Ewan Maccoll - see artist profile

Kirsty Maccoll - see artist profile

Iain MacDonald "Beneath Still Waters" (Greentrax, 1986)
(Produced by Dick Gaughan)
Scottish folk star Dick Gaughan produced and plays on this politically-oriented contemporary folk album, showcasing singer-songwriter Iain MacDonald. Songs include "Santiago Stadium," "Ask Questions Later," "Do You Think It's Right?" and a cover of "Free Nelson Mandela," to round things out.

Father Sydney MacEwan "The Road To The Isles" (ASV Records, 1999)
Glasgow's Sydney McEwan followed both the call of the Church and the roar of the crowd, pursuing a professional singing career even as he maintained his priestly status. These recordings, dating from 1935-47, were actually some of the only popular recordings of Gaelic song during the inter- and postwar eras, and although they do have some of the prissy artsong affectations that English tastes imposed on those otherwise unruly Celtic ballads, it must be said that MacEwan had a lovely tenor, and an ease about his singing that transcended the stilted mannerisms picked up from his idol, John McCormack. Not modern in the post folk-boom sense (and not strictly folkloric either, there are several modern tunes on here as well...), but still rather nice. If you want to delve a little further back into the island sound, then this disc might be worth tracking down.

Mairi MacInnes "Causeway" (Lismor, 1989)

Mairi MacInnes "This Feeling Inside" (Greentrax, 1995)

Mairi MacInnes "Orosay" (Greentrax, 2001)
I'm always in favor of folks singing in Gaelic, though I can't say I'm that thrilled with her voice, or with the album's arrangements. I guess there is an unusualness factor here -- the music sounds vaguely more "adult contemporary" and less trad, so the pairing of the "foreign" language and "modern" music is a little new. But again, itŐs how it sounds that matters, and I found that this disc set my hackles on end more often than not. I'll pass.

Mairi MacInnes "Tickettyboo" (Greentrax, 2005)
Children's music...

Mairi MacInnes "Dilyn Y Fflam" (Sain, 2007)

Talitha MacKenzie "Solas" (Shanachie, 1994)
What a horrible album by this veteran of the Mouth Music band... It's an absolutely horrendous Celtic-pop crossover album, melding mouth music with various brands of ultra-tacky musical arrangements: super-generic house music, tinkly keyboard pop, "funky" lite jazz, swirly New Age synths, embarrassingly bad spoken interludes and samples, Latin riffs, etc. It's really just awful. Really, really, really awful. And did I mention it was tacky? Brrrrrrrrrr... it sends shudders down my spine.

Talitha MacKenzie "Spiorad" (Shanachie, 1996)

Talitha MacKenzie "Indian Summer" (Sonas, 2008)

Dougie MacLean - see artist profile

Donald MacLellan "The Dusky Meadow" (Rounder, 2003)
A raspy, enduringly authentic set of old-world tunes given a New World lilt, performed by Cape Breton fiddler Donald MacLellan, with accompaniment by pianist Doug MacPhee. The first time I listened to this, I was a little taken aback by MacLellan's more tremulous moments -- there's a palpable sense that this 85-year old fiddler is a little past his prime. The flip side, though, is that you can also tell that he remains a strong stylist and a master of his art; there may be some shaky moments, but this is a fine testament to an artist with deep traditional roots and a complete command of his repertoire. The more you listen to it, the more this will grow on you.

Kevin MacLeod "Springwell" (Greentrax, 1999)

Kevin MacLeod "Dorney Rock" (Greentrax, 2006)

Buddy MacMaster "Judique On The Floor" (1993)

Buddy MacMaster "The Judique Flyer" (Stephen MacDonald, 2000)

Buddy MacMaster "Cape Breton Tradition" (Rounder, 2003)
A craggy-yet-catchy set of old Scottish fiddle tunes from the island of Cape Breton, Nova Scotia, where an old style of traditional playing has been augmented with various local embellishments and stylistic flourishes. Nearly eighty years old when these sessions were recorded, MacMaster is an acknowledged master of the style, and his bowing is still lively and deft... He's accompanied here by his daughter, Mary Elizabeth MacMaster MacInnis, whose straightforward piano playing keeps pace with his somewhat dazzling violin work. This might not be for everyone -- like many similar albums, this all-instrumental set is largely "for fiddle lovers only," but if you count yourself in that number, then you'll definitley want to check this album out... (The highly-regarded Mr. MacMaster is also, by the way, uncle to the well-known fiddle whiz, Natalie MacMaster, who counts him as one of her primary influences... )

Natalie MacMaster "Four On The Floor" (Astro Custom, 1989)

Natalie MacMaster "Road To The Isle" (Astro Custom, 1991)

Natalie MacMaster "Fit As A Fiddle" (Rounder, 1993)

Natalie MacMaster "No Boundaries" (Rounder, 1996)

Natalie MacMaster "In My Hands" (Rounder, 1999)

Natalie McMaster "My Roots Are Showing" (Rounder, 2000)

Natalie MacMaster "Live" (Rounder, 2001)

Natalie MacMaster "Blueprint" (Rounder, 2003)

Natalie MacMaster & Buddy MacMaster "Traditional Music From Cape Breton Island" (Rounder, 2005)

Natalie MacMaster "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.

