The first time I saw Brian Kennedy,on his Dublin debut in 1989, I was reduced to silence by the power and majesty of his voice, and, to be truthful – even if some of his material has not always best served him in the interim – I have yet to hear its equal.
A new name to me, Neil Myles has, it appears, been travelling to foreign parts these last few years, but is now back in Drogheda, from where his gameplan for world domination is being launched...
For more than 30 years now, Colum Sands and his siblings have observed the fabric of Northern Ireland as its society struggles with the notion of political change, and the methods employed to achieve it. Not for them the high moral tone of the artist as commentator; their preferred conduit is humour and gentle persusion, the pointing up of folly through the well chosen word.
On the evidence of this, his debut album, he may well have a point, for it’s as good a collection of material as I’ve heard in recent times, inviting comparison with better known names like Paul Brady and – from a vocal perspective – Liam Reilly.
So it proves – in Mickey Harte we have a writer of significant talent, who takes his inspiration from the likes of Rodney Crowell, Ron Sexsmith and Josh Ritter
There is something endearingly original about the whole shebang, though this view is of necessity tempered by some negatives, the most striking being that each and every song is too darn long.
The subtitle of this album – Love Songs From Ireland – certainly conveys the impression that it is aimed at communities beyond these shores,including those whose experience of the genre is a twenty-second soundbite from Riverdance on American TV.
Eleven songs sit comfortably here, each approaching a state close to perfection, with subjects as varied as international terrorism and fractured love affairs to engage the listener.
Where bluegrass was once the preserve of the traditionalists, the infusion of youth into its ranks has opened up a plethora of possibilities for its development. Alison Krauss and Union Station are at the head of this move
Although grounded in bluegrass, Nickel Creek’s musical canvas is a great deal more expansive, with nods to swing, rock and roll,country ,and the Irish tradition
At their best they are truly wonderful, at their worst - though it doesn’t often happen - there's always a glimmer of hope that something wild will happen
While it is grounded in the tradition in style, structure and presentation, no less than eight of the songs on Somewhere Along The Road are of contemporary origin, five of them at least part-written by Cathie herself
This album, an encapsulation of some, but by no means all of their finest moments, is a shining example of how good music can prosper by changing, but not shedding, its skin
It is, I suppose, no coincidence that Denis McArdle earns a crust as a documentary film-maker, for this, his debut album, is an engaging and absorbing work, cinematic in its range and ambition
The Solas we knew is, on record at least, no more. In its place is a highly polished outfit bringing their own muse to new pastures, where the technical possibilities of the various instruments are stretched in all sorts of ways, usually delivering that which is sought
Sweet Water is an assured, accomplished affair, the songs marinaded in life's experience, reflective and wry, and destined for a great deal more exposure than has been his lot thus far
The key to everything is of course the group's total empathy with their material, guitar, violin and percussion accentuating the power of tracks like 'The Raid', a 900-year-old piece, to devastating effect
Sacred space is if anything an even finer piece of work than Lifting The Veil, its mixture of the abstract and the personal making connections on many levels.
On Lunasa's third album, the alchemy is much as before, aided and abetted by the subtle playing of guest musicians of the calibre of Ed Deane, Kieran Wilde, and Frames man David Odlum
Since Ursula Burns' last album, the quirky According To three years ago, I'm told that she has done a great deal of roadwork in the name of music - and on her return, there isn't a harp in sight. Now that's a real break with the past.
Few, if any performers in the English folk tradition - with the exception of Richard Thompson - have as distinctive a style or presence as Martin Carthy.
A friend of mind, no slouch on vocals or guitar, auditioned in the Top Hat in Dun Laoghaire for Emmet Spiceland, but we both knew the jig was up when Leo O'Kelly walked on to the stage. The quality of his songs with Tnr na nSg still resonate with many of us but, remarkably Glare is his first solo outing.
