Teamed with Rick Kemp, Prior turns in her best non-Steeleye Span folk-rock performance, with heavy amplification, crisp electric guitars, and accordion for support. Her airy vocals and the heavy electric sound make this a superb adjunct to the best rock sides by Steeleye (Commoner's Crown, etc.), although this stuff has more of a contemporary feel, relating to Prior's Steeleye Span work roughly the way Dylan's best '70s and '80s stuff relates to his '60s folk and folk-rock sides, with a definite rock beat and pop music feel. There's also a strong social consciousness at work, with topical songs dealing with unemployment and privation amid love songs and a very playful cover of "Who's Sorry Now". (Bruce Eder, AMG)

The Guiding Light (2002). Originated by a life-long passion for celtic heritage and music, renowned producer John Deere founded the group Llynya as a vehicle to take the journey back into time and unveil the relation between ancient celtic traditions and the mantra poems of hindu culture.
Journey To Your Heart (2003). Extraordinary vocals combined with modern arrangements create a mystical celtic mood. Llynya again take the listener on a journey deep to the heart.
Tales Of Time (2005). Tales of Time is the continuation of Llynya's amazing success. Mystic harp, gentle violin and celtic vocals will take you into a magical world of beauty and clarity. Enjoy the beautiful melodies and experience the mysterious time of the Celts.

THE CELTS is the 1992 re-release of a 1987 album simply titled ENYA, containing 15 selections originally composed for a BBC series of the same name. Although a number of the tracks sound dated, several others, including "To Go Beyond (II)" are notable for how they locate the origins of the classic Enya sound, far removed from earlier Celtic efforts…

Davy Graham - From Monkhouse to Medway 1963-1973 (2010) {Hux Records HUX 113}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 416 Mb | MP3 @320 -> 186 Mb
Full Artwork @ 300 dpi (jpg) -> 25 Mb | 5% repair rar
© 1963-73, 2010 Hux Records | HUX 113
Folk / Jazz / Blues / Celtic / Progressive Folk / Guitar / Acoustic

Leave it to Hux to uncover hidden treasures. This 21-cut collection by guitar legend Davy Graham is just such an item. Best-known in America for Paul Simon's cover of Graham's instrumental "Angi” on Sounds of Silence, he was, in British folk circles, the undisputed guv’nor of the acoustic guitar by his peers and aficionados who included John Renbourn, Bert Jansch, Jimmy Page, Michael Chapman, and Roy Harper – all of whom were two to four years his junior, and held him in absolute reverence for his grasp of blues, jazz, classical, and Eastern modes. The music included here was compiled and annotated with a wonderful essay by Colin Harper, who offers convincing evidence for even the most cynically minded listener that Graham was a guitar god.

"Bualadh Bos" means "Clap Your Hands" in Irish, and popular Irish alternative rock band the Cranberries encourage their audiences to do just that on this collection, the group's first official live album. Bualadh Bos: The Cranberries Live features 15 songs recorded between 1994 and 1998 at concerts in the United States, Canada, Norway, and Sweden, with the group performing most of their best-known songs for enthusiastic fans. Selections include "Linger," "Zombie," "Dreams," "Sunday," "Ridiculous Thoughts," "Free to Decide," and many more.

Eliza Carthy officially inherits the British folk crown from her parents with the willfully traditional Rough Music. Described in the liner notes as "a form of community punishment practiced all over England" (basically a public beating for a heinous social crime), Rough Music sounds like a lost pre-percussion Steeleye Span record filtered through A.L. Lloyd's whaling collection Leviathan! Carthy's strong fiddling and powerful vocals – she really is beginning to surpass Norma – are ably enhanced by the chiseled performance of her backing band, the Ratcatchers. Together they celebrate longstanding English traditions like public execution ("Turpin Hero"), syphilis ("The Unfortunate Lass"), and alcohol ("Tom Brown") with equal parts reverence, earnestness, and mischief. Primarily arranged for violin, viola, double bass, and melodeon, Rough Music also features lovely a cappella cuts like "Maid on the Shore" and enough fiery instrumentals to keep your feet on the cobblestones during the long walk home from the pub. In fact, there's not a moment on Rough Music that isn't essential listening. Highly recommended.

