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CLANNAD

Prog Folk • Ireland


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Clannad picture
Clannad biography
Founded in Gweedore, Donegal, Ireland in 1970 (as "Clann as Dobhar") - Hiatus from 1998-2006

For decades CLANNAD have embodied the spirit and dedication of the proverbial musical family, which just happens to be related by blood as well. While they have navigated a number of distinct phases and less distinct transitions, and are generally and correctly classified as a folk group, they have always been so much more.

In the 1970s they were more closely allied to traditional Irish music, but with eclectic influences from jazz to rock, surely among them the PENTANGLE. While their international popularity was limited at this time, they blazed the path for a revival in Irish folk music, along with the CHIEFTAINS before them and contemporaries PLANXTY and CHRISTY MOORE. Recommended albums from this period - "Clannad" and "Dulaman".

Surprisingly, the 1980s were their most progressive phase, in which they pioneered a blend of pop, folk, ambient, and new age music. They not only sold a lot of albums, but inspired artists in the progressive world and beyond, from LOREENA MCKENNITT to IONA to ENYA, herself a family member and brief band member, to KARNATAKA to CAPERCAILLIE, ALTAN, and numerous other successful and obscure acts. All albums from this period are recommended to prog folk fans, with the exception of "Cran Ull" from 1980 which was more allied to their earlier period.

In the 1990s they achieved their greatest international success including a Grammy award for best new age album for Landmarks. The music from this period was pretty but generally lacked what little edge they had sharpened before. After an extended hiatus in which lead singer Moya Brennan embarked on a successful solo career, they returned to the stage in the mid 2000s and to the studio in 2013 to produce Nadur, revealing that not much had changed.

Clannad belongs on progarchives for their influence on numerous prog acts and their appeal to many prog fans, but mostly for their 1980s period in which they combined eclectic influences into their own unique take on Irish prog folk.

See also: WiKi

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CLANNAD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

CLANNAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.27 | 26 ratings
Clannad
1973
3.70 | 17 ratings
Clannad 2
1975
4.53 | 39 ratings
Dúlamán
1976
3.24 | 15 ratings
Crann Ull
1980
4.49 | 18 ratings
Fuaim
1982
4.38 | 29 ratings
Magical Ring
1983
3.26 | 28 ratings
Legend (OST)
1984
4.24 | 32 ratings
Macalla
1985
2.72 | 19 ratings
Sirius
1987
2.74 | 10 ratings
Atlantic Realm (OST)
1989
4.05 | 12 ratings
The Angel And The Soldier Boy
1989
2.66 | 14 ratings
Anam
1990
3.06 | 16 ratings
Banba
1993
2.77 | 19 ratings
Lore
1996
3.76 | 10 ratings
Landmarks
1997
3.88 | 7 ratings
Nádúr
2013

CLANNAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.83 | 3 ratings
Clannad in Concert
1978
0.00 | 0 ratings
Live in Concert
2005
4.00 | 2 ratings
Christ Church Cathedral
2013
0.00 | 0 ratings
Turas 1980
2018

CLANNAD Videos (DVD, Blu-ray, VHS etc)

4.05 | 3 ratings
Pastpresent
1989
5.00 | 1 ratings
Live at Christchurch Cathedral
2013

CLANNAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 5 ratings
Past Present
1989
0.00 | 0 ratings
Themes
1995
0.00 | 0 ratings
In a Lifetime - The Ultimate Collection
1997
3.00 | 1 ratings
A Magical Gathering - The Clannad Anthology
2002
4.00 | 1 ratings
The Real ... Clannad
2018

CLANNAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Dheanainn Sugradh
1974
3.00 | 1 ratings
Theme from Harry's Game
1982
0.00 | 0 ratings
Newgrange
1983
0.00 | 0 ratings
I See Red
1983
4.00 | 1 ratings
Robin /The Hooded Man)
1984
0.00 | 0 ratings
Almost Seems (Too Late to Turn)
1985
0.00 | 0 ratings
Closer to Your Heart
1985
2.95 | 2 ratings
In a Lifetime
1985
2.00 | 2 ratings
Something to Believe In
1987
0.00 | 0 ratings
Live and Learn / Many Roads
1987
0.00 | 0 ratings
White Fool
1988
3.00 | 1 ratings
Hourglass / Theme from Harry's Game
1989
0.00 | 0 ratings
In Fortune's Hand
1990
0.00 | 0 ratings
Why Worry?
1991
0.00 | 0 ratings
Mystery Game
1993
0.00 | 0 ratings
Seanchas
1996
0.00 | 0 ratings
Christmas Angels
1997
0.00 | 0 ratings
An Gleann
1998

CLANNAD Reviews


Showing last 10 reviews only
 Clannad 2 by CLANNAD album cover Studio Album, 1975
3.70 | 17 ratings

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Clannad 2
Clannad Prog Folk

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars Donegal's royal family of Gaelic modernism takes a step toward more traditional renderings of their cherished Irish music.