The title refers to body parts on the fiddle and uilleann pipes, and heralds the arrival of siblings Eoghan and Flaithrm Neff, a duo which reminds me from the off of the casual but drum-tight interplay between Paddy Keenan and Tommy Peoples in the early line-up of The Bothy Band.
The low whistle, its use pioneered by such musicians as Finbar Furey, Paddy Keenan and the above named maestro, has never been the subject of a full recording up to now. It is entirely fitting that such a task should fall to Joe McKenna, a seriously underappreciated musician.
Reunions can often be a grave disappointment, especially if the primary motive is financial recompense. In these situations, the 'grande reproachment' can end in tears.
Reunions can often be a grave disappointment, especially if the primary motive is financial recompense. In these situations, the 'grande reproachment' can end in tears.
A couple of years ago I saw the Shoogles at the Cambridge Folk Festival - it was without doubt one of the best sets of the entire weekend.
Shooglenifty's roots are in Scottish folk music, but their electrified line-up, including a rhythm section, means that there is a more contemporary tone to what they do.
A true icon of country music, Haggard has more often identified himself with the concerns of blue-collar America than with the 'tear in my beer,my baby done left me, and shot granny as she was passing' brigade.
Leo Richard’s piping lineage is much influenced by the late Johnny Donan and Leo Rowsome. Richard himself has taken wisely from the source, but augmented the influences with some very individual characteristics.
After a couple of decades of tinkling the ivories and purveying a distinctive style of orchestrated Irish and Celtic Music, Phil Coulter releases this, an entirely vocal album.
While he is no Pavarotti, his voice has a warm, lived-in quality.
That we have a very strong core of songwriters who have not yet made it to a high level of prominence is an accepted fact; it is also true that there are those who with a little encouragement, discipline and luck, would
make it to a higher level. This CD, mixed bag though it is, is ample proof that there is plenty of talent waiting in the wings.
For three decades now Jimmy Crowley has been ploughing the most individual of furrows, unafraid to debunk myths, legends or the conventionally popular.
From their earliest days busking in Grafton Street as The Benzini Brothers, to their most recent incarnation as a trio, there has always been a freshness about the Hothouse Flowers and their material.
With their lopsided grins, and songs of a similar disposition, the 4 Of Us have wormed their way into many hearts since the release of their first album some eight or so years ago. They have now decided to reinvent some of their work from the past.
Attempting to step into the shoes of a legend, especially one such as Billie Holiday, would be a daunting task for anyone. But it does help if, like Mary Coughlan, one is a bit of a legend oneself.
Alternative American country has never been healthier, with outfits like The Pernice Brothers, The Handsome Family, Calexico and Lambchop blazing diverse trails all across the landscape.
Product of a musical family and sister of Rita, her pedigree is quite flawless, but this is Ursula Connolly’s first solo outing on disc and all things considered, it’s quite an assured calling card.
One of the true icons of country music, Willie Nelson has seen more of life than most of the rest of us combined – including well publicised bouts with alcohol and drugs and a particularly intimate knowledge of the workings of the IRS.
Listening to Jamie Marshall's debut, Chris Rea and Stevie Winwood are two musical reference points which come to mind. I know absolutely nothing about this man, but I will say this: anyone who can write two songs as good as 'The Judas Tree' and 'Which Side Of The Line' is worthy of some closer attention. The rest of Here After isn't nearly as good.
As a member of sixties' psychedelic folkies Dr. Strangely Strange, Tim Goulding and his cohorts made some mighty music, if at times it was a little... well... strange. Thirty years on, on occasion at least, he still retains the ability to surprise and enthrall.
With a string of hits for other performers, Gretchen Peters is very much a writers' writer, with Bryan Adams - co-writer of seven songs with her on his On A Day Like Today album - and Trisha Yearwood prominent on her list of admirers.
Superstar collaborations can be very messy affairs, egos audibly jostling in front of the mikes for available space but this one - and no surprise, in truth - is a fine example . . .
