Calennig "Songs And Tunes From Wales" (Greenwich Village Records, 1980) (LP)
(Produced by Bill Leader)
The first album by this Welsh band, which included singer Pat Smith (on concertina) and singer/multi-instrumentalist Mick Tems (on accordion, concertina, harmonium and guitar)

Callinan-Flynn "Freedom's Lament" (Mushroom Records, 1972) (LP)
(Produced by Vic Keary)
The Irish folk duo of Dave Calinann and Mick Flynn, along with drummer Kieran O'Connor... Though they draw on traditional tunes, most of the tracks are Callinan and/or Flynn originals

Ian Campbell & The Ian Campbell Folk Group - see artist profile

Ian Campbell & Lorna Campbell "The Cock Doth Craw: Ballads From Scotland" (Transatlantic Records, 1968)

Lorna Campbell "Adam's Rib" (Cottage Records, 1976) (LP)
A concept album, composed by brother Ian Campbell, with twelve songs outlining the concerns of women... The entire record was re-recorded by Lorna a couple of years later, with different accompaniment.

Lorna Campbell "Adam's Rib" (Storyville Records, 2000)
Re-recorded versions, from 1977-78.

Canny Fettle "Trip To Harrowgate" (Tradition Records, 1977)

Capercaillie "Cascade" (Etive Records, 1984)

Capercaillie "Crosswinds" (Green Linnet Records, 1987)

Capercaillie "Sidewaulk" (Green Linnet Records, 1989)
Modernized Celtic music that follows in the path of early Clannad albums -- brisk instrumentals interspersed with glossier vocal numbers and a thumping electric bass or intrusive synthesizer here or there. Talented, it's true, but for the more traditionally-minded among us, this Scottish ensemble may be a hit-or-miss affair. They are more true to their roots on the instrumental numbers -- bad news for folk like me who prefer hearing songs. I'm also not terribly fond of vocalist Karen Matheson... I guess I just don't like the timbre of her voice, or perhaps I'm just used to hearing a Hebrides accent in a rougher, more rugged context. This early album is perhaps your best shot to size them up as a proper "trad" band.

Capercaillie "Delirium" (Green Linnet Records, 1991)
Egad, this is cheesy. I mean, sure, Karen Matheson has a pretty voice and all, but the oceanic synthesizers and babbling brook-y, Windham Hill-ish piano lines are just so goddawful sappy. Nothing on here for me, thank you very much.

Capercaillie "Get Out" (Green Linnet/Survival Records, 1992)

Capercaillie "The Blood Is Strong" (Survival Records, 1993)

Capercaillie "Secret People" (Survival/Green Linnet, 1993)

Capercaillie "Capercaillie" (Survival/Green Linnet, 1994)

Capercaillie "To The Moon" (Green Linnet, 1995)

Capercaillie "Beautiful Wasteland" (Rykodisc/Survival Records, 1998)
Omigod. I mean, I like the sound of the Celtic language as much as anyone else, but sitting through this synth-heavy goopfest is a bit much to ask of anyone! To be fair, if you like this sort of world music-y mix of New Age and electronica, this is a skillfully produced album, and Matheson's voice is well suited to the material (or has grown into it...) But, still... honestly!

Capercaillie "Nadurra" (Green Linnet, 2000)
This glossy crossover material is too slick for me, but I guess if Celtic-pop fusion is the sound you're after, this is about as good as it gets. That concession being made, however, I gotta say that the songs with English lyrics are just godawful -- it's a miracle that after "Hope Springs Eternal" came on I didn't just stop listening, flee in horror and never look back. The Gaelic material is a bit more forgiving, since it's easier to just space out and listen to the pretty tone of Matheson's voice, a bit like a bird chirping, though with less of a sense of history behind it. I dunno. This just ain't my cup of tea. The funky electric bass lines just seem wrong, and the gooey, facile progressions don't help much.

Capercaillie "Live In Concert" (Valley Records, 2002)

Capercaillie "Roses And Tears" (Compass Records, 2008)
Another strong Celtic crossover set by Scotland's fusion-y Capercaillie, with lead vocals from Karen Matheson and an lineup that includes Donald Shaw on accordion, Manus Lunny on bouzouki and Michael McGoldrick playing the pipes. The album opens up with the funky, resolutely pop "Him Bo," and then weaves back and forth between tradition and modernism. There's an anti-war anthem, courtesy of John Martyn, lots of mellow, electronic-tinged grooves, and a hefty dose of trad, woven deep into the mix. Personally, I love it when Matheson sings in Gaelic, although like many old-fashioned folkies, I prefer a more traditional acoustic sound. But Capercaillie fans know what to expect by now, and this album certainly will not disappoint listeners who are open to a bit of pop in with their Celtic music.

Capercaillie "Dusk 'Til Dawn: The Best Of Capercaillie" (Valley Records, 2000)

Capercaillie "Grace And Pride -- The Anthology: 2004-1984" (Valley Records, 2004)

Capercaillie "Heritage Songs" (2007)

Tony Capstick & Hedgehog Pie "His Round" (Rubber Records, 1971) (LP)

Tony Capstick "Punch And Judy Man" (Rubber Records 1974) (LP)

Tony Capstick/Various Artists "There Was This Bloke" (Rubber Records, 1974) (LP)
Live pub and club performances along fellow humorists Bill Barclay, Derek Brimstone and Mike Harding...

Tony Capstick "Tony Capstick Does A Turn" (Rubber Records 1978) (LP)

Tony Capstick/Dick Gaughan/Dave Burland "Songs Of Ewan MacColl" (Rubber/Black Crow Records, 1978)
(Produced by Geoff Heslop)

Liz Carroll & Tommy Maguire "Kiss Me Kate" (Shanachie Records, 1978)

Liz Carroll "A Friend Indeed" (Shanachie Records, 1979)

Liz Carroll "Liz Carroll" (Green Linnet Records, 1988)

Liz Carroll "Lost In The Loop" (Green Linnet Records, 2000)
A beautiful, lively set of fiddle-based instrumentals. Carroll is truly a soulful and inspired performer, equally able to dazzle with her technical prowess and to capture your imagination with a wistful, mist-covered aire. Seamus Egan, John Doyle and Winifred Horon (all from the band Solas) join in with warm, sympathetic backup; Egan also produced the album, giving it a smooth but not sugary feel. Nice stuff... highly recommended!

