Van Morrison never stopped recording during the 1990s, but for a little while it seemed as if he was disconnected from his muse. It wasn't so much his series of jazz cover albums – he'd return to this vein often in subsequent decades – but his songwriting that showed signs bitterness, particularly on 1995's Days Like This, where he seemed dismissive of the very notion of being a songwriter. In that light, it's hard not to see 1997's The Healing Game as a rejuvenation. Indeed, the album's very title suggests that Morrison is in the process of mending fences and reconnecting with a sense of joy, a process that began during his deep dive into Mose Allison and other bluesy jazz artists in the mid-'90s. Morrison retains that sense of swing on The Healing Game – he also retains keyboardist Georgie Fame, who would become a fixture on Morrison's albums over the next two decades – and it invigorates a set of songs that aren't necessarily all that different from what he's been writing as of late; he's still specializing in ballads, blues, and folk-rock colored by R&B.

Nights from the Alhambra chronicles ethereal Canadian Celtic/folk/worldbeat artist Loreena McKennitt's 2006 tour in support of her Ancient Muse album. Recorded in September in the Palace of Charles V at the Alhambra, a southern Spanish fortress on the eastern border of the city of Granada built by the Moors, McKennitt employed a 12-piece band that included hurdy-gurdy, oud, uilleann pipes, kanoun, strings, and multiple percussion players. Though there is an emphasis on works from her most recent release, the singer/composer/harpist covers a wide breadth of material from 1985's Elemental ("She Moved Through the Fair") to 1991's acclaimed Visit ("All Souls Night," "Lady of Shalott") and beyond. As with all of her studio recordings, the sound quality is exquisite, making this – her third live collection – the best yet.

The first album by the trad folk duo of Tim Hart and Maddy Prior, Folk Songs of Olde England, Vol. 1, is as interesting for what came of it as for what it is. This album, recorded in 1968, led directly to the formation of Steeleye Span, whose early albums were an electrified variation on this album's traditional acoustic British folk-rock. It could also be argued that Hart and Prior's example was influential in Fairport Convention's decision to move from a California-style folk-rock sound into something more uniquely British. In light of what came after, Folk Songs of Olde England, Vol. 1 sounds a bit tentative and at times slightly twee (Prior's voice has not quite matured into the rich, expressive instrument it would soon become), but on their own merits, these sensitive renditions of traditional British folk favorites like "Maid That's Deep in Love" or "A Wager a Wager" are respectful of tradition but not bound to it, performed with an infectious enthusiasm quite similar to what the Young Tradition were doing around the same period.

In the wake of the recent, superb box set, it's hard to imagine a single disc being definitive of one of Britain's great folk singing groups. At best, you can touch on their different facets and legacy. But Definitive Collection actually does a splendid job. There are the hymns, the traditional songs, and some of the permutations (Lal and Norma, Mike, even the late Peter Bellamy), as well as tracks by Waterson: Carthy and Blue Murder, who carry on the flame of the original Watersons in many ways (especially Blue Murder, which is essentially Waterson:Carthy plus Barry Coope, Jim Boyes and Lester Simpson). The tracks are from their "Topic" albums (which means, because of licensing, nothing from the original, wonderful Bright Phoebus release is here), but all of those that are here are wonderful, and sung with such naturalness that they epitomize what folk singing should be about. There's no sense of premeditation about their performances. This is simply who they are, and their way of expressing themselves. It's not Mighty River of Song, which really is definitive, but as an introduction to the Watersons, and an overview of their massive achievements in folk music, this works excellently.

Live is a concert video release by rock band The Cranberries. Recorded on 14 January 1994 at Astoria 2 on the band's stop in London, England, it was originally released on VHS in May 1994. The concert was re-released on DVD in February 2005. The DVD includes an interactive picture gallery and a jukebox feature that allows you to play the tracks in a randomised playlist.

Flately's latest Irish dance show is Celtic Tiger, which opened in July 2005. The show explores the history of the Irish people and Irish emigration to the U.S., fusing a wide range of dance styles, including jazz. The show also includes popular elements from his previous shows, such as Flatley's flute solos and the line of dancers in the finale. Ronan Hardiman is one of Ireland's premier composers of traditional music, responsible for the score to Lord of the Dance as well as many Irish films and television series.

Frankie Gavin and Alec Fin provide a vintage 1977 duet of Irish fiddle and bouzouki (large octave mandolin) that has withstood the test of time. Frankie and Alec are founding members of the group De Danann, a group that only recently retired after over 30 years of great music. Frankie is a legendary fiddle player known for his fast and fluid style. Alec is playing counterpoint and double lead bouzouki in complete synch. This could be called the typical old pub style back when it was rare to find more than two or three musicians playing together. The happiness of the music is overpowering and immediately stimulates toe tapping if not Irish style dancing.

Tarras is a quintet consisting of Rob Armstrong (cittern), Joss Clapp (guitar, bass, mandolin), Emma Hancock (violin, whistle), Ben Murray (accordion), and Jon Redfern (percussion, guitar); all five sing. Coming from the border of England and Scotland, the group signed to Topic Records and released their debut album, Rising (picked up for distribution in the U.S. by Rounder) in 1999, when the average age of the members was only 21. The field of young, iconoclastic Celtic bands is getting a bit crowded, but Tarras should be able to step up and take its place without much trouble. Like many of its peers, Tarras is a folk group that doesn't feel terribly bound by tradition.

Limboland sees the quintet as raw and incendiary as they have ever been, with their rare combination of classic rock, punk rock and Celtic rock stylings coming together for an experience that is vibrant, high energy and memorable, alongside lyrics that should incite deeper thinking and possibly even some positive action.