Natalie MacMaster "A Compilation" (Rounder, 1996)

Natalie MacMaster "The Collection" (Rounder, 2007)

Finlay MacNeill "Fonn Is Furan: A Tune And A Welcome" (Temple, 1982)
Super-authentic a capella ballads and a bit of piping from the Scottish Highlands. Nice, old-fashioned, rugged material for those who are into the old, old stuff.

Catherine Ann MacPhee "Canan Nan Gaidheal (The Language Of The Gael)" (Greentrax, 1994)

Catherine Ann MacPhee "Sings Mairi Mhor" (Greentrax, 1994)

Catherine Ann MacPhee "Chi Mi'n Geamhradh (I See Winter)" (Greentrax, 1994)

Catherine Ann MacPhee "Suil Air Ais: Looking Back" (Greentrax, 2004)
A fine vocal set by Scottish trad singer Catherine Ann MacPhee, whose approach is a bit on the formal side, but who still has a lovely voice. The opening tracks feature the Celtic harp, an airy-sounding instrument which is generally anathema to me, but different sounds take over later on the album... With a drifting guitar behind her, MacPhee is particularly appealing, and while she doesn't quite have the fluidity or magical feel of many of my favorite trad singers, she's still quite nice and undeniably authentic. Worth checking out.

Mac-Talla "Mairidh Gaol Is Ceol : The Gaelic Song Tradition Of Scotland" (Temple, 1994)
A Scots supergroup of sorts, Mac-Talla's members include vocalist Christine Primrose and harpist Alison Kinnaird. The band specializes in sweet vocal tunes; perhaps a bit sugary overall, but thankfully free of the synthesizers and electronic claptrap that has swamped Celtic music in recent years. Produced by Scottish folk super-guru Robin Morton, of Battlefield Band fame.

Joanie Madden "Whistle On The Wind" (Green Linnet, 1994)
Beautiful tin whistle and flute instrumentals by a founding member of the American Celtic band, Cherish The Ladies... The whole album is lovely, but I'm particularly transfixed by the haunting, moody aire, "Blind Mary." Highly recommended!

Joanie Madden "Song Of The Irish Whistle" (Hearts Of Space Records, 1996)

Joanie Madden "Song Of The Irish Whistle, v.2" (Hearts Of Space Records, 1999)

Joanie & Joe Madden "A Galway Afternoon" (Big Mammy Records, 2010)

Magpie Lane "The Oxford Ramble" (Beautiful Jo Records 1993)

Magpie Lane "English Country Songs And Dances" (Beautiful Jo, 1994)

Magpie Lane "Speed The Plough" (Beautiful Jo, 1994)

Magpie Lane "Wassail! A Country Christmas" (Beautiful Jo, 1995)

Magpie Lane "Jack-In-The-Green" (Beautiful Jo Records, 1998)
(Produced by Tim Healey)
A magnificent, somewhat understated set of ceilidh and other English country songs, featuring a lovely melodic chorus, some rich, resonant a capella vocals, and nice, bouncy instrumental work, played on concertina, hurdy-gurdy, flute and fiddle. This down-to-earth, tradition-drenched, Oxford-based band apparently has several albums out... Having heard this one, I'm eager for more!

Magpie Lane "A Taste Of Ale" (Beautiful Jo Records, 2000)

Magpie Lane "Six For Gold" (Beautiful Jo Records, 2002)

Magpie Lane "Knock At The Knocker, Ring At The Bell" (Beautiful Jo Records, 2006)

Malicorne "Malicorne 1: Colin" (1974) (LP)
This French band is not "Celtic," per se, but they certainly must have been inspired by the trad revival as embodied by Irish bands like Planxty -- old-fashioned music played with a renewed, rock-flavored gusto, courtesy of the hippie counterculture. Like Planxty, Malicorne stuck pretty closely to the traditional sound, later drifting only slightly into fusion-y terrain. This album was their first, and all but one song comes from French folklore, mining similar sounds to the UK and Celtic folkies, but with a distinctively Gallic vibe. The remaining song was written by guitarist Gabriel Yacoub, who went on to record several solo albums with a similarly beautiful, melodic acoustic sound. He sounds pretty nice here, too, early on in his career. (Note: this album is also sometimes called "Colin".)