Liz Carroll "Lake Effect" (Green Linnet Records, 2002)
Another lovely, all-instrumental album by this outstanding Chicago-based Irish-American fiddler. This is one of those precious few albums that gets past my disinclination towards Celtic instrumentals -- leaning heavily towards the lighter, more lyrical melodic side, Carroll here concentrates on dreamy airs, waiting until the album's end to get into the more typical, bouncy jigs and reels. Fine by me; after the warmth and ease of the album's first half, I was totally sated, happy to hear something softer and easier on the ears than the usual manic breakdowns that fill the Irish soundscape. Gets a little bongo-y and ornate on a few tunes, but mostly this is pretty down to earth. Worth checking out.

Liz Carroll & John Doyle "In Play" (Compass Records, 2005)
A fantabulous two-person Celtic trad jam session featuring Chicago-based fiddler Liz Carroll (of Cherish The Ladies) and guitarist John Doyle (late of the band Solas). Carroll generally takes the lead, but Doyle's subtle, constantly shifting accompaniment is a tour-de-force in and of itself, contrasting the old-country sawing with a deft, pop-and-jazz inflected acoustic commentary. These are two top-flight Irish-American trad virtuosi, each performing at their absolute peak. I'm not generally that into all-instrumental trad albums, but this one's a doozy. Definitely worth checking out!

Liz Carroll & John Doyle "Double Play" (Compass Records, 2009)
(Produced by Liz Carroll & John Doyle)
Another stunning set of duets from these Irish-American folk-trad superstars. The uptempo opening medley, "The Chandelier/Anne Lacey's," will blow your mind: the nimble, restlessly inventive guitar picking and fiddling are astonishing in their speed and innovation, as well as the fervent, musicianly joy which radiates out for listeners to hear. Carroll and Doyle aren't mere technicians, they are collaborators and celebrants, riding a wave of excitement and newness that few artists get the chance to achieve. This record is easily one of the best Celtic-trad releases of the decade, and sets the bar for any artists that follow in its wake. Most of the tracks are instrumentals, although Doyle sings several songs, which is also a delight. Sorry if I seem to be gushing, but -- wow! -- this record really pays off when you give it close attention. Give it a spin.

Eliza Carthy - see artist profile

Martin Carthy - see artist profile

John Carty "Last Night's Fun" (Shanachie Records, 1996)

John Carty "Yeh, That's All It Is" (Shanachie Records, 2001)

John Carty "At It Again" (Shanachie Records, 2003)
A delightful all-instrumental set featuring the fiddling of London-born, Irish-bred John Carty, who has the sprightly, crisp style of North Connaught down to a science. His fiddle will capture your imagination, with minimal accompaniment by bouzouki, piano and guitar, each mixed low so that it's the fiddle that really stands out. Lovely stuff.

Karan Casey "Songlines" (Shanachie Records, 1997)
A soft-edged, mostly traddish solo album by one of the featured performers in the much-vaunted American-Irish band, Solas. Co-produced by bandmate Seamus Egan, this disc is pretty easy on the ears, but best when it sticks to more traditional elements. Casey has a pretty voice, with classic lovely Irish tones, but somehow this album seemed a little too perfect and coy to really capture my imagination. Devoted Solas fans seem to love this album; I was a little nonplussed.

Karan Casey "The Winds Begin To Sing" (Shanachie Records, 1999)
A very lovely album, wherein sparse arrangements softly frame Casey's gorgeous vocals. It's a mellow album, but it generally falls short of sounding syrupy. A couple of tracks are iffy -- transposing Billie Holiday's lynching ballad into a Celtic context is questionable, and I could live without the poppish arrangements on "Buile Mo Chroi," but other than that, this album is a real delight. Rich, beautiful, and very much in touch with traditional roots. Recommended!

Karan Casey & Friends "Seal Maiden: A Celtic Musical" (MFLP, 2000)
A children's record featuring music and spoken word from Karan Casey, Mairead Ni Mhaonaigh, Laura Brown and Iarla O Lionaird.

Karan Casey "Distant Shore" (Shanachie Records, 2003)
Another fine solo album by this crystal-voiced singer, formerly of the Celtic trad band, Solas... Here, Casey pursues a more modern, folky singer-songwriter strain on many of these tunes, but also finds time for some lovely traditional material, and a little bit of elves-in-the-woods action as well. Her fans will not be disappointed, and those new to the fold should be intrigued. Definitely worth checking out!

Karan Casey "Chasing The Sun" (Shanachie Records, 2005)

Karan Casey "Ships In The Forest" (Compass Records, 2008)
(Produced by Donald Shaw)
Opening with the elegant, elegaic "Love Is Pleasing," this album gives way to a slower, somewhat sombre pace, placing Irish singer Karan Casey in the stately, serious company of folk-scene grand dames such as June Tabor or Dolores Keane... Casey isn't quite as dour or severe as Tabor, but she certainly is gathering gravitas and moving beyond the standard folkie fare. Casey gives a nod to like-minded American auteurs with a lovely cover of Joni Mitchell's "The Fiddle And The Drum," which features some of her finest vocals, set to sparse but sweet bagpipe accompaniment. She picks up the tempo a little, five songs in on "Town Of Athlone," one of the only songs on here to be driven by guitar, rather than piano, but by and large this set has slower songs with atypical arrangements. The ghosts of the past are never far from the surface in Ireland, and some interesting issues are raised by her inclusion of the traditional ballad, "Dunlavin Green," about a 1798 massacre that is key to the culture of rebellion: what is to be done with all this political baggage, two hundred years later, now that the "Troubles" are thought to be done, following the Belfast Agreement of 1998? The songs still arise, and so do the feelings behind them -- is it acknowledging history, or tending to old grievances? Either way, the music is lovely, as is Casey's voice, one of the sweetest and most purely "Irish" female voices around. Fans will definitely want to pick this one up, although it is a bit on the doleful side.