1. "An Gabhar B'n" (3:14) a Gaelic lyric sung over the music of a classic Celtic tune. (8.667/10)

2. "Eleanor Plunkett" (2:49) harp intro before guitar, mandola, piano, double bass, and, lastly, flute and, later, pipe join in to support and carry the gentle pastoral melody. Beautiful; almost lullaby-like. (9/10)

3. "Coinleach Glas An Fh'mhair" (5:46) fancy folk guitar play opens this before the plaintive voice of M'ire Brennan and her brother Ciar'n's double bass join in. The Pentangle influence is pronounced. Very solid, professional. I like the supportive background choral vocalise in the second half. (9/10) 4. "Rince Philib a'Cheoil" (1:50) nice traditional-sounding little ditty. (4.25/5)

5. "By Chance It Was" (5:40) a stripped-down palette with only piano and guitars supporting M'ire's vocal until the first instrumental bridge when flute takes a very pretty, airy, extended solo. The verses following this are stripped back even further with just muted guitar strums from two of the guitars providing the rhythmic accompaniment for M'ire's classic folk vocal. Full weave and flute return for the final section/outro and fade out. (8.875/10)

6. "Rince Briot'nach" (3:14) solo harp opens this one--steel string harp! After 30 seconds over which M'ire has established both melody and pace, other acoustic instruments gradually join in--including hand drums, flute, pipes, and even snare. Sounds very much like Alan Stivell's work. (8.75/10)

7. "Dh'anainn S'gradh" (5:38) harp opens this one, but soon the whole ensemble has joined in and male lead and background vocals enter in a kind of call-and-response format. It feels strange to have M'ire's vocal presence so hidden/almost absent, but the males have very nice voices. Distorted electric guitar takes the most dominating solo in the instrumental passage in the middle. This one must have provoked some controversy. (8.75/10)

8. "Gaoth Barra Na dTonn" (2:33) a cappella M'ire. (4.25/5)

9. "Teidhir Abhaile Ri'" (2:48) more traditional sound palettes and group-vocal arrangements. (8.6667/10)

10. "Fairly Shot Of Her" (2:20) nice harp, full strings (guitars, mandola, harpsichord, bass), and flute weave. (4.5/5)

11. "Chuaigh M' Na Rosann" (6:18) M'ire singing in her native tongue over gently-picked guitars. Piano and double bass join in for the second round and then tin whistle solos in the second minute before the next verse. More of the same rotating twice more over the next four minutes. (8.75/10)

Total Time 42:10

The more close-to-traditional arrangements and constructions of the bulk of this album's songs must have been the band (and record label)'s response/reaction to criticism from national purists. It's nice--with very full arrangements-- but I like it more when they stick to their own directional instincts in terms of the more modern stylization of the music they choose to record. Other than the presence of drums on a few songs and one song with saw-like electric guitar, there is less proggyness in the engineering and production of this album than their debut from 1973. For a prog lover like me, this is a step backward for the band.

B/four stars; an excellent collection of more traditionally rendered Celtic folk songs but not quite the proggy touch that the band's debut album seemed to promise--or that would indicate the direction their future would take. I'm rating this down for this website due to its lack of progginess.

 Clannad by CLANNAD album cover Studio Album, 1973
4.27 | 26 ratings

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Clannad
Clannad Prog Folk

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars How a young group of unknown musicians form West Ireland (Donegal) got a label, producer, studio, and engineer to record a first album with such clarity and depth I'll never know, but this is one album whose original arrangements of their native musical traditions has been rendered close to perfection. The presence of rock drum kit is the most surprising element in these musical mixes but the nature sound recordings, use of their native spoken Gaelic, and warm depth in the soundscapes are the most delightful elements that defy all expectations. I've read that the band had accumulated a catalog of over 500 songs from their family, regional, and national lore by the time they started performing live in small regional venues (in their school years.) While I love original compositions, I have always appreciated the dedication of the artists of the folk scene to the preservation and (modern) reinterpretation of their musical traditions--and I can think of no band who has done a better job than Clannad at this task (mission).