Malicorne "Malicorne 2: Le Mariage Anglais" (1975) (LP)

Malicorne "Almanach" (1976) (LP)

Malicorne "L'Extrordinaire Tour De France d'Adelard Roussou, Dit Nivernais La Clef Des Coeurs, Compagnon Carpentier Du Devoir"
(CBS/Batton Noir Records, 1978) (LP)
Now, how's that for an album title?? This is one of Malicorne's trippier, more psychedelic albums, with Gabriel and Marie Yacoub clearly acting as the guiding force... Sure, the group still has plenty of traditional roots on display, including some of the stark vocal chants that the Yacoubs specialized in, but there's also a lot of weird, disjointed musical rambling, including some stuff in sort of a "concrete sound" mode... Several pretty-sounding tracks, and only one or two fusion numbers that made me wish I could hit the fast forward button on this old vinyl. All in all, a really nice record... worth checking out!

Malicorne "En Public" (Balloon Noir Records, 1979) (LP)
A clompy live album which has a certain ragged, earthy charm to it, but lacks the magical qualities and finesse of their best studio work. It's very much like Steeleye Span, in their more rock-oriented phases, kinda Stonehenge-y and craggy, and very much "of its time," as a Celtic-rock relic. Frankly, though, it didn't do much for me... I can live without it.

Malicorne "Le Bestiaire" (1979) (LP)

Malicorne "Balancoire En Feu" (1981) (LP)

Malicorne "Les Cathedrales De L'Industrie" (1986)

Malicorne "Vox: Compilation A Capella" (Sony, 1995)
A best-of set that concentrates on their vocal arrangements, with Gabriel Yacoub prominently featured...

Malicorne "Marie De Malicorne" (19--?)
This collection focusses on the contributions of Marie Sauvet-Yacoub...

Malicorne "Legende: Deuxieme Epoque" (Hannibal/Rykodisc, 1989)
This best-of set leans a bit too much on the band's proggy, difficult side for me... There are a couple of great, weird acoustic songs and vocal tunes, but overall, I think newcomers to the band might be better off searching out their individual albums. This disc will give you a sense of the band's stylistic range, but it's kind of rough going if you're looking for more traditionally-oriented material.

Malinky "Last Leaves" (Greentrax Records, 2000)
The first album by this fine Scottish band... I haven't heard it yet, but after hearing the Three Ravens album (below), I am avidly searching for a copy of this one as well. Karine Polwart rocks my world.

Malinky "Three Ravens" (Greentrax Records, 2002)
Gorgeous! Karine Polwart, who also recently had a stint with the legendary Battlefield Band, is the lead singer of this fine Scottish combo, with a few tunes also sung by Guitarist Steven Byrne. Beautiful, melodic material -- engaging song, light, lovely playing, and above all, Polwart's fine, authoritative vocals. This is an album -- and a band -- that way more people should know about. Highly recommended.

Malinky "The Unseen Hours" (Greentrax Records, 2005)

Malinky "Flower & Iron" (Greentrax Records, 2008)

John Martyn - see artist profile

Karen Matheson "The Dreaming Sea" (Valley Records, 2000)
A solo album from the lead singer of the Scottish folk-pop supergroup, Capercaillie.

Karen Matheson "Time To Fall" (Sanctuary, 2002)

Karen Matheson "Downriver" (Compass/Vertical Records, 2006)
(Produced by Donald Shaw)
A mellow, trad-oriented offering; the third solo album from the lead singer from Scotland's modernist Celt-pop-New Age supergroup Capercaillie. Matheson sings mainly in Gaellic (with a few songs in English), with a mellow, unhurried acoustic backing. There's a singer-songwriter side as well, which places this disc vaguely in the vicinity of Kate Bush and Aimee Mann, though with a distinctly Celtic twist. The band includes the venerable Donal Lunny on bouzouki and bodhran, as well as pianist-producer Donald Shaw and bassist Ewen Vernal, both of Capercaille fame. In general, this is a fine album, and sure to be a treat for fans who've hungered for more Matheson to return to more traditional-sounding material... For my part, I've never been a big fan of her voice -- I just don't like how she sounds -- but I found myself slowly won over to this record, the more I listened to it. Folks who are less picky and crabby than I am will certainly want to check this out.

William Matheson "Gaelic Bards And Traditions" (Greentrax Records, 1993)
A weighty 2-CD set of well-researched Scottish songs, gathered and sung a capella by Celtic songcatcher William Matheson, a highly regarded folklorist who lectured for many years at the School Of Scottish Studies, University of Edinburgh. Matheson has a fine voice, perhaps not with that certain something that some artists have that makes chills run down your spine, but still bright, clear, authoritative and well enunciated. The songs are divided into two categories, one disc of iorram songs, rambling topical and satirical ballads that were sung in loose and amorphous versions by the Scottish bards, and amhran songs, which have a firmer structure and sound more like the modern tunes we hear artists singing today. The thirty-five songs gathered here represent an impressive set of scholarship, and a rich wellspring of less well-traveled Celtic folklore. I have to confess, at first listen the starkness of presentation was a little off-putting: there didnŐt seem to be enough stylistic variation to hold my attention, and while I love hearing Gaelic aloud, three dozen a capella songs in a row seemed like a bit much. But when I flipped to the second disc, the amhran album, I found these songs, anchored by a more decisive metrical structure, were much easier to settle in on. An impressive collection!