Karan Casey & John Doyle "Exiles Return" (Compass Records, 2010)
(Produced by Dirk Powell)
An outstanding collaboration between singer-guitarist John Doyle and vocalist Karan Casey, two of the founding members of the Celtic-trad supergroup Solas, who reunite here for a gloriously rich, stripped-down acoustic set. Casey takes the lead on most of the songs, with Doyle singing lead on three tracks (while harmonizing on several others, and providing typically strong, sympathetic accompaniment throughout...) The repertoire is a fab collection of traditional and traditionally-oriented songs, delivered with the soulfulness and depth of understanding we've come to expect from both these artists. Old-timey scholar Dirk Powell and flautist Michael McGoldrick add subtle support on a tune or two. Beautiful stuff: you can't go wrong with any of these artists.

Celtic Fiddle Festival "Celtic Fiddle Festival" (Green Linnet Records, 1993)
The original incarnation of this Celtic trad "supergroup featured fiddlers Kevin Burke, Christian LeMaitre and Johnny Cunningham... Quite a trio!

Celtic Fiddle Festival "Encore" (Green Linnet Records, 1998)

Celtic Fiddle Festival "Rendezvous" (Green Linnet Records, 2001)

Celtic Fiddle Festival "Play On" (Green Linnet Records, 2005)

Celtic Fiddle Festival "Equinoxe" (Loftus Records, 2008)
This is the fifth album by the quixotically-named Celtic supergroup-powerhouse, Celtic Fiddle Festival, featuring the combined talents of three fiddlers (duh) -- Kevin Burke, Christian Lemaitre and Andre Brunet -- and one guitarist, Ged Foley, in as fine a set of Celtic instrumentals as ever you shall hear. Foley, a nimble accompanist also known for his work with the House Band, Battlefield Band and Patrick Street, anchors each tune with a lively, inventive style that is both supportive and wildly restless, the sort of playing that can both fade into the background or leap out at you in the middle of a song and and make you realize, oh my lord, is he really doing all that, too? Same with the fiddling: these are immensely accomplished musicians drawing on Breton, Irish and Canadian traditions, weaving it all together in a mix of tones and styles. There are keening, aggressive jigs alongside silken, melodic passages, all of it quite dazzling. Perhaps my favorite tracks -- because I am drawn to softer, more melodic material -- are the Brunet/Foley medley, "Reel Desjarlis/L'accroche-Pied/Danse Acadienne" and "Sir Sydney Smith's March", a showcase for Foley's guitar work that is simply lovely. If you like Celtic instrumentals, you'll love this album.

Celtic Thunder "Celtic Thunder" (Green Linnet Records, 1981) (LP)
One of the finest American-based Celtic bands; this DC-based outfit has a nice melodic touch, and are (thankfully!) as fond of a good song or aire as they are of bouncy, perky jigs and reels. I'm especially fond of this album's set of soulful topical songs, including a spooky version of Robert Burns' "The Deadly Wars," as well as "The Bold Thady Quill" and the emigration epic "Best Years Of Our Lives." It's amazing, though, and rather sad, that all of their albums seem to have slipped out of print, although with diligent effort you should be able to track their stuff down.

Celtic Thunder "The Light Of Other Days" (Green Linnet Records, 1988)

Celtic Thunder "Hard New York Days" (Rego Records, 1996)

Ceolbeg "Not The Bunnyhop" (Greentrax Records, 1990)

Ceolbeg "Seeds To The Wind" (Greentrax Records, 1991)

Ceolbeg "An Unfair Dance" (Greentrax Records, 1992)

Ceolbeg "Cairn Water" (Greentrax Records, 2000)

Ceolbeg "5" (Greentrax Records, 1996)

The Champion String Band "The Champion String Band" (Black Crow Records, 1981) (LP)
(Produced by Geoff Heslop & Mickey Sweeney)
Singer-guitarist Tom Gilfellon is joined by fiddler Chuck Fleming and Martin Matthews on cittern, mandolin and banjo in an unusual set of English trad tunes, gathered from a variety of sources. There are many ballads, gleaned from Gilfellon's years in folk clubs and other gatherings, while Fleming (presumably) contributes several medleys of tunes attributed to song collections such as Ernst Kohler's Violin Repository and James Scott Skinner's "Scottish Fiddler." These instrumentals, particularly the album's opening track, feature unusual arrangements and directions that suggest a British trad-folk counterpart to the "space grass" improvisations of American bluegrassers such as David Grisman, though not as overtly jazz-oriented. This is complimented by Gillfellon's own odd vocal approach, a sort of sliding, keening style that demands an active, willing participation from listeners used to a more accessible sound. If you enjoy this album, Gilfellon's solo albums are also worth checking out -- I think this was the only album made under this band name.

Cherish The Ladies "Cherish The Ladies: Irish Women Musicians" (Shanachie Records, 1985)

Cherish The Ladies "Fathers And Daughters" (Shanachie Records, 1985) (LP)

Cherish The Ladies "The Back Door" (Green Linnet Records, 1992)

Cherish The Ladies "Out And About" (Green Linnet Records, 1993)

Cherish The Ladies "New Day Dawning" (Green Linnet Records, 1996)

Cherish The Ladies "Threads Of Time" (RCA Victor, 1998)

Cherish The Ladies "At Home" (RCA Victor, 1999)
A nice later album from this all-star, all-gal trad band. On this album, the Ladies bring in various members of their families to perform alongside the ensemble...The Longs, Maddens, Clancys, etc. pitch in, and show where the group's trad roots come from. Other than a horrendous version of Dan Fogelberg's '70s AOR neolith, "The Leader Of The Band," this is a great album. (I "get" the thematic tie between the lyrics and this album; I just can't stand the song and think it's irredeemably cheesy.) Otherwise, this disc has an admirable mix of instrumentals and ballads, and Joannie Madden's piping is, as ever, a heavenly aural treat. Recommended.