To interpret the work of a composer such as Duke Ellington is a difficult task by any yardstick; the music is very complex and transcends much of the construct of jazz, into which genre it is usually placed.
Cathal McConnell is possessed of a prodigious musical talent, being widely regarded as one of Ireland's greatest flute and whistle players, and no mean singer to boot.
Strangely Science & Nature starts off at its nadir with the uninspired 'Zorro' then steadily trundles uphill, through leisurely-paced 'The Last Of The Great Navigators'.
This is Anam's third album in the current phase of their development, which features both major personnel changes and a move away from Irish material towards that of Scotland and Cornwall.
WITH EACH successive album, Cran's music has matured like whiskey in a cask. From the opening bars of the first track 'Erin' you know instinctively that something special is afoot.
This, Tarika's fourth album, has been recorded and ready for quite some time, but was back-burnered for several months following the dissolution of their label, Wicklow.
His pedigree is without peer, his recordings warm-hearted organic experiences which entice both casual listener and fellow musicians alike. James Keane's music is truly of the people, the generosity of his approach connecting several generations of Irish musicians.
THIS IS quite a progression on Dordán’s previous albums. The essential sound is still the same – violin, harp and all manner of whistles hold the melodic ground, but this time the guitar, from both Stephen Cooney and newest member Martina Goggin, is much more in evidence as a rhythm instrument. In addition, Martina handles percussion duties with some distinction, and also contributes four songs to the album.
THERE’S A wealth of talent these days in Irish music, much of it difficult to harness for one reason or another, however, Lúnasa seem to have the magic formula – four superb musicians who complement each other in both music and temperament, great tunes which are well arranged, and the ability to surprise and hold the listener from beginning to end.
I HAVE to say that I have always loved Christie Hennessy’s material. Perhaps more than any songwriter working today, his stuff is the real deal, with no attempt at artifice or concealment. But that is not to say that his songs are not insightful, for he deals with a wide range of issues in his material, from loneliness to mental illness, and always with a sensitive hand.
Bitter is one of the finest albums I have heard for quite some time. All 12 songs are snapshots which with a little imagination on the listener’s part become full length movies.
The atmospherics give the album a compelling sound and a good listen will be repaid with handsome dividends.
The transition from soap star to credible performer is always a difficult one, given that any such move is bound to be greeted with cynicism. In this instance, however, such an attitude might be a tad misplaced, because, believe it or not, Ms McCutcheon, unlike some of her peers, can actually sing.
The Irish are storytellers supreme, and for four decades now Ronnie Drew has been one of our most engaging raconteurs, both within and outside the context of the Dubliners.
Like many others, I must admit to being a tad underwhelmed with Mary Black's last couple of albums, a lack of direction characterising one, an end-of-cycle lassitude the other.
So it was that I approached this, her latest offering, with some trepidation. After just one listen I was convinced that I had heard one of the albums of the year thus far.
Like many others, I must admit to being a tad underwhelmed with Mary Black's last couple of albums, a lack of direction characterising one, an end-of-cycle lassitude the other.
So it was that I approached this, her latest offering, with some trepidation. After just one listen I was convinced that I had heard one of the albums of the year thus far.
Ór, meaning gold, is indeed a suitable title for this collaboration between two of Ireland's finest acoustic labels, bringing together as it does 16 tracks going back over a 30-year period, which indicate at first glance just what a rich seam our native music mines.
He's a musician of exceptional skill and creativity, who has brought his brand of magic to the assistance of many others, including Van Morrison - so I guess it was only a matter of time before he made his own solo album.
This project is the brainchild of one Mark Lawlor, who purveys a nice if unspectular line in folk rock motifs with occasional forays - as in 'Gill with a G' - into grunge guitar territory.
There are signs though, that with a little more focus in certain areas, something better should come from this in the medium to long term.