Mathews Brothers "A Kiss In The Morning Early" (Avada Records, 1978) (LP)

Mick McAuley "An Ocean's Breadth" (Shanachie Records, 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.

Mick McAuley & Winifred Horan "Serenade" (Compass Records, 2005)
Solas may have disbanded some time ago, but the popular Irish-American supergroup continues to cast a long shadow on the contemporary Celtic folk scene... Here is about the bazillionth Solas solo/spinoff project, a typically virtuosic collaboration between fiddler Winifred Horan and accordionist/piper/guitarist Mick McAuley. It's a sweet set, mostly instrumental with an oftimes sugary feel and plenty of dazzling musicianship... There's a bit much of the jigs'n'reels, jigs'n'reels repetitiveness to it, although the vocal numbers break things up a bit. I could live without their overly-languid cover of Neil Young's "After The Gold Rush," although McAuley's lovely, soulful performance on "Adieu Sweet Lovely Nancy" is an album highlight. Certainly, if you're a Solas fan to begin with, this disc'll do you no harm. Worth checking out.

The McCalmans - see artist profile

Cathal McConnell & Len Graham "For The Sake Of Old Decency" (Sage Arts Records, 1993)

Cathal McConnell "Long Expectant Comes At Last" (Compass Records, 2000)
A solo album from Irish flautist Cathal McConnell, a founding member of the fabled Boys Of The Lough. A charming and sometimes rather daft set of Irish drinking songs and pub-stool ballads... Includes a lot of deliciously raunchy material, delivered in an affable old-timer style. McConnell has a slew of great guest artists on this album, including folks such as piper Joanie Madden, Dave Mattacks, Len Graham, Richard (and Linda) Thompson, and that great old American connoisseur of bawdy ballads, Oscar Brand. This is one of those albums that you have to be on the right wavelength for... but if you are, it'll really pay off well!

Alyth McCormack "An Iomall: The Edge" (Compass/Vertical Records, 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 "John McCusker" (Temple Records, 1991)

John McCusker "Yella Hoose" (Temple Records, 2000)

John McCusker & Kate Rusby "Heartlands" (Soundtrack) (Pure Records, 2003)
A split album, with a collection of previously released vocal numbers highlighting Rusby's angelic voice, along with new instrumental compositions from her then-husband, fiddler John McCusker. Apparently they also perform a couple of numbers onscreen in the film itself, although I'm not sure if those songs are included here.

John McCusker "Goodnight Ginger" (Compass Records, 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 Records, 1971) (LP)
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 Records, 2003)

Matt McGinn "The Best Of Matt McGinn, v.2" (Greentrax Records, 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 were 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 Records, 2000)

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

Michael McGoldrick/Various Artists "Tunes" (Compass/Vertical Records, 2005)
McGoldrick along with Frankie Gavin, Jim Murray and Sharon Shannon.

Michael McGoldrick "Wired" (Compass/Vertical Records, 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 & Seamus McGuire "Humours Of Lissadell" (Folk Legacy Records, 1980) (LP)

Manus McGuire/Seamus McGuire/Jackie Daly "Buttons & Bows" (Green Linnet Records, 1984) (LP)

Manus McGuire/Seamus McGuire/Daithi Sproule "Carousel" (Gael Linn Records, 1993)

Manus McGuire "Saffron And Blue" (Green Linnet Records, 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.

Manus McGuire "Fiddlewings" (2006)

Shane McGowan's Popes "Across The Broad Atlantic: Live On Paddy's Day New York-Dublin" (Eagle Records, 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.)

Catriona McKay "Starfish" (Compass Records, 2008)
(Produced by Catriona McKay)
This set of inventive, modern Celtic instrumentals feature Scottish harpist Catriona McKay, along with guitarist Seamus Egan and others... The music is acoustic based and the instrumentation is traddy, though the approach is pretty jazzy, with unusual phrasing and rhythms... It's not totally my cup of tea, but folks who are looking for music that expands the boundaries of Celtic music will find this both challenging and aesthetically pleasant, sort of the trad equivalent of what David Grisman and his cohorts did for American bluegrass. Definitely worth checking out.

Loreena McKennitt "An Ancient Muse" (Verve Records, 2006)
Although it's been almost a decade since her last record came out, world-fusion diva Loreena McKennitt picks up the thread where she was last weaving together the strands of Celtic, Iberian and Arabic music. The Celtic skeins seem to be pretty well buried under the slowed-down tribal belly dance melodies, though there's a wee bit o' the islands in there still, alongside all the oud, cymbalom and Middle Eastern percussion. This is lush, ornate, lofty, slightly Gothic, slightly gooey stuff -- reminds me of the later Dead Can Dance albums -- and I'm sure McKennitt's fans will be thrilled.