Cherish The Ladies "The Girls Won't Leave The Boys Alone" (Windham Hill Records, 2001)
The gals give an affectionate nod towards the Clancy Brothers early '60s classic, The Boys Won't Leave The Girls Alone, not simply lampooning the old album title, but also inviting many of the trad scene's best male performers to accompany them on this sleek, bright record. There's Matt Molloy, Davy Spillane, a Makem or two, Luka Bloom, Paddy Reilly, and a Yank or two -- Arlo Guthrie, Tom Chapin, and even Eric Weissberg, who was brought in by Columbia as a studio picker on the original Boys album... Overall, this album -- particularly the opening tracks -- is a bit soft and syrupy for my tastes, though as you get further in it toughens up a bit and gets a little more instrumental ooompf. It's okay, but there's stuff I like lots better.

Cherish The Ladies "On Christmas Night" (Rounder Records, 2004)

Cherish The Ladies "Woman Of The House" (Rounder Records, 2005)

Cherish The Ladies "One And All: The Best Of Cherish The Ladies" (Green Linnet Records, 1998)

The Cheviot Ranters Country Dance Band "Sound Of The Cheviots" (Topic Records, 1972) (LP)
(Produced by Dick Swettenham)
Unrelenting, painfully authentic English folk dance music, of the sort that sorely challenges many otherwise devoted folk fans. The Cheviot dance band was first formed in 1955 and quickly established themselves a popular group in Northumberland and Durham, playing live shows as well as on the radio. The group heard on these 1971 recordings was comprised of Bryce Anderson on accordion, George Mitchell (piano), Denis Smales (drums), Phil Sutherland (bass), and Jack Thompson on fiddle... Again, this may sound a bit monotonous to all but the most dedicated fans of the style, but if you dug those old "country master" albums from Ashley Hutchins and whole entourage, you might really like this, too: this is where that sort of nostalgia for the forn comes from.

The Chieftains "The Chieftains 7" (Claddagh/Columbia Records, 1977) (LP)
The Chieftains "The Chieftains 8" (Claddagh/Columbia Records, 1978) (LP)
The Chieftains "The Chieftains 9: Boil The Breakfast Early" (Claddagh/Columbia, 1980) (LP)
The Chieftains "The Best Of The Chieftains" (Columbia Legacy, 2002)
By the time Paddy Moloney and his crew had signed to Columbia Records in the States to record these albums of the late '70s, the explosive burst of creative new trad groups such as Planxty and the like had made the venerable Chieftains style sound, if not quite fusty, perhaps a bit staid and static. Still, there's no denying the band's talent and tight performance style, and fans of Irish instrumentals can still study these albums and derive great satisfaction. Chieftains 8 was the last album to feature founding members Sean Potts and Martin Tubridy; on Boil The Breakfast Early, (pictured above) the band rolled out a new secret weapon, piper Matt Molloy, previously of Planxty and Bothy Band fame. Also featured in the new lineup were fiddler Sean Keane and harpist Derek Bell, pretty much an all-star lineup. Many consider Boil The Breakfast the finest of the band's albums; the new best-of collection gathers material from all three of these Claddagh releases.

The Chieftains & Van Morrison "Irish Heartbeat" (PolyGram, 1988)
I know there are those who consider this a bit of a glamour project, but I've always liked this album. The band never sounded more vigorous, and it's grand to hear Van singing trad. In fact, this is a perfect example of synergy in action: each side helps pull the other out of their own particular rut -- Morrison helps the Chieftains get a little messy and less formal, they help bring him back to Earth, and to his Belfast roots. The result is a lively, engaging record, packed with one fine performance after another. Recommended!

The Chieftains/Various Artists "Another Country" (BMG Classics, 1992)
Paddy Moloney and the lads haul over to Nashville where they round up Willie Nelson, Chet Atkins, Don Williams, Ricky Skaggs and a passel of newgrassers such as Jerry Douglas, Bela Fleck, etc. to jam with them on these pop-hick-Celtic crossovers. Generally a pretty strong album, with some interesting angles on familiar terrain. PS - hey, maybe this is where Ricky Skaggs caught the Celtic bug!

The Chieftains/Various Artists "The Wide World Over: A 40 Year Celebration" (BMG/RCA Victor, 2002)
One of Ireland's longest-lived and most beloved trad bands, the Chieftains have both revived and expanded the scope of traditional Celtic music, as this anthology album ably demonstrates. Packed with an impressive set of all-star collaborations, this shows the Chieftains at their most creative, working with guests as diverse as Elvis Costello, Diana Krall, the Rolling Stones and bluegrasser Ricky Skaggs. Naturally, many hometown (Irish) guests are included as well, including Van Morrison, Sinead O'Connor and bouncy popsters, The Corrs. Some tracks -- particularly the orchestral Irish-classical crossovers -- fall flat, but on the whole, this is an impressive and engaging collection. One surprising entry is Joni Mitchell's "The Magdalene Laundries," as scathing denunciation of how Irish convents are often used as a dumping ground for unwanted or problematic young women... Although heavy-handed, the song definitely packs a punch, and I can only imagine the furor it must have caused in Ireland when it was first released. Nice retrospective.

The Chieftains/Various Artists "Down The Old Plank Road: The Nashville Sessions" (BMG/RCA Victor, 2002)
Another all-star guest-fest, exploring once again the centuries-old links between Irish folk and American country and bluegrass music. Along for the ride are Top 40 acts such as Vince Gill and Martina McBride, along with bluegrassers Alison Krauss, Del McCoury and Earl Scruggs, as well as alt-ier types like Lyle Lovett, Buddy & Julie Miller, and Gillian Welch, whose version of "Katie Dear" is one of the best tracks on here. In general, this album is a pleasant and interesting mix, if anything much stronger than 1992's Another Country. The album occasionally drifts a bit and seems to lack punch on a tune or two, but the good songs are certainly worth checking out, and this is a remarkably vigorous set by these illustrious old-timers.