1. "Níl Sé Ina La" (4:50) drums! Amazing melodies and vocal harmonies--all using the beautiful Gaelic tongue. Both the warmth and the depth captured in the sound engineering is quite remarkable. (9/10)

2. "Thíos Chois Na Trá Domh" (2:55) a more traditional drum-less arrangement renders this one more in the realm of true Celtic folk music. Beautiful lead vocal from Máire. (8.6667/10)

3. "Brian Boru's March" (3:50) a gentle instrumental that has a near-Spanish-Andalusian feel to it. Harp, mandola, guitars, double bass and congas sound perfectly spaced. Wonderful! (8.875/10)

4. "Siobhán Ní Dhuibhir" (4:30) working again with drummer John Wadham (the producer/label's choice?), this one has such great chord play from the harp. (I'd always assumed that Máire had started out on the steel-stringed Celtic harp à la Alan Stivell but, no: she plays a mid-size nylon string harp like Jon Anderson!) Great jazzified vamp in the middle and then great vocal choir arrangements for the b vox singers in the final minute. Once again, something about the recording and mix of this one renders the music into both rock and prog domains. (9.25/10)

5. "An Mhaighdean Mhara" (2:10) an a cappella song sung by Máire that I've heard different versions of (from later in Máire's life) but is here performed with amazing confidence and maturity (despite the fact that she was a mere 21 years old when this album was being recorded. This remarkable precociousness has always struck me about Máire's confident presence--both on stage and in recorded renderings.) (5/5)

6. "Liza (3:05) mixed and performed like a California flower-child pop song: Mama & Papas choral vocal arrangements (with a male in the lead!), busy bass, guitars, congas, and drums. Different! So surprisng to learn that this is the album's only song to have been totally written by the band. (8.6667/10)

7. "An tOileán Úr" (4:03) there is no doubt that this song's harp (the opening instrument) is steel stringed. What a collection of instruments the young band had access to! Again a male vocalist takes the lead on this one as tin whistle and drums add their rock talents. Impressive play from the double bass and what sounds like electrified guitar strumming behind the mandola and acoustic guitar picking. The background vocalists are mixed a bit further in the back than I'd like. Surprising (not "traditional") chord and rhythm patterns. (8.75/10)

8. "Mrs. McDermott" (3:03) beautiful little flute-led instrumental rendition of a nineteenth century Irish tune. (8.75/10)

9. "The Pretty Maid" (2:40) gentle acoustic guitars and bass dancing around one another beneath the angelic vocal performance of Máire (in English!). The second verse is started by a male vocalist before Máire takes over and this pattern is repeated in the third verse (with the addition of ghostly background harpie voices). (9/10)

10. "An Pháirc" (3:00) the band's submission to Eurovision 1973. Starts out with gentle music supporting Máire's floating vocal but then fills out with the whole band singing in harmonic support during the second and successive verses. (8.75/10)

11. "Harvest Home" (1:40) a beautiful little instrumental. (4.75/5)

12. "Morning Dew" (3:45) a gorgeous arrangement and rendering of this popular North American folk song. It is realized as if something from an album by The Pentangle or even Peter, Paul and Mary. Amazing! (9.75/10)

Total Time 38:26

Always a little more circumspect about debut albums from traditional folk artists, I now understand what made Clannad an outlier among calcified Irish patriots: they were definitely open to the influences of developments and innovations occurring in the modern musical world. Thus, the rock settings and constructs of many of this album's songs definitely subjects it to the criticisms of their own native purists. At the same time, this is exactly what offers this album, music, and band to Prog World: brave experimentalism and modern sound manipulation in the recording process.

Whereas the trajectory of the band's 1980s output connotes a leaning toward pacifying "New Age" sounds and textures, their 1970s legacy is more of a band trying to figure out how to make their beloved traditional folk fare popular with the masses.

A minor masterpiece of Prog Folk and, I think, an album of many delights for any true lover of progressive rock music; perhaps not an essential masterpiece to Prog World in general, but a definite landmark in the expansion and development of the scope and practice of Prog Folk music.