Loreena McKennitt "Nights From The Alhambra" (Verve/Quinlan Road Records, 2007)
Celtic, Iberian, Arabic, New Age and popular music blend in this lavish, lush concert, showcasing McKennitt's trademark mix of styles as performed at a September, 2006 concert in Spain... Fans will be thrilled at the double-disc album and accompanying DVD that mixes songs from her recent album, An Ancient Muse along with favorite songs from her decades-long career. The video portion was originally broadcast as a PBS television special; this commercial release includes that version as well as an edited cut which omits much of McKennitt's stage patter, and focusses more exclusively on the music. A fine chance for fans to see their diva in action, with her theatricality and gravitas buoyed by a large ensemble of musicians from across the globe.

Susan McKeown "Bones" (Prime CD, 1996)

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

Susan McKeown "Bushes & Briars" (Alula Records, 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 Records, 2000)

Susan McKeown & Johnny Cunningham "Lowlands" (Green Linnet Records, 2001)
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 "A Winter Talisman" (Sheila-Na-Gig Records, 2001)

Susan McKeown "Prophecy" (World Village Records, 2002)

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

Susan McKeown "Blackthorn: Irish Love Songs (An Draighnean Donn: Amhrain Gra)" (World Village Records, 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!

Tony McManus "Tony MacManus" (Greentrax Records, 1996)

Tony McManus & Tony McManus "Return To Kintail" (Culburnie Records, 1999)

Tony McManus "Ceol More" (Compass, 2002)

Tony McManus & Alain Genty "Singing Sands" (Compass Records, 2005)
Instrumental world/soft-jazz duets featuring hotshot Celtic guitarist Tony MacManus and French bassist Alain Genty... This is on the soft side, even a tad goopy, but it's quite listenable and full of motion... Genty has a fondness for Pat Metheny-esque echo, an '80s-ish production technique that some listeners may find off-putting, though overall this is a substantive album, exploring pan-Celtic forms and adding a healthy dose of Balkan and Arabic melodies as well... Not something I necessarily need to revisit, but I did find it quite listenable and lulling... almost even guilty pleasure material. Even if you're averse to easy listening, you might find yourself lulled by this one... And if you do enjoy the softer end of the Celtic folk spectrum, you will love it.

Tony McManus "The Maker's Mark: The Dream Guitar Sessions" (Compass Records, 2009)
(Produced by Tony McManus)
Delicious, contemplative, gentle guitar instrumentals from this Scottish master musician. McManus gathers music from a variety of sources, mostly Celtic and English folk tunes, but also contemporary material and songs from African and Eastern European sources, all handled with great soulfulness and skill. The album is also a showcase for the guitars that McManus plays, an assortment from some fabled music store in North Carolina (Dream Guitars, no less...) whose individual luthiers are even credited in the liner notes, and the guitars themselves are pictured and described within. If you like mellow acoustic guitar records to chill out to -- old John Renbourn and stuff like that -- then this disc is a doozy. Definitely recommended.

Brian McNeill "Unstrung Hero" (Temple Records, 1985)
Solo work from the one-time fiddler of Scotland's fabled Battlefield Band.

Brian McNeill "The Busker And The Devil's Only Daughter" (Temple Records, 1990)

Brian McNeill "The Back O' The North Wind" (Greentrax Records, 1991)

Brian McNeill & Iain MacKintosh "Stage By Stage" (Greentrax Records, 1996)

Brian McNeill "No Gods" (Greentrax Records, 1996)

The McPeake Family "Wild Mountain Thyme" (Topic Records, 2009)
(Produced by Bill Leader)
A wild and unruly set of traditional (and traditional-sounding) folk songs from this venerable Belfast family band. This album is a reissue of their 1962 album for the Topic label, along with a four-song EP that introduced the world to the song "Will Ye Go Lassie Go," which is often thought of as a traditional ballad, but was actually written by the family patriarch Francis McPeake, a uileann pipe player who was well into his seventies when these recordings were made. In the 1950s, the McPeakes played to great acclaim in several folk concerts and large festivals; on this record they presented a wide range of styles and sounds, including lyrical ballads, rough-hewn folk tunes and several songs with rather unusual arrangements. It's a fascinating, invaluable snapshot of the early years of the Irish folk revival, from one of the nation's most influential groups. Recommended!

Jacqui McShee/Gerry Conway/Spencer Cozens "About Thyme" (Pinnacle Records, 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 embarrassing. Not my cup of tea.

Jacqui McShee's Pentangle "Passe Avant" (Park Records, 1999)

Jacqui McShee's Pentangle "At The Little Theatre" (Park Records, 2000)

Jacqui McShee & John Renbourn "In Concert" (DVD) (Grossmans' Guitar Workshop, 2004)

Jacqui McShee's Pentangle "Feoffees' Lands" (GJS Records, 2005)

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

John McSherry & Donal O'Connor "Tripswitch" (Compass Records, 2006)
This is a consistently inventive, all-instrumental Celtic set, branching off from the well-trod paths of traditional jigs and reels, but not so far as to alienate old fans or invite cries of "foul" from the anti-crossover contingent. Fans of instrumental trad music will want to check this out... Piper John McSherry and fiddler/keyboardist Donal O'Connor, who work together in the band At First Light, weave East European melodies in with Irish motifs... There are new, intriguing rhythms and start-stop patterns that'll make you sit up and take notice. Pretty nice!

