Anthems in Eden is a 1969 album by Shirley and Dolly Collins, with the Early Music Consort of London, directed by David Munrow. The album originally consisted of a 28-minute set of folk songs plus seven other individual pieces performed by the same group. The musical arrangements for these eight pieces included early music instruments, such as viols, recorders, sackbuts and crumhorns. In 1976, six new songs were recorded with a different assortment of accompanists, to replace the original seven individual songs. This 1976 album consisting of the 28-minute set plus the six new songs was released by Harvest Records under the title Amaranth. Subsequent releases have combined all fourteen pieces under the original title, Anthems in Eden.

And Winter Came… is the seventh studio album by Irish singer, songwriter, and musician Enya, released on 10 November 2008 by Warner Bros. Records. After recording new Christmas songs for her fourth EP Sounds of the Season with Enya (2006), Enya started work on a Christmas album of traditional carols and original tracks, but the idea was changed to a collection of songs with a Christmas or winter theme as it better suited the style of the new material. It was recorded with her longtime collaborators, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. The album received mixed to positive reviews from music critics and became a worldwide success, reaching the top-10 in 21 countries in its first three weeks, including No. 8 on the US Billboard 200 and No. 6 on the UK Albums Chart. The album has sold over 3 million copies worldwide.

Live at the Grand Opera House Belfast is a live album by Northern Irish singer-songwriter Van Morrison, released in 1984. It was recorded from four live shows in March 1983 at the Grand Opera House, Belfast, Northern Ireland (Morrison's birthplace). The album was composed of songs from Morrison's last four recordings. It is the second live album Morrison released, following 10 years after It's Too Late to Stop Now.

Nolwenn makes us rediscover the best songs from her native Brittany, already etched in our collective memory, by blending pop tones and traditional instruments. Surrounded by Jon Kelly and other great musicians from England, Scotland and Ireland, Nolwenn brings out the Celtic soul of the inland region she loves so much, revisiting melodies from yesterday and today. A return to basics Nolwenn was planning for several years, this intensely personal album already lies in timelessness.

Altamira is a soundtrack album by guitarist Mark Knopfler and percussionist Evelyn Glennie, released on on CD 22 April 2016 on EMI Records. The album contains music composed for the 2016 film Altamira, directed by Hugh Hudson. The film is a drama about the discovery of the Cave of Altamira starring Antonio Banderas and Rupert Everett. Music by Mark Knopfler and Evelyn Glennie.

After a hugely successful Indiegogo campaign, Chloe Agnew (original member of the Irish group "Celtic Woman") releases her first independent album featuring 8 well known Irish songs plus 2 originals. The cover songs were meticulously selected by Agnew and then "reimagined" her way. The eclectic mix on the album features songs such as "Danny Boy" and U2's "Still Haven't Found" all backed by a symphony orchestra.

One thing is certain in this uncertain world – you can trust Ashley Hutchings to do interesting things with various areas of British folk and rock music. In the case of the Albion Dance Band, under its various names, the focus was on mutating traditional English dance and folk music, which led to escapades involving traditional tunes, Morris dancers, double drummers, dance callers, Philip Pickett's entire collection of medieval instruments, and serious rock guitar front lines that tend to leap onto the hay cart and start blazing away. The Prospect Before Us is particularly unusual, even for Hutchings and the Albions – a number of the tracks were recorded live in the studio, complete with dancing by the Albion Morris Men, an effort that resulted in some especially raucous moments: the bonus version of "Merry Sherwood Rangers" is far more staid than the live rendition that made it to the original version of this album. An essential purchase, we think.

The trio Quercus delivers profound and moving interpretations of traditional and non-traditional song on its debut album, approaching the heart of the material by unorthodox routes. In this unique group, the dark voice of the great English folksinger June Tabor is framed and supported by the quietly adventurous arrangements and subtle improvisations of Iain Ballamy and Huw Warren. Warren has worked with Tabor for 25 years already and made important contributions to her albums. “His piano”, The Guardian has observed, “has teased out the deeper autumnal colours in Tabor’s range.” The nature of their association in Quercus is different, however. This is very much a collaborative band. Together and from different vantage points singer, saxophonist and pianist explore the emotional core of the songs.