 Dúlamán by CLANNAD album cover Studio Album, 1976
4.53 | 39 ratings

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Dúlamán
Clannad Prog Folk

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Back before Donegal's Brennan and Duggan families tried on a lot of the synthetics the modern music world was offering they were truly an Irish folk band--a trailblazing force.

1. "Dúlamán (Seaweed)" (4:30) in the form of a shanty sing-a-long. (8.75/10)

2. Cumha Eoghain Rua Uí Neeill (Lament For Owen Roe)" (4:03) a somber weave of traditional Irish instruments that sounds very much in the vein of Alan Stivell's Renaissance de la harpe Celtique. (9/10)

3. "Two Sisters" (4:07) English! (no doubt a true and bitter concession) very standard Irish song with some sing-a-long chorus parts. (8.5/10)

4. "Éirigh Suas A Stóirín (Rise Up My Love)" (5:03) gorgeous weave of gently picked/plucked string instruments over which Máire sings in her angelic wraith-like voice. This one stands up to anything by Pentangle, Fairport Convention, Spirogyra, or Steeleye Span. (9.5/10)

5. "The Galtee Hunt" (3:03) a real reel. The flute and Celtic harp pairing is magical--as is the presence and input of the mandolin later. (8.75/10)

6. "Éirigh Is Cuir Ort Do Chuid Éadaigh (Arise And Dress Yourself)" (4:05) a very traditional sounding Irish song that is given some truly progressive clothes with modern keyboards, bass, treated stringed instruments. Super! (9/10)

7. "Siúil A Rún (Irish Love Song)" (5:43) More stupendous melodies and chord progressions served up in oddly syncopated time signatures beneath a stellar vocal performance by Máire. (9.75/10)

8. "Mo Mháire" (2:38) very familiar melodies from the traditional Irish instruments and their weave support whistle and Máire's vocal trading the leadership point. (4.333/5)

9. "DTigeas A Damhsa (Children's Dance Song)" (1:20) the easy repetition definitely fits the objective audience suggested by the title. Nothing so special here--and really nothing proggy. (4/5)

10. "Cucanandy/The Jug Of Brown Ale" (3:08) a gentle reel with wonderful clarity given all of the instruments participating: flute, harp, mandolin, bodhrán. (8.6667/10)

Total Time: 37:40

Other than a few modern electrical effects and, perhaps, the fine engineering and production, there is not a lot here to qualify the band, music, or album as "Prog Folk." This album is almost purely folk music, however, I do hear the advantages and advances offered by electrical inputs that render the sound on this album's songs more "modern" than pure pub/coffee-house fare. The spectrum of instruments used, the clarity of each contributors' contributions, and the powerful gift that is the voice of Máire Ni Bhraonain are all totally refreshing and genre-defining.

B+/4.5 stars; a ground-breaking and truly stellar offering of modernized Irish folk music--one that led to the assuaging of the controversy created by the Brennan and Duggan families with both their "modern" Irish song constructs and forms as well as with their (for the time) unusual renderings of song in the ancient native Gaelic tongue. Bravo, an clann as Dobhar! I applaud their perseverance and fortitude.

 Lore by CLANNAD album cover Studio Album, 1996
2.77 | 19 ratings

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Lore
Clannad Prog Folk

Review by Matti
Prog Reviewer

3 stars The ratings (and the initial review) claim Lore to be a weaker Clannad album than the preceding one, Banba (1993), but I disagree. These two albums sound pretty much the same in their cleanly produced combination of English-language pop and Irish world music sung in Gaelic, and Banba had a hit in 'I Will Find You (Theme from "The Last of the Mohicans")', but in the end Lore has finer highlight moments for me.

The opening track 'Croí Cróga' has a bit mysterious atmosphere. Máire Brennan's harp is almost buried under the low- note choirs. Because of the dominance of the chorus, 'Seanchas' is among my least faves here, although the arrangement is sophisticated in a Peter Gabriel-like way, except for the unnecessary sax of Mel Collins. 'A Bridge (That Carries Us Over)' is a beautiful serene song, a perfect platform for Máire's ethereal lead vocals and the breathy vocal harmonies.

'From Your Heart' is a slow and sensitively calm song, sung half in Gaelic, half in English. Perhaps it's slightly overproduced with a rhythm-centred ENIGMA flavour. The lively and folky 'Alasdair MacColla' resembles the early days of Clannad. 'Broken Pieces' is a fresh-sounding, melodic song, among the nicest ones on the album. I agree with the previous reviewer that 'Tráthnóna Beag Aréir' is unnecessarily extended in length, as pretty as it is.