Meav "Meav" (Hearts Of Space Records, 2000)
Soprano vocalist Meav, a featured performer with the group Anuna and the Riverdance ensemble, leads this goopy, lofty set of classical-Celtic crossovers. She has a pretty voice and all, but this is way too saccharine for me. I'll pass.

Mellow Candle "Swaddling Songs" (Deram Records, 1972) (LP)
Fans of vintage Steeleye Span (and likeminded Brit-Celt folk-prog bands) will definitely want to check this one out... A forceful yet fanciful album with undeniable folkie elements, this is also clearly a rock record, with driving electric guitars throughout, guiding the sound every bit as much as the keening female vocals. Hailing from Ireland, Mellow Candle boasted two female singers, Clodogh Simonds (who also played keyboards) and Alison Williams, and their vocals may remind you of Steeleye alumni Maddy Prior and Jacqui McShee: shrill, chaotic, utterly earthy and charismatic. The band's blunderbuss rhythmic approach was in keeping with the psychedelic times, as were the stream-of-consciousness lyrics, and the faint whiff of elves capering about in the forests. They can be fairly pegged as a "prog" band, although to their credit, the non-rock, non-folk influences drew on more straight jazz elements than on classical or baroque pretensions. Although this isn't an album I'm likely to listen to much for purely recreational purposes (it's a bit too difficult for me) it's certainly striking enough to have around to throw into the mix now and then. Plus, it's a bloody landmark and legendary lost gem and all... So one must have it around, right?

Mellow Candle "The Virgin Prophet -- Unreleased Sessions: 1969-1970" (Kissing Spell Records, 2004)

Dick Miles "Cheating The Tide" (Greenwich Village Records, 1984)

Dick Miles "On My Little Concertina" (Brewhouse Records, 1989) (LP)

Milladoiro "Castrellum Honesti: Celtic Music From Spain" (Green Linnet Records, 1991)
Erm. This set of Celtic music from Galicia presents an intriguing historical and ethnomusicological case study, but this particular album is a bit off-putting. I mean, yeah, it's interesting that this musical tradition arose in an area of Spain (partly because Galicia was a cultural crossroads during the Middle Ages) but the music within is terribly overwrought, and sounds quite a lot like bad soundtrack music; also, the sound mix is quite shrill and unpleasant. The musicianship can't be faulted, but the production values and arrangements are a bit iffy.

Milladoiro "As Fadas De Estrano Nome" (Green Linnet Records, 1997)
A somewhat prim concert recording by these Galician Celts; apparently there is a longer version of this set which came out in Spain, and which includes several more boisterous tracks. This set has a fairly formal, folkloric feel to it (and not enough vocals, for my tastes...) though the Argentine audience in Buenos Aires seemed to love them nonetheless. Impressive technically, but the overall feel is a bit static and monotonous. It's not bad, just not my preferred style of trad.

Milladoiro "Agua De Maio" (Green Linnet Records, 2000)
A lovely, (almost) all-instrumental album, moving effortlessly from Arabic-flavored themes to elegant Iberian-Celtic crossovers. While many sets of similar material can be monotonous or grating over the course of an entire album, Milladoiro have a knack for making it all sound fresh. There's a textural richness to the production that softens the sound, and the mix of bagpipes and flute, along with harp and other instruments, is very warm and well balanced. It's sugary sounding, but nice, and very engaging. Worth checking out; these folks are certainly at the top of their game.

Mr. Fox "Mr. Fox" (Transatlantic Records, 1970) (LP)
There's a bit of an elves-in-the-woods flavor to these old albums by an obscure hippie-era folk-fusion band that hailed from Yorkshire, England. Bob and Carole Pegg wrote original tunes based on traditional regional melodies, with an emphasis on local fiddling styles, as well as story-songs that have a disarmingly authentic air about them. The music is only slightly sprawling and ramshackle; overall, it's quite appealing and nice to see these two rare recorded reissued on a single CD. (Apparently, though, one song has been omitted in order to cram all the rest of the music on, much to the dismay of hardcore fans...) Trad fans should enjoy this unusual set of tunes, which have a shaggy wildness to them similar to the best work by Yorkshire's other great group, the Watersons.

Mr. Fox "The Gipsy" (Transatlantic Records, 1971) (LP)

Mick Moloney/Robbie O'Connell/Jimmy Keane "Kilkelly" (Green Linnet Records, 1988)
A robust record featuring the guitar and vocals of O'Connell and Maloney, and the accordion work of Keane. This disc features the trio on several zippy instrumental numbers and a sweet song or two, but its centerpiece is the 22-minute long "operetta" medley, "Green Fields Of America," which strings together over a dozen songs associated with the Irish migration to the New World. The medley foreshadows Moloney's extensive scholarly work on the subject, and has all the good humor of his later recordings of many of these same songs. A nice, strong set... recommended!

