Mick McAuley "An Ocean's Breadth" (Shanachie, 2003)
Solo(ish) stuff from the accordion player in the Solas band. He smooths out the trad sound for a more modern feel, sings on a few tunes, and is joined by bandmates Seamus Egan, Winifred Horan and Eamon McElholm, among others. Overall, I find this a bit cloying and watered-down; not really my cup of tea.

The McCalmans "Smuggler" (Transatlantic, 1975)
The McCalmans "Burn The Witch" (Transatlantic, 1978)
Celtic trad from Edinburgh, recorded at a time when prog and anthemic AOR ruled the pubs. Although the material they chose was solidly authentic, and a lot of the lyrics are fascinating, the bouncy vocals and bouncy arrangements are a little too monochromatic. Similar to Irish bands such as the Wolf Tones, the Dubliners, or even the Irish Rovers -- energetic, but lacking the more subtle emotional range that bands such as Planxty and Clannad had tapped into.

The McCalmans "Where The Sky Meets The Sea" (Greentrax, 2002)
These '70s folk revival veterans still have a nice light touch... There's a certain sense of formalism here, but for folks who like vocal trad tunes, this is a nice, understated album.

Alyth McCormack "An Iomall: The Edge" (Compass/Vertical, 2001)
Lovely vocals, although with somewhat overly-saccharine, synthy arrangements. It's too slick for me, but if you enjoy both the softer side of Sinead O'Connor and the rougher side (such as it is) of Enya, as well as the strange, alluring sound of the Celtic language, then this album might be for you.

John McCusker "Goodnight Ginger" (Compass, 2003)
"You can't judge a book..." And, sure enough, although Scottish fiddler McCusker appears on the cover of this album sporting what seems to be a tufted mohawk haircut, this is not the goofy Celtic-pop fusion-fest such a picture might imply. Rather, it's a sweet set of original, inventive instrumental fiddle tunes (and one gorgeous vocal number featuring his ever-lovely partner, Kate Rusby)... A simple, understated album, and one that successfully sheds the sometimes-dour sensibilities of his old group, the Battlefield Band. Recommended!

Shelagh McDonald "Stargazer" (Mooncrest, 1971)
An extraordinarily pretentious and somewhat silly "lost gem" of the early '70s "progressive" English folk-rock scene, featuring lofty (some might even say warbly) Judy Collins-style vocals and dreamy, rolling music that drifts slightly towards Nick Drake terrain, but really bears a much bigger debt to Joni Mitchell. The goofy, stoned-out poetics may be worth a hoot or two for those in a properly derisive mood; more serious scholars of folk-pop may find this disc fascinating, or at least an interesting stepping stone along the way. Not for everyone, to be sure, but a notable missing link.

Matt McGinn "The Best Of Matt McGinn, v.1" (Greentrax, 2003)

Matt McGinn "The Best Of Matt McGinn, v.2" (Greentrax, 2003)
This album is a straight reissue of two albums originally reissue on RCA International, featuring the rollicking, novelty-oriented folk-pop of Glasgow's Matt McGinn, who had sort of a skiffle-ish, Irish Rovers-y feel to his work, marked by a trademark bicycle horn tooting cheerfully here and there. The original album titles were Tinny Can On My Tail (1970) and Take Me Back To The Jungle, from 1972. Some of the songs are topical, many are simply absurdist; most of it's lost on me... If I was an older Glaswegian, this might take me down memory lane, but as an outsider looking in, it's kind of one big shoulder shrug.

Michael McGoldrick "Fused" (Compass/Vertical, 2000)

Michael McGoldrick & John McSherry "At First Light" (Compass/Vertical, 2002)

Michael McGoldrick "Wired" (Compass/Vertical, 2006)
Another solo album from a member of the Scottish folk-pop fusion band, Capercaillie, this time from flautist Michael McGoldrick, who is also a founding member of the Irish band, Lunasa. This is a slick, glossy, unapologetically muzak-y, crossover oriented album, with dips into soft jazz ("Strange Journey") and funky Celt-pop easy listening. McGoldrick is an unquestionably talented player, and this is a fine showcase for his fluid, lyrical playing, but the backing music is quite goopy, so you really have to be in the mood. Capercaillie's Donald Shaw plays keyboards and produces the album; most of the rest of the band appear on one track or another, along with a slew or top talent from the modern Celtic music scene. Worth checking out, if the slick stuff is your scene.