I'm fairly fond of 'Trail of Tears', even though it has became clear by now that the album offers mostly more of the same in its soft, nocturnal calmness, and this feeling is further underlined by the following slow track in Gaelic. But then comes my personal highlight, 'Farewell Love'. The melodies are emotionally deep and the harp brings lovely brightness to the sound. This is among my favourite Clannad songs ever. The album closes with the serene instrumental 'Fonn Mhárta'.

My copy had a bonus disc compiling six tracks of Clannad's commercially strongest output, e.g. 'Theme from Harry's Game' and 'In a Lifetime', and 'Something to Believe In' which I like very much. I'm rating Lore 3½ stars but I guess it's more logical to round it down since it's mostly just offering more of the same and perhaps lacks some spark as a whole.

 Christ Church Cathedral by CLANNAD album cover Live, 2013
4.00 | 2 ratings

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Christ Church Cathedral
Clannad Prog Folk

Review by Matti
Prog Reviewer

4 stars Clannad had been mostly inactive since their then-last studio album Landmarks (1998), when they were asked to perform at Dublin's historic Christ Church Cathedral in 2011. The public response was so enthusiastic that the event turned into three consecutive nights. More live activity followed, and eventually the band -- with Pól Brennan back to the line-up -- also made a new studio album, Nádúr (2013), which however remains their last one today.

The nearly full CD-length set containing 19 tracks has a strong emphasis on the early traditional folk era. I'm not very familiar with it in general, since I found Clannad during their modernly produced pop years and have never really dug deeper into their earliest albums apart from what I've heard on their compilations. That's why I'm not going to deal with things like from which albums they chose the material for this concert. By listening to the CD I can only say the set is pleasant and feels just right for the venue. Most songs are marked as "trad., arr. Clannad". A pity the leaflet doesn't tell what instruments the band members themselves play (harp, acoustic guitar, mandolin, flute, tin whistle, percussion, bass, I suppose). Guest musicians play violin, viola, cello, percussion and keyboards. But it's the marvelous use of harmony vocals what I think is the essence of the band's unique sound, especially when talking of the traditional tunes in Gaelic.

In the midway of the set there are several well known pieces from their more popular era featuring more synth on the background, starting with the mysteriously atmospheric 'Newgrange'. After two delicious trad. tunes they play a six- minute, four-part medley 'Robin of Sherwood' from the early 80's TV series closely associated with Clannad's original music for it. This is a nice gesture instead of performing just the famous theme song 'Robin (The Hooded Man)'. Occasionally the medley reminds me of the folk prog à la Jethro Tull. 'Caislean Óir' is the delicate opening track of Macalla (1985), followed by 'In a Lifetime' from the same album. It was originally a duet with Bono (of U2), and here his place is taken by Brian Kennedy. Agreeing with the previous reviewer, I don't think he fully succeeds in replacing Bono's superb vocals. 'I Will Find You' was a love song on the film The Last of the Mohicans -- also included on Clannad's studio album Banba (1994) -- , and 'Theme from Harry's Game' is undoubtedly THE best remembered, career-turning, popularity-launching song which truly deserves a place here.

This live album with an excellent sound quality and acoustics can be recommended to both longtime fans of the band and newcomers interested in Celtic music, of which genre Clannad is a major legend.

 Macalla by CLANNAD album cover Studio Album, 1985
4.24 | 32 ratings

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Macalla
Clannad Prog Folk

Review by TCat
Special Collaborator Honorary Collaborator / Retired Admin

4 stars It was time for Clannad to appeal to the masses worldwide, and so they recruited some international artists like Bono, Mel Collins and Steve Nye (among others) to help push their appeal further. "Theme from Harry's Game", which came from the previous album "Magical Ring", was getting some attention in North America, and after winning awards for their soundtrack to the TV show "Robin of Sherwood" which was featured on their previous album "Legend", Clannad was already having a lot of success and charting in the U.K. So, now it was time to have a breakthrough album in America. And with the release of 1985's "Macalla", they accomplished this in a great way.

U2 was using the music from "Harry's Game" as incidental music in their concerts and Bono had already publicized his love of his fellow-Irish friends from Clannad. This change to a more accessible sound along with Bono's inclusion pushed the album over the top and it was the first time the band would chart in the U.S. This was good for the band, of course, but how would it translate for long-time fans? Clannad kept some of their original sound staying true to their roots with only two Irish-language songs this time around and concentrating more on English lyrics and a more modern and accessible sound.