Mick Moloney/Eugene O'Donnell/Seamus Egan "3 Way Street" (Green Linnet Records, 1993)
A fairly low-key collaboration between flautist Seamus Egan, songcatcher Mick Moloney and fiddler Eugene O'Donnell. Moloney sings a few jocular old ditties, while the rest of the album is taken up with brisk, energetic (though slightly brittle) instrumentals. This record didn't reach in and touch my heart, but the performances are uniformly solid and the instrumental work is pretty compelling... Worth checking out.

Mick Moloney "Far From The Shamrock Shore" (Shanachie Records, 2002)
There are plenty of albums that explore the Irish-American diaspora, but this is certainly one of the best that I've ever heard. This disc recalls the various political feuds, famines and failed rebellions that led half the Irish nation to come to American shores, and goes on to describe their reception in the hallowed land of the free. "No Irish Need Apply" and "Paddy On The Railway" deal with labor issues faced by a new immigrant group inching its way into the economic mainstream; on songs like the Civil War-era "Irish Volunteers" the ferocity with which the Fenians attached themselves to the egalitarian republicanism of the New World is almost shocking in its propagandistic fervor. There are also love songs and tall tales, all rendered in a sparse, impassioned style that is quite effective at telling each tale. Great record -- well worth checking out. (By the way, this is the companion disc to Moloney's book by the same title, and authoritative account of this history in music.)

Paddy Moloney & Sean Potts "Tin Whistles" (Claddagh/Atlantic Records, 1973) (LP)
There may be newer, younger performers such as Joanie Madden who have brought greater nuance to the humble Irish tin whistle, but few who can match the skill and dexterity of these two old timers. This is a captivating album from the early '70s, when bands such as Planxty were just beginning to bring the Celtic folk revival home. Sprightly, traditionalist instrumentals, with a nice variety to them that's untypical of many contemporary Irish recordings.

Matt Molloy/Various Artists "Music At Matt Molloy's" (Real World Records, 1992)
Piper Matt Molloy, a veteran of the Chieftains and numerous other bands, sets up the pints and lets loose on the pipes, in this vibrant live set, recorded at his very own pub in County Mayo, Ireland. This is a nice, no-nonsense set with Arty McGlynn (of the band Patrick Street) and Molloy the only two celebrities... the rest of the players are just talented locals! Well, now I know where I'll be stopping for a beer when I'm out on the West Coast and had my fill of Galway... Nice stuff... recommended!

The Mollys "Hat Trick" (Apolkalips Now Records, 1997)
(Produced by The Mollys)
This Tucson, Arizona band cannily mixes Celtic and indie/alt/Americana influences, with accordion, tin whistles, snare drums and mandolin in support of a rough-hewn acoustic rock sensibility. The raspy female vox by lead singers Nancy McCallion and Catherine Zavala remind me of old-timers such as Concrete Blonde's Johnette Napolitano, or Maria McKee, with musical accompaniment that's fluid and wildly diverse. Deftly shifting from Irish reels to Cajun waltzes and polkadelic Tex-Mex ranchero rhythms, the band crosses a lot of borders -- the only time I felt pulled out of the album was on straight-up Celt/Brit tracks, such as their cover of "All Around My Hat," which aims for a Pogues-ish punkiness, but falls a little flat. Overall, though, this is an energetic, enthusiastic album, and definitely worth a spin for musical eclecti-holics. Highlights include "Long Is The Dark" and the honkytonk weeper, "Came For A Dance."

Monroe "Folk Weave" (Polydor Records, 1974) (LP)
An early album from the Irish folk renaissance of the early 1970s, featuring singer-songwriter Mick Hanly and guitarist Michael O'Domhnaill (who later went on to be a founding member of The Bothy Band). I haven't heard this album yet, but I hope to someday soon... Anybody got a copy?

Christy Moore - see artist profile

Ann Moray "Presents Gaelic Songs And Legends" (Spoken Arts Records, 1959) (LP)

Pan Morigan/Various Artists "CASTLES OF GOLD: SONGS AND STORIES OF IRISH IMMIGRATION" (Green Linnet Records, 2002)
A 2-CD set, with one disc of recitations and tales by writers Roma Downey and Frank McCourt, and a second disc of songs, delivered in a somewhat flowery, over-stuffed style by Pan Morigan. This isn't the first album that's explored these themes, and were it not for the spoken word, I wouldn't consider this one too noteworthy... For other, more lively albums dealing with the Irish diaspora you might try Mick Moloney's Far From The Shamrock Shore or Celtic Thunder's Hard New York Days. This one I thought was kind of a snoozer.