The Chieftains/Various Artists "Further Down The Old Plank Road" (BMG/RCA Victor, 2003)
Part Two of this series has a more distinctly Irish feel, and -- other than Nickle Creek's cloying version of "Raggle Taggle Gypsy" at the beginning -- a less mainstream, contemporary Nashville vibe. The choice of artists, including John Prine, Joe Ely, Rosanne Cash, Carlene Carter, Don Williams, Doc Watson and Ricky Skaggs, shows the Chieftains continuing attenuation to the humbler, more rootsy side of the American country scene, and also makes for a more soulful outing. As with the first Plank collection, this is pretty darn good.

The Chieftains "Live From Dublin: A Tribute To Derek Bell" (BMG/RCA Victor, 2005)

The Chieftains "The Essential Chieftains" (Sony-BMG Legacy, 2006)
Elder statesmen of the Celtic folk revival, the Chieftains have long since graduated from playing stout-drenched trad sets into the world of posh concert halls. They are a classy supergroup playing a refined, classicized version of Irish folk, sort of to Irish trad what Ricky Skaggs is to bluegrass. Nonetheless, the Chieftains also have plenty of serious musical ooompf, as much pure talent and trad-cred as you'll ever see in one place at one time. This generously programmed 2-CD best-of collection concentrates on more recent recordings, made for BMG and RCA in the 1990s, with a smattering of older stuff from the '70s, recorded for the Claddagh label. The first disc features a lot of their mellower material, including works recorded for various films and stage productions; Disc Two has the big treats, gathering together seventeen collaborations with high-profile guest-stars, recorded over the years. Sting I can live without, but Elis Costello, Emmylou Harris, Alison Krauss, Los Lobos, Sinead O'Connor and others add some surprising elements to this well-aged Irish brew.

La Chifonnie "La Chifonnie" (Hexagone Records, 1977) (LP)
(Produced by Hughes De Courson & Bruno Menny)
A French folk/psych band on the same label as other Franco-Gaelic contemporaries... The group included Diane Holmes Brown on concertina and hurdy-gurdy, Hal Collomb (dulcimer and spidoline), Patrick Desaunay (banjo, guitar and violin) and Serge Desaunay (accordion, violin and mandolin). The album's producer Hughes De Courson was formerly in the band Malicorne...

La Chifonnie "Au-Dessus Du Pont" (Hexagone Records, 1980) (LP)
(Produced by Jacques Subileau)

Angus Chisholm "The Early Recordings Of Angus Chisholm" (Shanachie Records, 1978) (LP)

Chumbawamba "English Rebel Songs: 1381-1914" (Agit Prop Records, 1988)
Why, yes, this is the same band that had recorded that big, global Top Ten hit that the yobs were drunkenly shouting during soccer matches during the 1990s... But, hey, we all knew the Chumba crew were really a big bunch of commies and anarchists, right? So, here's the band at its unpunky, unpoppy best, with a bracing collection of old peasant protest tunes, including -- naturally -- a couple about those lovable feudal-agrarian seditionists known as the Diggers (who are already known to fans of Billy Bragg and Leon Rosselson), and several others songs dating back at least as far. There's a lot of a capella choral singing here, and bracing tributes to the rebel spirit past. England wasn't always a land of moderation and class cooperation, as its overeducated lefties are quite fond of pointing out. For connoisseurs of the style, this is an excellent album, well worth searching for.

Chumbawamba "English Rebel Songs: 1381-1984" (PM Press, 2003)
I haven't heard this re-recorded version, just the original album (which I think is swell... see above...) but if you can't find the one, the other is probably just fine... Anyway, this is a the only one Amazon seems to carry, so it's probably your best bet, outside of collector shops and auctions...

Aoife Clancy "It's About Time" (Rego Records, 1993)

Aoife Clancy "Soldiers And Dreams" (Rego Records, 1998)

Aoife Clancy "Silvery Moon" (Appleseed Records, 2002)
The daughter of Bobby Clancy (of the legendary Clancy Brothers), Aoife Clancy (whose first name is pronounced "Ee-Fa") is also a former member of the long-lived, all-female Celtic group, Cherish The Ladies. She has a lovely, soulful voice, although I must confess this album is a little too sugary and singer-songwriter/folk-oriented for my tastes. The album closes with a pair of lovely tunes, "Across The Blue Mountains" (with harmonies by Aoife O'Donovan and Julie Glaub) and a duet with her dad, "Kisses Sweeter Than Wine," that are more understated and to my liking. Worth checking out, although most of the songs are too flowery and broadly orchestrated.

Willie Clancy "The Minstrel From Clare" (Topic Records, 1976) (LP)
As fine a set of pipering and ballads as you're ever likely to hear. Soloing on uillean pipes and tin whistle, Clancy also sings a capella on a few tunes, all of it with a simplicity and understated sense of authority that makes it hard to resist. Even for those who are not normally drawn to the starker side of trad may find themselves stirred by some of the deep, low notes, or haunting, keening tones. A real virtuoso performance.

Willie Clancy "The Pipering Of Willie Clancy, v.1" (Claddagh Records, 1994)

Willie Clancy "The Pipering Of Willie Clancy, v.2" (Claddagh Records, 1994)

Willie Clancy/Various Artists "Music And Songs From The Willie Clancy Summer School" (RTE Records, 2008)

Clannad - see artist profile

Anthony John Clarke "A Sideways Glance" (Terra Nova Records, 1997)
"Professionally Irish" is the description Clarke attempts deftly to dodge, although Ireland and Irish themes predominate on this charming collection. This set spans 1976-97, and covers some familiar territory with a few nice, new wrinkles. Clark is kind of like a softer version of Christy Moore, an acute observer of modern Ireland who sidesteps stereotypes while also avoiding the hard-left politics that characterize Moore's work. Clarke's is more the voice of caution and wry skepticism; nostalgic portraits of the Irish country life are his first target (on "Irish Eyes"), as well as numerous songs about the Troubles and their crippling effect on Ireland's national psyche. There are also several songs about the pub scene ("Karaoke Night" and "Savin' The Best 'Til Last") and the Irish-American diaspora. The arrangements drift inexorably from sweet acoustic guitar to goofier, bongo-laden modern folk and even a rock guitar or two. Some of it's irritatingly goopy, some of it is quite nice... The tune "Irish Visit '91," about seeing a friend with a terminal illness, is quite a powerful tune. Having heard this, I'm curious about his earlier (acoustic) material.

