Hello! This page is part of an opinionated overview of Celtic and British folk music, with record reviews by me, Joe Sixpack... This is not meant to be taken as a "definitive" resource, but rather as a record of some of the music which has caught my interest. I'm always looking for more good music to explore, so your comments and suggestions are welcome.
Dolores Keane "There Was A Maid" (Claddagh, 1978)
She looks so stern on the album's cover, yet the music is so lovely! Emerging in the late 1970s from her native Galway, Keane swiftly established herself as one of Ireland's best interpreters of traditional song, with a lovely voice that retains a hint of historical menace. These early recordings, with sympathetic but somewhat minimal backup instrumental accompaniment, aren't quite as incandescent as the Broken Hearted I'll Wander and Sail Og Rua albums reviewed below... Still, it's pretty lovely stuff. The CD liner notes don't list the artists in the Reel Union band; John Faulkner wrote the liner notes, but I'm not sure if he also played on the album. At any rate, this is certainly worth picking up, particularly if you are already one of her fans.
Dolores Keane & John Faulkner "Broken Hearted I'll Wander" (Green Linnet, 1981)
Dolores Keane & John Faulkner "Sail Og Rua" (Green Linnet, 1984)
As a young'un in the late 1970s, singer Dolores Keane was just a bit on the squeaky side; as she attained old-timers staus in the '90s, she took on a slightly leaden gravity. But in between, at the peak of her powers, she could not be beaten. These collaborations with multi-instrumentalist John Faulkner are like glittering, precious gems among the firmament of a trad scene that was heading towards overly-elaborate, crossover production. Keane's voice is so gorgeous, and Faulkner's accompaniment so tasteful and compelling, that these two albums are simply irresistible. Sail Og Rua, with its tenatative addition of one (single) electronic instrument has a slightly less mystical tone, but both albums are highly, highly recommended.
Dolores Keane "Night Owl" (Alula, 2002)
Keane and Faulkner are back, with another stately set, that overall feels a bit listless and stuffy, but still has an elegance and gravity to it reminiscent of their early albums. This isn't her best work, but it's still pretty solid; June Tabor fans might like this one.
Paddy Keenan & Tommy O'Sullivan "The Long, Grazing Acre" (Compass, 2003)
A very lovely, very fine, mostly-trad album, with mild dips into contemporary folk songwriting and a warm, modern production style. Irish piper Paddy Keenan has a long and illustrious career in the tradlands -- well known for his work with the Bothy Band and numerous other projects -- and here he teams up with newcomer Tommy O'Sullivan, whose chunky guitar work adds both muscle and suppleness to the mix. What's perhaps most striking about this album is the textural depth to the production, the duo embraces what is best about new studio technology while making no concessions to bland "crossover" concepts. This music is captivating, inspiring and pure... recommended!
Alan & John Kelly "Fourmilehouse" (Compass, 2002)
One of those pleasant few albums that are able to get me past my persistent disinclination towards Celtic instrumental music. The Kelly brothers, Irish natives who have played about in various bands, have a deft, swinging lightness to their playing, and are obviously simpatico in that way that sometimes only siblings can be. The emphasis here is on melody and lilt, and I'm sure that other folks like myself, who often find jigs and reels to be repetitive and maddening, will find themselves drawn in by this highly listenable trad set.
Keith Kendrick & Lynne Heraud "Stars In My Crown" (Wild Goose Studios, 2000)
Two veteran performers of the UK folk scene join forces for a beautiful, moody set of ballads and chants. Heraud, who is apparently nicknamed "the Hertfordshire Nightinggale," has a more classically "pretty" voice than many likeminded English trad singers; it's quite lovely heard in combination with Kendrick's throaty growl and a simple concertina accompaniment. The repertoire is also fascinating, ranging from morbidly bloody religious carols such as "Awake Awake (New Year's Carol)" to love ballads, historical songs and rousing anthems such as the title track. I love this sort of record, with its rich, rustic, minor key harmonies and the full weight of English history behind it -- fans of Martin Carthy or the Watersons should also enjoy this album quite a bit.
Kila "Tog E Go Bog E" (Green Linnet, 1999)
This band was hailed as the super-duper, super-fab super-future of Celtic music, but frankly, I find these "Afro-Celt" world beat crossover tunes to be a bit irritating... It's long on drive and momentum, short on melodic arc, and singer Ronan O'Snodaigh's raggamuffin/dancehall reggae-inflected vocal style (plus the actual tone of his voice) are also a bit grating. I just find the whole project too self-consciously clever and tedious, and even with Afro-Brazilian-tinged tunes like the title track (which means "take it easy" in Gaelic), I still feel like this is music I've heard elsewhere, even if they weren't singing in this particular language. Anyway, this didn't work for me. The folks who like Kila, though, seem to go totally koo-koo for them, so what do I know?? Feel free to explore it, but don't come running back to me saying that I didn't warn you.
Kila "Lemonade & Buns" (Green Linnet, 2000)
I'll concede that this disc is more relaxed and listenable than the last (where they really seemed to be trying too hard...) But it's also kind of cloying and fake-hippie goopy, as well... Inventive and groundbreaking, perhaps, but still not my cup of tea.