Morrigan "By Land Or By Sea" (Smithsonian Folkways, 1980) (LP)

The Morrigan "Spirit Of The Soup" (Morrigan Music, 1988) (LP)

Moving Hearts "Moving Hearts" (WEA, 1981) (LP)

Moving Hearts "The Dark End Of The Street" (WEA, 1982) (LP)

Moving Hearts "The Storm" (Tara Records, 1985) (LP)
Celtic/soft pop crossover stuff. Fine musicianship, but pretty wimpy, drippy production. The use of synthesizers is unfortunate, as is the electric bass and pop-style drum set. Everything else winds up falling into the tone set by those instruments: Davy Spillane's fine piping is a musical highlight, but don't look to Donal Lunny to save the day -- he's the one playing the synths. Then, add the (ugh) soprano saxophone, and it's really "game over" on this one.

Moving Hearts "Live Hearts" (WEA, 1986) (LP)
A live show, recorded in 1983...

Moving Hearts "Live In Dublin" (Alliance Records, 2008)

Moving Hearts "The Platinum Collection" (WEA-Rhino, 2007)

Moving Hearts "Donal Lunny's Definitive Moving Hearts" (Warner, 2008)

Mozaik "Live From The Powerhouse" (Compass Records, 2004)
Irish folk veterans Andy Irvine and Donal Lunny collaborate with American old-timey phenom Bruce Molsky, as well as Dutch guitarist Rens Van Der Zalm and Nikola Parov, of Hungary. All five are virtuoso multi-instrumentalists, well versed in many styles of music beyond their primary field of expertise. Irvine, who has long been enamored of Eastern European music, is the group's guiding force, and for the first part of this album, they work through a Celtic-flavored set that seems like familiar territory. Then, as the Balkan and gypsy influences come into play, including some remarkable cross-cultural medleys, the unique capabilities of this super-talented quintet become more apparent. This is a fine set of lively, soulful, acoustic world folk, vigorous and and unadulterated by any of the saccharine touches that many modern folkies use to "soften" the rough spots of their intercultural fusions. No need for that here -- these guys are so powerfully skilled that they can zip from one style to the next without batting an eye. It's a tour de force performance -- definitely worth checking out.

Mozaik "Changing Trains" (Compass Records, 2008)
I'm pretty sure that when the dust settles, this dazzling, pan-Euro-Celtic tour-de-force will still be on the top of my list for 2008. It's a stunning showcase for the combined talents of Irish folk legends Andy Irvine and Donal Lunny, along with American old-timey icon Bruce Molsky, Hungarian flautist/multi-instrumentalist Nikola Parov and Dutch guitarist Rens van der Zalm. Where previous Mozaik releases were more experimental, this one tilts firmly towards a traditional sound, which makes it catnip for my ears. Yours, too, I'll bet. The set opens with with "O'Donoghue's," a tribute to the early 1960s folk club where Andy Irvine found his calling and formed his first trad band, Sweeney's Men. The song tells the tale of Sweeneys, but also of the many other performers, patrons and assorted characters involved with the pub... The sound is classic Irvine (his voice is as fine as ever) and the topic is completely fascinating. Several other Irish-trad songs follow in a similar vein, bracketed by equally soulful, lively instrumentals and a few American hillbilly songs, courtesy of Mr. Molsky. The Appalachian standard, "Reuben's Train," gets a musical update -- with Celtic and Slavic motifs skillfully woven in -- and reemerges as "Reuben's Transatlantic Express," while fiddle tunes like "Sail Away Ladies" also get lively readings. The Balkan and Slavic elements leap out at you, but they are used sparingly and rarely dominate... Irvine's interest in East European music goes back a long, long way, but even longtime fans may be surprised by how smoothly he's integrated it into his Celtic repertoire -- no big deal is made about it, it's just another part of his considerable sonic palette. All five musicians are working in perfect synch here. clearly enjoying each other's wealth of knowledge and the ability to slide their different styles together. This disc's a gem, especially for fans of pure, old-fashioned trad: this album may be pushing the music in new directions, but it still has a classic sound. Highly recommended!

Muckram Wakes "Map Of Derbyshire" (Trailer Records, 1973) (LP)
(Produced by Bill Leader)
Delightful, stripped down English folk-trad and country dances, showcasing the traditional music of Derbyshire. The trio of John Tams, Roger and Helen Watson formed the core of this band, each playing a variety of instruments, notably harmonium and concertina, with additional fiddle and banjo from Philip Langham and guitar by Graham Cooper. The music is marvelous, a strong repertoire of songs and styles identified with Derby and Derbyshire, delivered soulfully and subtly with the male voices generally taking the lead, and Helen Watson (nee Wainwright) providing solid, retrained harmonies. Previously the trio had backed Roy Harris on his 1971 album, The Bitter And The Sweet, and emerge here as a potent group in their own right.

Muckram Wakes "Muckram Wakes" (Trailer Records, 1976) (LP)

Muckram Wakes "Warbles, Jangles & Reeds" (Highway Records, 1980) (LP)

Phil, John & Pip Murphy "The Trip To Cullenstown" (Claddagh Records)

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