Alasdair Clayre "Adam And The Beasts" (Folkways Records, 1978) (LP)

Vikki Clayton "It Suits Me Well: The Songs Of Sandy Denny" (HTD/Castle Records, 1998)
On the face of it, this is either an act of heroism or foolheartiness -- a tribute to a figure so iconic and universally lionized that following in her footsteps would seem to invite the sort derision that only the truest true believers can heap upon one another. But Vikki Clayton, who has filled in the "Sandy Denny role" at many a Fairport Convention concert, is entirely up to the task. She opens this album with Denny's signature tune, "Who Knows Where The Time Goes," in sort of a throwdown to any potential detractors, and as on several other songs, her rich, confident vocals and understated arrangements carry the day. There are a few iffy touches, mainly in the electric filters and effects added to the bass and guitar, but overall this is a pretty strong record. Clayton herself is quite lovely to listen to. Devoted Fairport fans, doubtless primed to weigh in against this album, should really try to approach it with an open mind... it's pretty good.

The Clutha "Scotia!" (Argo Records, 1971) (LP)

The Clutha/Various Artists "The Streets Of Glasgow" (Topic Records, 1973) (LP)

The Clutha "Scots Ballads Songs And Dance Tunes" (Topic Records, 1974) (LP)
A stunning set of Celtic trad from a pioneering band from Glasgow. In the 1960s, a younger generation of Scottish musicians liberated their folk music from the ghettos of BBC light fare and kitschy, kilt-clad souvenir albums, but The Clutha took things to another level, delving deep into traditional instruments and a rich, resonant repertoire. Gordeanna McCullough, a powerful in the full flush of youth, had a crystalline voice and flawless phrasing, and was ably matched by the other musicians in the band. This is Scottish trad at its best, and an inspiration for many bands to come -- well worth looking for!

The Clutha "The Bonnie Mill Dams" (Topic Records, 1977) (LP)
Another strong set of Scottish trad, with squeaky fiddles and squalling bagpipes, as well as the gorgeous voice of Ms. McCullough. The songs include ribald English-language ballads and eerie, otherworldly Gaelic tunes, with a brace of elegant instrumentals as well. Recommended!

The Clutha & Gordeanna McCulloch "Sheath And Knife" (Topic Records, 1978) (LP)

The Clutha "On The Braes" (2001)

The Cock And Bull Band "Eyes Closed And Rocking" (Topic Records, 1985) (LP)
(Produced by Dave Whetstone & Tony Engle)
A band from Norfolk, England, formerly known as the Hemlock Cock And Bull Band, a name under which they released a previous album, All Buttoned Up, in 1981.

Cockersdale "Wide Open Skies" (Fellside Records, 1997) (LP)

Cockersdale "...Been Around For Years" (Fellside Records, 2000)

Cockersdale "Doin' The Manch' " (Fellside Records, 2001)

Shirley and Dolly Collins - see artist profile

Sonny Condell "Camouflage" (Mulligan Records, 1977) (LP)
A solo album from a member of the Irish band, Tir Na Nog...

Johnny B. Connolly "Bridgetown" (Green Linnet Records, 2001)
A fine set of accordion instrumentals, from a young Dubliner with a nice light touch. Kevin Burke, who was a patron of sorts for Connolly, adds some nice fiddling on three of the tunes... Nice variety of styles, as well as the inclusion of a French musette tune, "Marcelle and Marcel," which shows his range of interests.

Connemara "Beyond The Horizon" (Blix Street Records, 1993)
The first album by this Washington, DC-based trio...

Connemara "Siren Song" (Blix Street Records, 1995)
Fiddle, harp and airy vocals from the duo of Grace Griffith and Cathy Palmer, with additional instrumental help from Touchstone's Zan McLeod and others. This is too sugary for my liking, but it doesn't dip as heavily into the Celtic new ageiness as you might imagine... It's okay, just a bit amorphous and saccharine.

Contraband "Contraband" (Transatlantic Records, 1974) (LP)
One of Scotland's best '70s folk rock bands, very much in the style set by Steeleye Span and Fairport Convention. Features vocals by Mae McKenna, as well as several band members who would later go on to found the trad-fusion band Ossian. If you like Steeleye Span, you'll want to check this out.

Coope, Boyes & Simpson - see artist profile

The Copper Family "Come Write Me Down: The Early Recordings Of The Copper Family Of Rottingdean" (Topic Records, 2001)
The Copper Family, whose playful, earthy a capella recordings of the 1950s and early '60s are credited as being fundamental to the folkloric explorations of likeminded young'uns such as Shirley Collins and The Watersons, were as authentic a repository of English folklore as one could ever hope for. Of good, working class Sussex stock, the Copper Family has performed (to this very day) for several generations, singing humorous and wistful songs drawn from across the British landscape. Some are familiar, such as "Spencer The Rover" and "Good Ale," which open this album, and others, like "Thousands Or More" (a lament regarding the singer's lack of funds) and "The Birds In Spring" are more off the beaten path. Although a capella albums can sometimes be a bit dry, the Copper Family's style is particularly appealing, and quite inviting. Unlike some of their followers (Collins, in particular), the Coppers shyed away from taxing minor-key harmonies or atonality; sticking to the major scale, they are much more accessible and warm sounding, and less of a chore to follow. Thus, the stories and sentiments of these songs come through vividly, and even casual listeners may find themselves drawn in by these recordings. There are plenty of great songs on here; one of the most striking is the rural ballad, "The Seasons Round," which details the agricultural calendar, from plowing and planting through the harvest of various crops. The song vividly evokes the camaradery hard physical labor, and ends with a new verse (written by Bob Copper) that laments the coming of mechanized harvesting equipment, "labor-saving" devices that undercut the old-world sense of communality. This deluxe, 28-track CD draws equally on early '50s/early '60s sessions made for the BBC, and EFDSS and folklorist Peter Kennedy, and is accompanied by not one but two booklets, copiously documenting the family's history and professional work, as well as all the songs, with lyrics and historical information noted for each track. Lots of information about folk music and its study can be prized out of this classy collection... Highly recommended; if you're in doubt, just go ahead and pick it up. You won't regret it!