One of the Maritime provinces most important musical exports and a superstar in the Celtic music world, Natalie MacMaster has built a career on electrifying playing and innovative recordings that stretched the world music genre into contemporary commercial acceptance, selling over 300,000 albums in the process.

Saint Dominic's Preview is the sixth studio album by Northern Irish singer-songwriter Van Morrison. It was released in July 1972 by Warner Bros. Records. Rolling Stone declared it "the best-produced, most ambitious Van Morrison record yet released." The diversity of the material on the album highlighted Morrison's fusing of Celtic folk, R&B, blues, jazz and the singer-songwriter genre. "Jackie Wilson Said (I'm in Heaven When You Smile)" and the title track were blends of soul and folk, while lesser known tracks such as "Gypsy" and "Redwood Tree" continued to display a lyrical celebration of nature's beauty. Also on the album were two lengthy tracks, "Listen to the Lion" and the closing "Almost Independence Day" which were given primal, cathartic and intense vocal performances from Morrison. These tracks were similar to the songs on his 1968 album, Astral Weeks.

Celtic Woman is a women's band that sings various traditional and contemporary songs with Celtic roots. The group is often compared to musicians like Clannad, Enya or Loreena McKennitt, and their stage shows are reminiscent of similar shows like Riverdance and Lord of the Dance. In 2004, the American television station PBS produced a live recording of Celtic Woman, which was broadcast a year later and released on CD and DVD. The Christmas album A Christmas Celebration was released in 2006, A New Journey followed in 2007. In addition to the band's releases, members of Celtic Woman have also released their own solo albums.

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.

While 2002's Down the Road was the best Van Morrison release in ages – with its autobiographical allusions, cultural critiques, and new band – it could not have prepared listeners for the jolt of this, his Blue Note Records debut What's Wrong With This Picture? While the album is hardly a straight jazz record, it does take the territory he explored on Down the Road another step further into the classic pop music of the 20th century filtered through his own Celtic swing, R&B, vocal jazz, and blue-eyed soul. The title track that opens the album is as close to an anthem as Morrison's ever written; he states with an easy, swinging, jazzy soul groove that he is not the same person he once was and wonders why that was so difficult for others to accept. There is no bitterness or bite in his assertions. If anything, the question is asked with warm humor and amusement as if it is indeed the listener's hangup if he/she can't accept Morrison "living in the present time." He asks, "Why don't we take it down and forget about it/'Cause that ain't me at all," as the song whispers to a close.

Known for their lush and atmospheric, largely instrumental music, the Irish/Norwegian duo Secret Garden rose to fame in the mid-'90s and have since won an international following for their gentle but emotionally evocative sounds, dominated by violin and keyboards and combining notes of Celtic and Norwegian folk, pop, and new age styles. The duo first came together to write and perform the song "Nocturne," which became Norway's winning entry in the Eurovision Song Contest. While they would dabble in vocal music on 2007's Inside I'm Singing and pare back their arrangements on 2013's Just the Two of Us, the sizable majority of their releases saw them remaining loyal to their trademark sound, playing music that touched the hearts and soothed the souls of their many fans around the world.

Newly remastered sound and expanded packaging including lyrics of No Guru, No Method, No Teacher, an album by Northern Irish singer-songwriter Van Morrison, released in 1986. The song "In the Garden" was a favorite fan concert performance and per Morrison, "I take you through a definite meditation process which is a form of transcendental meditation." This album was hailed by most critics as a return to form. John Wilde in Sounds remarks, "the crescendos here are never dampened by their subtle nature and never fall short of blinding. The whole album aches with a steady stream of sorrow."