The Irish Brigade is a long running Irish American folk group that which has been plying its trade on the US circuit for the last 25 years or so. Founded by Limerick men Mike Wallace and Gerry Goodwin they have released at least seven albums within that time. This Mike Wallace is joined by flautist and whistle player Sean Conway, himself an ex-member of the Shaskeen ,a renowned Irish Ceili band. Live At The Half Time Rec, their first album in a number of years, is as the title says a live set recorded in St Paul, MN, where the Irish Brigade's Thursday night sing alongs have become a local institution.

The Brigade straddle the board between a straight traditional group with sets of tunes using flute, tin whistle and bodhran and a mainstream Irish folk group playing a mix of revival ballads like 'The Rocky Road To Dublin' and more recent contemporary songs from the pens of writers such as Jimmy McCarthy, whose 'Ride On' appears here. Mike Wallace's vocals recall George Furey at times, especially on 'Carrickfergus' and the ghost of Liam Clancy inhabits 'The Dutchman'. Wallace's guitar accompaniments recall his rock beginnings. Sean Conway's instrumental leads and fills are a revelation -- dance tunes trip lightly from his lips and add a melodic color to the sound. With some excellent recording quality, the live atmosphere is expertly captured. Live At The Half Time Rec has two people at home with their music-- past, present and future-- and reveling in the warmth and acceptance of a well known crowd. Find out more about New Folk Records.

Choirs singing folk songs is not a new phenomenon. In Ireland The Guinness Choir and more, latterly Anuna have engendered a revival in the possibilities of traditional music and song within a choral context. The Canadian Celtic Choir owe more to the Guinness Choir in sound and approach rather than Michael and John McGlynn's epic creations. This is a choir in the established sense with male and female voices in massed unison attacking a varied programme of songs from the Celtic folk traditions of Ireland, Scotland and Wales with some homegrown material and some surprises.

The latter includes 'The Rhythm of Life', a song I had not heard in at least three decades. I am showing my age here, I have good memories of hearing The New Seekers version of 'The Rhythm of Life' blaring from old reel to reel tape recorders in School in 1971, in the 4th class where my musical odyssey began -- but I digress too much! The thought of a choir doing Stan Rogers' lusty seafaring anthem 'Barrett's Privateers' doesn't wash within the standard choral repertoire, but that's what's good, exciting and different about Here's To Song. While doing the expected Moore's Melodies in 'The Last Rose of Summer' and other mainstays like 'My Love is like a Red Red Rose', Canadian Celtic Choir throw 'a Spaniard in the works' (to quote from John Lennon!) occasionally and whip out a 'Barrett's Privateers' or 'Rhythm of Life' to prove they are more an exception than the rule. The 'local son' tradition is also well represented with material from Rita McNeil. As well, including the Rankin Family and Alistair McGillivray prove that Canadian Celtic Choir are not neglecting the riches in their own backyard.

They play it straight in terms of performance style, but occasionally add Doug Long's fiddle and Robert McMaster's bodhran for accompaniment, with the latter adding a nice jig time break to 'Road to the Isles', with the expected piano backing. The sound is full and tightly knitted, and it sounds like the choir enjoys their work. After some exposure to Here's to Song, maybe choirs singing folk songs will never quite sound the same again.

New York's Shelailelagh Law is another example of the Irish American bar band playing a mix of tunes and songs both old and new. Where Irish music is concerned a similar bar band circuit exists in the US as much as for that of a rock bar band and these bars have a slew of bands playing their venues. As usual there's the good, bad and indifferent. Working from a promo advance copy of Together In The End minus the usual information renders comments on the individual members abilities and contributions impossible.

However, the overall sound is good, solid and forceful. There's a professionalism at work with the band belting out ballads and tunes with a fresh full-bodied enthusiasm. The Law's treatment of 'The Irish Rover' reminds me of Dublin's Shamrg with 'The High Reel' added for good measure, while 'The Pioneer' is a typical example of a humorous Irish American pub song in the vaudeville tradition. 'The Rare Ould Times' shows their quieter side while, 'Christmas in N.Y.' tells an all too familiar story in the wake of September 11 2001. The playing is good, tight and solid, and the good time atmosphere comes across well through the recorded medium. This is a fun band and if that is your scene check this out.

[John O'Regan]