Scaled smaller than 2012's double-album Privateering, Tracker also feels suitably subtle, easing its way into being instead of announcing itself with a thunder. Such understatement is typical of Mark Knopfler, particularly in the third act of his career. When he left Dire Straits behind, he also left behind any semblance of playing for the cheap seats in an arena, but Tracker feels quieter than his new millennial norm. Some of this is due to the undercurrent of reflection tugging at the record's momentum. Knopfler isn't pining for the past but he is looking back, sometimes wistfully, sometimes with a resigned smile, and he appropriately draws upon sounds that he's long loved. Usually, this means some variation of pub rock – the languid ballad "River Towns," the lazy shuffle "Skydiver," the two-chord groove of "Broken Bones" – but this is merely the foundation from which Knopfler threads in a fair amount of olde British folk and other roots digressions. This delicate melancholy complements echoes of older Knopfler songs – significant stretches of the record are reminiscent of the moodier aspects of Brothers in Arms, while "Beryl" has just a bit of the "Sultans of Swing" bounce – and this skillful interweaving of Knopfler's personal past helps give Tracker a nicely gentle resonance.

Dropkick Murphys release their 10th full-length studio album, Turn Up That Dial, via the band-owned Born and Bred Records. The album was produced by Ted Hutt. With the 11 tracks on Turn Up That Dial, Dropkick Murphys celebrate the simple pleasure of music, the relief and release from worry that comes when you “turn up that dial” and blast your troubles away.

This CD showcases Maggie Reilly's silky, melancholy voice through several genres in the last two decades. Notably, "Every Time we Touch" is a much different arrangement than the previous album or single versions. Those familiar with her singing for Mike Oldfield will find her rendition of "To France" a fresh interpretation, more evocative of the Scottish highlands than Mike Oldfield's original arrangement.

Since the late '80s, Irish singer/composer Enya has become the most unlikely of international stars, delivering lush, Celtic-driven pseudo-classical odes in her signature Wall of Sound vocal style, rarely granting interviews, never touring, and generally taking as much time as she wishes between albums. Bucking odds and industry trends, her popularity has remained steadfast, allowing her to become the best-selling Irish solo artist of all time. Following 2008's snowbound And Winter Came, her silence stretched to eight years – the longest of her career – before the mists once again parted to reveal her eighth album, the evocatively titled Dark Sky Island. Named for Sark, the smallest of Britain's Channel Islands and first in the world receive the Dark Sky designation for its lack of light pollution, it has all the thematic and sonic hallmarks typical of an Enya release but with significantly more highlights than on her two prior works.

Patrick Molard has played a large part during recent years in the revival of Breton culture and has performed on concert platforms throughout the world. In these recordings he demonstrates the scope of his pìobaireachd repertoire. The Waking Of The Bridegroom (Dusgadh Fir Na Bainnse) is a collection of ceol mor. Having learnt under the renowned Bobs of Balmoral, this highly respected piper plays seven superb pieces.

After dazzling audiences with Celtic Woman, harpist and singer Fallon invites you to savor the sound of Christmas on the Emerald Isle! Features "Codail a Linbh"; "Away in a Manger/Si Bheag Si Mhor"; "Patapan/Noël Nouvelet"; "Eleanor Plunkett"; "Carol of the Bells/The Angel Gabriel"; "O Little Town of Bethlehem"; "O Holy Night"; "Blind Mary"; "Auld Lang Syne"; and more.

The Memory of Trees is the fourth studio album by the Irish singer, songwriter, and musician Enya, released on 20 November 1995 by WEA. After travelling worldwide to promote her previous album Shepherd Moons (1991), and contributing to film soundtracks, Enya took a short break before she started writing and recording a new album in 1993 with her longtime recording partners, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. The album is Enya's first to be recorded entirely in Ireland, and covers themes that include Irish and Druid mythology, the idea of one's home, journeys, religion, dreams and love. Enya continues to display her sound of multi-tracked vocals with keyboards and elements of Celtic and new age music, though Enya does not consider her music to be in the latter genre. She sings in English, Irish, Latin and Spanish.

Singer Lynn Hilary is a member of the multi-Platinum supergroup Celtic Woman, but she’s already stretching her wings as a solo artist with TAKE ME WITH YOU, her debut. A classically-trained soprano from Dublin, Hilary co-wrote nearly all the songs with Irish-born, Nashville-based producer Don Mescall, also ncluding one traditional tune sung in Gaelic. The arrangements are mostly piano-and guitar-driven with embellishment by strings, with some jazz influences here and there as well. With her soothing, mellifluous voice, Hilary is off to a good start as a solo performer.