Bob & Ron Copper "English Shepherd & Farming Songs" (Folk Legacy Records, 1964) (LP)

Bob Copper "Sweet Rose In June" (Topic Records, 1977) (LP)

The Corries "The Corrie Folk Trio With Paddy Bell" (Elektra Records, 1965) (LP)

The Corries "Promise Of The Day" (Elektra Records, 1965) (LP)

The Corries "In Retrospect" (EMI-Talisman Records, 1965) (LP)

The Corries "Cam Ye By Atholl" (Philips/Fontana Records, 1966) (LP)

The Corries "Bonnet, Belt And Sword" (Polygram Records, 1967) (LP)

The Corries "In Concert/Scottish Love Songs" (Fontana Records, 1969) (LP)

The Corries "Those Wild Corries" (Fontana Records, 1968) (LP)

The Corries "Kishmul's Gallery" (Fontana Records, 1968) (LP)

The Corries "Live At The Royal Lyceum Theatre" (EMI, 1971) (LP)
A fine live set that shows the confidence and elan of the Corries duo, performing in front of a good-humored, receptive hometown audience in Edinburgh's Royal Lyceum Theatre. There's a core element of old-fashioned (but not quite fusty) folk-scene earnestness, but it's tempered with a flashing, subtly wicked Scottish sense of humor. Although much of their work as a dup doesn't have the evocative, magical feel of many of the Celtic bands that would come in their wake, one song stands out, a spooky adaptation of "The Great Silkie," an eerie, hushed, ten-minute long drone that has a positively Dransfieldian feel to it... That track is a standout, although the rest of the album is fine as well. Overall, it's workmanlike, yet personable, with several rousing, anthemic, historically-themed songs, such as "Ye Jacobites By Name," etc., as well as a fair amount of comedic material, including a slightly dated parody of '60s-style rock-blues bands, and even a quick little limerick. Not dazzling, but worth checking out. (Reissued as a 2-CD set, along with Sound The Pibroch, reviewed below.)

The Corries "Sound The Pibroch" (EMI, 1972) (LP)
An interesting album, with a fuzzy-textured, multilayered feel, with a bit of the mellow, mystical tone of musicians such as the Dransfields and Nick Drake, yet with a solid traditional footing. A nice, surprisingly subtle set... Worth checking out! (Reissued as a 2-CD set, along with Live At The Royal Lyceum Theatre, reviewed above.)

The Corries "Strings And Things/A Little Of What You Fancy" (EMI, 1970/1973)

William Coulter & Barry Phillips "Simple Gifts" (Gourd Records, 1990)

William Coulter & Barry Phillips "Tree Of Life" (Gourd Records, 1992)

William Coulter & Barry Phillips "Music On The Mountain" (Gourd Records, 1993)

William Coulter "Celtic Crossing" (Gourd Records, 1995)

William Coulter "Celtic Sessions" (Gourd Records, 1997)
Lovely stuff, centered around Coulter's delicate guitar work, which has clear echoes of John Renbourn and, to a lesser extent, John Fahey. At any rate, these mellow instrumentals never fall into the easy listening/New Age abyss, retaining dignity and authenticity while also sounding very, very relaxing and easy on the ears. Themes are well-developed and fully explored, particularly on longer tracks like "March Of The King Of Laois." Recommended!

William Coulter "The Crooked Road" (Gourd Records, 1999)
Pleasant, if somewhat generic, Celtic/new acoustic music that drifts into New Age-y terrain as often as not. Not my cup of tea, but if you're into it, it ain't bad.

William Coulter & Benjamin Verdery "Song For Our Ancestors" (Solid Air Records, 2001)

William Coulter "The Road Home" (Gourd Records, 2004)

William Coulter & Barry Phillips "The Simple Gifts Collection" (Gourd Records, 2001)
A box set collecting their early collaborations...

Dave Cousins & Brian Willoughby "Old School Songs" (Old School/Passport Records, 1979/1980) (LP)
(Produced by Bob Pridden & Al Williams)
A "solo" set from singer-guitarist Dave Cousins of the Strawbs.... Although he gets lone credit on the album's front cover, the back lists both Cousins and his bandmate Brian Willoughby as the primary artists. The first side features studio recordings, some of which promise a psychedelic folkie vibe, but the album soon coalesces into something more like Richard Thompson's style of mopey poetic self-importance, which doesn't do much for me, alas. There is also a brace of live recordings, and both the live and studio tracks rely heavily on material from the classic Strawbs back catalog. Overall, this is a strong acoustic-based set, tilting more towards contemporary early 'Eighties folk music, with a rock-adjacent feel. Maybe not that much here for trad fans, but it certainly fits into the UK folk continuum.

Harry Cox "What Will Become Of England?" (Rounder Records, 2000)

Harry Cox "The Bonny Labouring Boy" (Topic Records, 2001)

Crasdant "Cerddoriaeth Draddodiadol Gymreig (Welsh Traditional Music)" (Sain Records, 1999)
Pretty, flowery-sounding Welsh instrumentals, with harp, flute, fiddles, and a bit of guitar and "stepping" (also known as "clogging," sort of a percussive tap-dance for rhythm...) This is maybe a bit softer than the stuff I like, but it's still pretty nice, and very true to the folk traditions. Easy on the ears without being all New Age-y and bland.