About 30 years or so ago I first saw the Bridge Céilí Band in Dublin's National Stadium and I thought that they were brilliant, form and energy coalescing in a marvellous full frontal sonic attack. Their new album - so aptly named - shows clearly that neither time nor the ageing process has dimmed their lights one whit as they steam through a 14-track collection which includes eight (yes, eight) sets of reels.
I have been a fan of Niamh Parson's singing since I first saw her perform in the mid '80s, both solo and with her then outfit Killera. She is posessed of an astonishing vocal range and an uncanny ability to pick the right material.
In the broad arena, the Irish language has rarely been given the credit it deserves. Reasons abound for this state of affairs - a cack-handed policy regarding its teaching since the State's foundations, the cosy 'club' atmosphere of some of those who use it, alluded to by Liam O'Maonlai in a recent interview in this magazine, and the 'what use is it' brigade shouting from the rooftops.
Superstar collaborations can be strange beasts - either exercises in vanity and ego, or an attempt by the bean counters to bloat the corporate coffers. When, on the other hand, the participants have waited 11 years to do it again one might be forgiven for expecting the delay to be worthwhile.
As the title might suggest, this album marks a forward movement for Eileen Ivers, not only in terms of her career path, now very firmly in the ascendant, but also by way of connecting her past to her future.
Previously better known for its strengths in traditional music, Galway is now playing host to some very strong contenders in the rock arena. Its status as a college town has, no doubt, something to do with this, but then it has always been a melting pot for fusion of ideas.
16 years a teacher of Irish, Oliver P. Sweeney is ideally placed to reflect on the past, present and future status of our native tongue and the culture with which it is inextricably linked.
FRANKIE KENNEDY - R.I.P.
WRITING ABOUT death is never easy, but trying to find the appropriate words to mark the sad passing of Frankie Kennedy is, for me, particularly difficult.
The first-ever dedicated sound and lighting exhibition to be held in this country takes place at the Green Isle Hotel in Dublin during October. Entitled ISLEX ’94, it’s being run by experienced exhibition organisers KMS & MD Associates. Report: Oliver P. Sweeney.
Hearts In Armor is the latest album from Trisha Yearwood, the most hotly-tipped of the new breed of female artists shaking life into country music. It looks set to better the success of her million-selling debut. Report: Oliver P. Sweeney
ASLAN (Midnight At The Olympia, Dublin)
EXPECTATIONS and emotions were high, and given further impetus by the behind-the-curtains intro to 'It's Been So Long', and the big question on everyone's mind was the obvious one? Could Aslan, after a five year break still have the old, old magic.
SCHOOLED in the old way, under the tutelage of such luminaries as Leo Rowsome and Séamus Ennis, Neil Mulligan's music belongs not to the I'll-get-more-notes-in-if-it-kills-me formula of modern music, but to a gentler, more reflective, age.
Whatever your fancy chances are the capital will be able to oblige. Here, the Hot Press team pound the pavement in selfless pursuit of Dublin's hottest - and coolest - nightspots.
Whatever your fancy chances are the capital will be able to oblige. Here, the Hot Press team pound the pavement in selfless pursuit of Dublin's hottest - and coolest - nightspots.
IN HER collaborations with the likes of Mary Black, Sharon Shannon and The Fallen Angels, Maire Breatnach has always invested their work with something extra special.
EVERY SO often there comes along a record that you know, you just know, is destined to become a lifetime favourite. The Bothy Band's debut was one: Martin Hayes' eponymous debut is another such album.
The haunting melodies which lie at the heart of Clannad's appeal have beauty all of their own making, and the x-factor in their aural impact is the voice of Máire Brennan.
1988 was a year characterised by solid, rather than spectacular achievements. On the live front came Ario Guthrie, Joe Ely, Peter and Lorin Rowan, but pride of place must go to the home-grown splendour of Arcady, a band for the future if ever I saw one.
In a year that saw U2 take on the world and win hands down, with a string of superb concerts and the album to beat all in ‘The Joshua Tree’, there was much to be leased with in terms of Irish bands consolidating their reputations.