Manus McGuire "Saffron And Blue" (Green Linnet, 2000)
A nice set of fiddle instrumentals by this County Clare native. Maybe a bit on the smooth side, though then again that might be nice for a change of pace. Not earthshaking, but worth checking out.

Shane McGowan's Popes "Across The Broad Atlantic: Live On Paddy's Day New York-Dublin" (Eagle, 2002)
The world's most loveable, least huggable Irish drunkard plowing through a lively and informal -- if somewhat slurred and incoherent -- set of country/rock/trad tunes, played live before an adoring and doubtless somewhat sloshed audience. There are several trad and traddish tunes, amid the rockin' modern compositions, and it's nice to hear them included, especially in such authentically disheveled renditions. This is McGowan in his element... What a kook! (See also: The Pogues.)

Susan McKeown "Bones" (Prime CD, 1996)

Susan McKeown & Lindsey Horner "Through The Bitter Frost And Snow" (Prime CD, 1997)

Susan McKeown "Bushes & Briars" (Alula, 1998)
Dublin-born Irish expatriate Susan McKeown is a trailblazer in the more ornate side of Celtic-pop fusion; she's reasonably rootsy, but still goes a little overboard with the synths and multiculti musical arrangements for my personal tastes. Still, she could certainly sound way more Sarah McLaughlin-ed out and drippy. For the territory, this ain't bad. Andy Irvine, Shamus Egan and others pitch in, including some Nordic and East Indian musicians, to bring in a more world music" sound.

Susan McKeown & Lindsey Horner "Mighty Rain" (Depth Of Field, 2000)

Susan McKeown "Lowlands" (Green Linnet, 2000)
Although I'm not personally impelled to search out world-fusiony Celtic projects, I will say that McKeown is clearly at the top of the form here, producing a sleek set of highly melodic, listenable world music. She mixes in Indian, African and a variety of European styles, all effortlessly woven in, while her clear vocal lines guide each song. I'm not that interested in the mixing of these styles, but for folks who are, this is a mighty fine album.

Susan McKeown & Johnny Cunningham "Lowlands" (2001)

Susan McKeown "Prophecy" (World Village, 2002)

Susan McKeown "Sweet Liberty" (World Village, 2004)

Susan McKeown "Blackthorn: Irish Love Songs (An Draighnean Donn: Amhrain Gra)" (World Village, 2006)
A lovely set of vocal tunes, mostly sung in Gaelic, with McKeown's bright, crystalline voice gliding amid sweet, innovative arrangements. In addition to a rich, tastefully modernized Celtic trad sound, McKeown weaves in melodies and rhythms from the Basque regions. This disc took a couple of listens to grow on me, but once it took hold, it revealed multiple layers of creativity and depth. Most of all, it's a great showcase for her voice, one of her finest albums for pure beauty and emotional power. Worth checking out!

Natalie McMaster "Yours Truly" (Rounder, 2006)
Canadian fiddle whiz Natalie McMaster is as technically dazzling as ever, although the popped-up arrangements that define this album aren't really my cup of tea... A nice mix of Celtic-based and bluegrassy/newgrassy styles, mixed with a heavy backbeat and some super-slick chord progressions... Most of the songs are McMaster originals, although she still finds time to saw through a medley of raw-sounding Strathspey reels and other traditional material that reflects her Cape Breton roots... McMaster's fans will dig this one.

Jacqui McShee/Gerry Conway/Spencer Cozens "About Thyme" (Pinnacle/GJS, 1995)
Yeesh. Well, on the plus side, I'd say that Jacqui McShee -- best known as a pinch-hitter vocalist for later editions of Steeleye Span -- has never sung better or with more consistent grace. On the downside, the soft-pop/soft-jazz affectations of this disc are simply drippy and horrendous, one thin-toned synth wash and soprano sax tootle-toot after another, with guest stars such as Ralph McTell, Albert Lee and John Martyn doing little to energize the proceedings. I'm sure there are Muzak-oriented Brit-folk fans out there who would love this Enya-esque/Capercaillie-ish outing, but I find it almost unbearably bland and even somewhat embarassing. Not my cup of tea.

Celtic/Brit Folk Albums -- More Letter "M"

Main Celtic/Brit Index
Main World Music Index