Crasdant "Nos Sadwrn Bach (Not Yet Saturday)" (Sain Records, 2001)
A lovely instrumental set, more accomplished than their earlier recordings, mellow and engaging without being either saccharine or intrusive. If you like pretty-sounding Celtic harp music, this is an album worth checking out. (Available at the band's website: www.crasdant.com )

Crasdant "DWNDWR: The Great Noise" (Sain Records, 2006)

Kevin Crawford " 'd' Flute Album" (Green Linnet Records, 1995)

Kevin Crawford "In Good Company" (Green Linnet Records, 2001)
A fine all-instrumental album, featuring English flautist & tin whistle whiz Kevin Crawford (of the band Lunasa), in collaboration with several high-powered guest performers, folks such as fiddlers Tommy Peoples, Martin Hayes, Manus McGuire and Frankie Gavin, just to name a few. A couple of tracks are super-goopy, but most are straightforward and pleasantly pure.

Kevin Crawford "A Breath Of Fresh Air" (Green Linnet Records, 1995)

The Critics Group "Sweet Thames Flow Softly" (Argo Records, 1966) (LP)
(Produced by Ewan MacColl & Peggy Seeger)
The first album (I think) of "the Critics Group," a cleverly-named English trad ensemble of steadily shifting membership, with John Faulkner and Sandra Kerr forming the group's backbone. While collaborative in spirit, the Critics Group albums are actually more a kind of various artists series, with most tracks spotlighting solo performances ranging from a capella ballads to more modest, minimalist backing, generally with one or two instruments. Convened by folk icons Ewan MacColl and Peggy Seeger, the group focussed on the topical "broadside ballads" genre, popular and often political songs that were sung in English (and later British) pubs starting in the 1500s. The broadsides were frequently published on single-page printings and had a controversial role in British folklore circles -- according to the liner notes from a later Critics Group album, the legendary songcatcher Frances Child despised the genre as amateurish and inauthentic, though the broadsides were eventually recognized as invaluable repositories of musical forms, melodies and specific texts that otherwise would have been lost to the tides of time. This album focusses on songs about and from London -- a theme pursued in later records -- with vocals and musical backing by Ted Culver, John Faulkner, Sandra Kerr, Jim O'Connor, and Terry Yarnell.

The Critics Group "A Merry Progress To London" (Argo Records, 1967)

The Critics Group "The Female Frolic" (Argo Records, 1968) (LP)

The Critics Group "Waterloo-Peterloo" (Argo Records, 1968) (LP)

The Critics Group "Living Folk" (Argo Records, 1970) (LP)
(Produced by Roberto Leydi & Bruno Pianta)

The Critics Group "As We Were A'Sailing" (Argo Records, 1971) (LP)

The Critics Group "Ye Mariners All" (Argo Records, 1971) (LP)

Tony Cuffe "When First I Went To Caledonia" (Iona Records, 1988)

Tony Cuffe "Robert Burns Volume 1: The Complete Songs" (Linn Records, 1997)

Tony Cuffe "Sae Will We Yet" (Greentrax Records, 2003)
A lovely set of guitar instrumentals and Scottish songs. Cuffe has a nice light touch, and a warm feel for the material; stands up well next to forerunners such as Davy Graham and John Martyn. Mostly, this album is just a delight to listen to...Recommended! (Available through the Greentrax label.)

Cuig "Prospect" (Green Linnet Records, 2002)
A lively set of inventive, modernized Celtic tunes, mixing Irish and Northumbrian styles with a slight rock-pop undercurrent. Pretty catchy overall, with a few vocal tunes, although the instrumental work is really the main attraction. Might be a little too crossover-y for some, but basically, it's pretty straightforward traddish material, with a few nice twists. Not a "keeper" from my perspective, but certainly not bad at all.

Phil Cunningham & Aly Bain "The Pearl" (Green Linnet Records, 1995)

Phil Cunningham & Aly Bain "The Ruby" (Green Linnet Records, 1997)

Phil Cunningham & Aly Bain "Another Gem" (Compass Records, 2000)

Phil Cunningham & Aly Bain "Spring The Summer Long" (Whirlie Records, 2003)

Phil Cunningham & Aly Bain "The Best Of Aly And Phil" (Compass Records, 2004)

Phil Cunningham & Aly Bain "Another Musical Interlude" (DVD) (Dunya Records, 2004)

Phil Cunningham & Aly Bain "Roads Not Travelled" (Whirlie Records, 2006)

The Cut and Dry Band "Cut And Dry Dolly" (Topic Records, 1976) (LP)

The Cut and Dry Band "Cut And Dry #2" (Topic Records, 1980) (LP)

The Cut And Dry Band "The Wind In The Reeds: The Northumbrian Smallpipes" (Topic Records, 2001)
(Produced by Tony Engle)
A musical feast for fans of Northumbrian music, and in particular of the "small pipes," a distinctive bagpipe-ish instrument peculiar to that region of Northern England. This band features five(!) pipe players, Colin Ross, Jim Hall, Alistair Anderson, Anthony Robb, and Carole Robb, with various members contributing a bit of fiddle or concertina as well. This reissue CD combines songs from two albums by the band, Cut And Dry Dolly from 1976 and Cut And Dry #2, from 1980... It is frequently mistaken for a various-artists collection, but is actually just the work of the Cut And Dry Band. Odd stuff, but marvelous as well.

Gordon Cutty/Tommy Williams "Masters Of The Concertina" (Free Reed Records, 2007)
A twofer reissue of a pair of albums by two separate artists, Gordon Cutty's A Grand Old Fashioned Dance and Tommy Williams' on Springtime In Battersea, each with simple, stripped-down concertina instrumentals of the sort one might have heard in English alehouses in decades and centuries gone by... The CD reissue includes artist interviews as bonus tracks. Probably for hardcore concertina enthusiasts only. (And there are many!)

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