtuoso musicianship.

The Chieftains were first formed in Dublin during 1963, as a semi-professional outfit, from the ranks of the top folk musicians in Ireland. Until that time, and for some years after, the world's (and even Ireland's) perception of Irish folk songs was rooted in either the good-natured boisterousness and topicality of acts such as the Irish Rovers or Tommy Makem and the Clancy Brothers, or the sentimentality of Mary O'Hara. That began to change in Ireland with the advent of Ceoltoiri Cualann, a group formed from the ranks of the best traditional Irish musicians by a composer named Sean Ó Riada, who hailed from County Cork. Ceoltoiri Cualann, which specialized in instrumental music, stripped away the pop music inflections from Irish music -- the dances were played with a natural lilt and abandon that came from deep within the music's origins, and the airs, stripped of their worst modern inflections, came across with even greater poignancy than anyone had recognized them for in decades, and perhaps centuries. Tempos were changed in midsong, from reel to polka to jig to slow air and back again.

Paddy Moloney came out of Ceoltoiri Cualann to found the Chieftains in 1963, seeking to carry this work several steps further. The earliest recorded incarnation of the group consisted of Moloney (pipes), Sean Potts (tin whistle), Martin Fay (fiddle), David Fallon (bodhran), Mick Tubridy (flute, concertina), and Ó Riada. They were a success virtually from the beginning, their music weaving a spell around audiences in Ireland and later in England, where they quickly became popular as both a performing and recording act -- the only thing holding them back was the decision by the members to remain a semi-professional, part-time ensemble until the early '70s. Their first four albums, spread over a period from 1965 through 1973, were originally available only from the Claddagh label in Ireland, but were later picked up by Island Records for release in England and America in 1976, after the group had achieved international renown.

The 1970s saw the group break big in America. A new, younger generation of Irish-American listeners, who enjoyed folk music and whose cultural and musical tastes weren't limited to songs about "the troubles" (i.e., England), had already begun discovering the Chieftains' music in the early to mid-'70s. By that time, the group had elected to go professional, and to expand its lineup. Ó Riada and Fallon left after the first album, and Peadar Mercier (bodhran) and Sean Keane (fiddle) joined with the second. Following the recording of Chieftains 4, they'd added Ronnie McShane (percussion) and Derek Bell (harp, oboe, timpan), a classically trained musician. Bell's harp lent the group's sound a final degree of elegance and piquancy.

The group's big breakthrough in America, however, occurred when they provided the music for Stanley Kubrick's 1975 movie, Barry Lyndon. The film itself wasn't a hit, but the Chieftains were, especially one track called "Women of Ireland," which began getting played heavily on FM progressive rock stations, and even managed to get onto the play lists of some Top 40 stations. Suddenly, the Chieftains were hot in America, and a U.S. tour and a series of performances on television -- especially the network morning news/feature shows -- brought them into demand.

By that time, Island Records had contracted to release both the group's latest album, Chieftains 5, and their four previous records in England and America. With their newfound audience, Chieftains records started coming out every year instead of every two or three years -- Bonaparte's Retreat in 1976, Chieftains Live in 1977, and Chieftains 7, 8, and 9 in 1978, 1979, and 1980, respectively, although for their U.S. releases, from 1977 through 1980, they abandoned Island Records in favor of Columbia Records. Ever since the dawn of the CD era, their music has been available on compact disc from Shanachie Records, while their more recent work has shown up on the BMG label, on both compact disc and home video. The latter have included a Christmas concert and a mixed-ensemble performance interweaving the group with orchestras, American folk and country musicians, and rock musicians, and an album (Irish Heartbeat, 1988) recorded with Irish-born R&B shouter Van Morrison. Additionally, the group has been engaged steadily for film work.

Since the late '70s, the group's recordings have settled into an effective but not fully inspired level of creativity. The band has kept its sound fresh with the periodic addition of new members and a search for sounds beyond the boundaries of Ireland -- as distant as Spain -- as sources for its music.

In 2003, long time harp player Derek Bell passed away while on tour in Phoenix, AZ. The group, who continue to play and record, released a tribute in 2005 called Live in Dublin. ~ Bruce Eder, 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

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Thanks to its distinct, downright catchy single "Orinoco Flow," which amusingly referenced both her record company boss Rob Dickins and co-producer Ross Cullum in the lyrics, Enya's second album Watermark established her as the unexpected queen of gentle, Celtic-tinged new age music. To be sure, her success was as much due to marketing a niche... [+] Read More