Kila "Luna Park" (Kila Records, 2003)
This album is arguably their most accomplished, or at least their smoothest, and -- thank goodness! -- Ronan O'Snodaigh has toned down his ragamuffin-by-way-of-Bulgaria vocals, at least on some of the tunes. Still, I find their approach to be pretty tiresome: innovation is fine, but I also like to enjoy what I'm listening to. This is just too dense, cluttered and tacky for me.
Pat Kilbride "Nightingale Lane" (Temple, 2002)
A beautiful album of traditionally-oriented modern folk songs, mostly written by veteran Celtic musician Pat Kilbride, an on-again/off-again member of Scotland's trad supergroup, the Battlefield Band. This is a sweet album, with plenty of first-rate citterna and guitar work. The only (very mild) missteps are covers of a couple of Gerry Rafferty and Nanci Griffith tunes, contemprary folk tunes that stand out a bit too much from the other, more trad sounding tunes. On the whole, though, there's nothing to complain about here... It's a very nice, very listenable record. Lovely!
Louis Killen is one of the most influential early pioneers of the British folksong revival. I'm still trying to track down some of his music to review, but in the meantime you may want to check out his website for information on this venerable English expat...
Kirkmount "The Robin: Traditional Music Of Nova Scotia And Cape Breton" (Dorian, 1997)
Fairly sugary fiddle-harp'n'cello classical-Celtic instrumentals from the sibling trio of Alex, Sam and Simeon Bigney, who at the time were riding high having won a talent contest on the Prairie Home Companion radio show. Didn't really wow me, but it's pretty enough, I suppose.
Kirkmount "Mittens For Christmas" (Dorian, 2001)
More substantive, more classically inclined, and somewhat milkier than their previous album... Again, it didn't do much for me, but for those enamored of, say, the Mark O'Connor/Edgar Meyer/Yo-Yo Ma folk-classical crossovers, an album might be a real delight.
John Kirkpatrick "Plain Capers: Morris Dance Tunes From The Cotswolds" (Free Reed/Topic, 1976)
Martin Carthy, Sue Harris and others join squeezebox master John Kirkpatrick on this sprightly but somewhat sparse, all-instrumental set of English country dance tunes. These loping, clompy melodies will grow on you, but you have to be sort of a fanatic to really get into this stuff. Still, it is a classic of the genre, and a nice showcase for Kirkpatrick's virtuoso talents.
John Kirkpatrick & Sue Harris "Shreds And Patches" (Topic, 1977)
An absolute delight, showcasing these frequent collaborators at their best. In instrumental numbers are odd and playful; the vocal songs are bizare, craggy and compelling. More fun and more varied than his all-instrumental albums, and definitely worth tracking down.
The John Kirkpatrick Band "Welcome To Hell" (Wing And A Prayer, 1977)
Despite the foreboding album title, this is a fine set of English folk (and contemporary folk) tunes... Fiddler Paul Burgess and guitarist Graeme Taylor join Kirkpatrick as part of this larger, louder ensemble. On some songs they get electrified and clompy, in a Steeleye Span-ish way, though other songs stick to Kirpartick's more delicate traditionalist sensibilities... But if you wanna hear him plugged in and rowdy, this is the record to look for.
John Kirkpatrick "A Short History Of John Kirkpatrick" (Topic, 1995)
A brief best-of that highlights the great button accordion and concertina whiz John Kirkpatrick working in a variety of settings, including the Brass Monkey ensemble and various solo projects. Recommended for anyone who's more than a little curious about this Brit-folk stalwart. (Speaking of John Kirkpatrick, here are links to a few fine sites devoted to his work... Bee's Knees has a great discography, and Johnkirkpatrick.co.uk is a very comprehensive resource for his music.)
Kornog "Ar Seizh Avel (On Seven Winds)" (Green Linnet, 1985)
Simply gorgeous. Kornog were one of the leading bands in the Celtic revival in France... Sure, several of the members are actually from Scotland, but who's keeping track? At any rate, this album completely defies the tradition of piercing shrillness in Celtic music, introducing a melodic grace to it's instrumental tracks while retaining a traditionalist edge. It also has several of the most gorgeous vocal performances I've ever heard in the genre, such as "Helen of Kirkconnell" and "The Shuttle Rins". If you've ever tried to get into Celtic music before, but felt trapped between shrill bagpipes and wimpy New Age arrangements or "River Dance" kitsch, then allow me to recommend this beautiful album to you as a more appropriate starting place. One of my all-time favorites.
Kornog "Korong" (Green Linnet, 2000)
After more than a 20 year lapse, this outstanding French (Breton) Celtic band is back, with an album that picks up exactly where the last one left off. I'm not normally that into Celtic instrumentals -- jigs, reels and airs -- but Kornog has always displayed a liveliness and melodic grace that set the band at the pinnacles of the Celtic music scene, with an interplay of fiddle and flute that is particularly dynamic and appealling. Perhaps the most distinctive aspect of the Kornog's sound, though, is the beautiful voice of Scottish native, Jamie McMenemy. McMenemy has lost none of the rich sonorousness which marked their early albums, or the dreamy, evocative breathiness that makes him one of the most captivating singers in the folk-trad scene today. Simply gorgeous. This is an album that's been a long time coming, and is highly recommended.