Thanks to its distinct, downright catchy single "Orinoco Flow," which amusingly referenced both her record company boss Rob Dickins and co-producer Ross Cullum in the lyrics, Enya's second album Watermark established her as the unexpected queen of gentle, Celtic-tinged new age music. To be sure, her success was as much due to marketing a niche audience in later years equally in love with Yanni and Michael Flatley's Irish dancing, but Enya's rarely given a sense of pandering in her work. She does what she does, just as she did before her fame. Admittedly, avoiding overblown concerts run constantly on PBS hasn't hurt. Indeed, the subtlety that characterizes her work at her best dominates Watermark, with the lovely title track, her multi-tracked voice gently swooping among the lead piano, and strings like a softly haunting ghost, as fine an example as any. "Orinoco Flow" itself, for all its implicit dramatics, gently charges instead of piling things on, while the organ-led "On Your Shore" feels like a hushed church piece. Elsewhere, meanwhile, Enya lets in a darkness not overly present on The Celts, resulting in work even more appropriate for a moody soundtrack than that album. "Cursum Perficio," with her steady chanting-via-overdub of the title phrase, gets more sweeping and passionate as the song progresses, matched in slightly calmer results with the equally compelling "The Longships." "Storms in Africa," meanwhile, uses drums from Chris Hughes to add to the understated, evocative fire of the song, which certainly lives up to its name. Watermark ends with a fascinating piece, "Na Laetha Geal M'Oige," where fellow Irish modern/traditional fusion artist Davy Spillane adds a gripping, heartbreaking uilleann pipe solo to the otherwise calm synth-based performance. It's a perfect combination of timelessness and technology, an appropriate end to this fine album. ~ Ned Raggett, All Music Guide [-] Hide

Susan McKeown is an Irish folk musician with an unusually diverse resume. She has made albums of original music and albums of traditional songs, including a stunning collection of seasonal tunes entitled Through the Bitter Frost and Snow, on which the primary instruments were McKeown's voice and Lindsey Horner's string bass. She has also... [+] Read More

Susan McKeown is an Irish folk musician with an unusually diverse resume. She has made albums of original music and albums of traditional songs, including a stunning collection of seasonal tunes entitled Through the Bitter Frost and Snow, on which the primary instruments were McKeown's voice and Lindsey Horner's string bass. She has also collaborated with numerous musicians from traditions both within and without the Celtic the world, and her music has been used in TV commercials for products as diverse as facial cream and automobiles. At this point, the only really surprising thing she could have done would have been to make a primarily traditional Irish album, which is exactly what she's done with the beautiful Lowlands. Granted, the instrumentation is frequently unusual -- on the haunting "Dark Horse on the Wind" she's accompanied by banjo and erhu (a Chinese bowed instrument), and on "Bonny Greenwoodside" she plays finger cymbals while others play the tabla and caxixis. But the songs are very definitely from the Irish tradition, and her delivery is as hair-raising as ever. Highlights include the slightly flamenco-flavored "Slan agus Beannacht (Goodbye and Farewell)" and the anguished, a capella "Dark Horse on the Wind." Highly recommended. ~ Rick Anderson, All Music Guide [-] Hide

On this album, McKeown brings her eloquent and haunting voice, as well as the instrumental talents of a distinguished cast of supporting musicians, to bear on a set of traditional Celtic and British songs. Most of her accompanists are Irish musicians, but the arrangements are anything but traditional: McKeown sings "In London So Fair" over a... [+] Read More

On this album, McKeown brings her eloquent and haunting voice, as well as the instrumental talents of a distinguished cast of supporting musicians, to bear on a set of traditional Celtic and British songs. Most of her accompanists are Irish musicians, but the arrangements are anything but traditional: McKeown sings "In London So Fair" over a shimmery bed of looped whistles and mandolins; "Bonny Boy" is delivered a cappella in a controlled voice that hints at an underlying frenzy of rage and sexual frustration; and her accompaniment on "The Mountain Streams Where the Moorcocks Crow" consists entirely of tabla, tambura and low whistle-a truly bizarre instrumentation that fits so perfectly with her quiet, resigned delivery that you may not even notice its strangeness. McKeown has taken an ancient repertoire and made it entirely new and her own, with wonderful results. ~ Rick Anderson, All Music Guide [-] Hide

By combining traditional Celtic music with country and a spectacular live act, Canada's Leahy drew rave reviews, and their self-titled debut is the closest you can get to the excitement of a Leahy concert. The two best tracks are undoubtedly "The Call to Dance" and "B Minor," which both have accompanying videos as well. The former starts quiet... [+] Read More

By combining traditional Celtic music with country and a spectacular live act, Canada's Leahy drew rave reviews, and their self-titled debut is the closest you can get to the excitement of a Leahy concert. The two best tracks are undoubtedly "The Call to Dance" and "B Minor," which both have accompanying videos as well. The former starts quiet and slow, eventually becoming a full-blown dance tune, while the latter is the album's leadoff track and serves as a fine introduction to Leahy (foot-stomping rhythms, swirling fiddles, piano flourishes, etc.). Other highlights include "Czardas," a Hungarian dance tune that is a showcase for the talents of fiddler Donnell, and "Alabama," which creates a wonderful, festive atmosphere. Leahy's self-titled debut is a must-have for fans of expertly crafted -- and played -- world music. ~ Greg Prato, All Music Guide [-] Hide