The album kicks off innocently enough with "Caislean Õir", sung completely in Irish in with a strong, hymn-like style, mostly a cappella with a harp coming in later in the track and with the unique Clannad-harmonies of the full band on the choruses. The change in sound isn't quite apparent yet and it is certain the band wanted their new listeners to know where their roots are. But this all changes quickly as the band reverts to the accessible sound with English lyrics in the mid-tempo track "The Wild Cry". This track retains the soft complexities of the original band to some extent, but also shows everyone which direction they were going in as synths come in and electric guitars and Mel Collins play solos in the instrumental breaks. The accessible style becomes even more prominent in "Closer to Your Heart", "In a Lifetime" (which features Bono singing with Maire) and "Almost Seems (Too Late to Turn)", all nice songs, but very accessible, proving that the band was now looking for instant likability over long-term enjoyment. This ended up working well for them. Fortunately, the new-wave-ish keys almost, but not quite, overshine Maire's excellent vocals. The band at least recognized that their success depended on her vocals more than anything.

The 2nd side opens up with the upbeat and very commercial "Indoor". This one is only saved by the fact that Clannad's harmonies finally return and that Collins adds more to the song. After that track, the album quiets down for the only traditional song on the album, the 2nd sung fully in Irish "Buachaill On Eirne". Previously, the band relied a lot more on their covers of traditional Irish songs, but this time, for accessibility reasons, this is the only time on this album that they resort to this. It's a nice change especially after the direction the album seemed to be going in. Maire gives the lead vocal duties to Pol for the track "Blackstairs", which comes along at the right time to help add variety to the album, even though it sounds more along the lines of soft rock prog like Alan Parsons Project. It's a nice enough song though. Then things become upbeat again with "Journey's End", and Maire returns with this track that brings in a nice, bouncy Irish lilt that older fans were hoping for. It all ends with the mid-tempo "Northern Skyline" which could have worked on any previous Clannad album except for the fact that it is backed up by synths more than the traditional acoustics.

Overall, it's a decent album and it served it's purpose. It is a nice gap between the accessible path that the band was taking and the traditional styles from before. The music is well produced, it has enough complexities here and there to keep it all interesting, and the influences of the new wave style, though apparent from time to time, aren't enough to completely ruin the album. This wouldn't be the case as they continued to work with accessible music, but for this album, it is enough to pass for a legitimate listen. Though they were moving away from the folk sound from before, it is obvious that they were seeking a more commercial sound, however, the album, as a whole, is still quite good and Maire and the band are in top form. Kudos to them for remaining loyal at times in this album to their roots, but the coming popularity that would give them the boost they needed would also be the thing that would almost destroy them.

 Legend (OST) by CLANNAD album cover Studio Album, 1984
3.26 | 28 ratings

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Legend (OST)
Clannad Prog Folk

Review by TCat
Special Collaborator Honorary Collaborator / Retired Admin

3 stars People all over the world were starting to discover Clannad after the popularity of the track "Theme from Harry's Game". That popularity had moved through the UK and other countries, but it hadn't quite made it to North America quite yet. However, the popularity of the band in the UK did get them a job doing the music for the 23-episode series "Robin of Sherwood". After Enya left to go out on her solo career and a few other personnel changes, the band was now a quintet and was ready to go out into the world.

Some of the music from the TV series was culled together in an album called "Legend" and released in 1984. The band's popularity continued to grow in the UK, but the album still didn't push its way over seas quite yet. The album did, however, end up winning the BAFTA award for best original television music in 1985, and this was the first time an Irish band won the award, and that only helped pique the interest of the public. This would end up setting up the band for recognition in the US so that by the time the next album "Macalla" was released, their popularity was assured, especially after the recognition they got when U2 started playing "Theme from Harry's Game" as introductory music in their concerts.

So, how does the soundtrack music work out as an album for Clannad? Fortunately, the band pretty much kept a lot of the same direction they had previously; the increased use of synthesizer, but not so much as to cheapen their music, but also keeping the traditional Irish flavor to their music. This album acts as a bridge, and a rather good one, that helps span the gulf between Clannad's previous Irish-folk music to the more popular sound that they would increasingly turn to in their upcoming albums. "Legend" has a great mix of both styles and the first track "Robin (The Hooded Man)" deftly incorporates both styles quite well. This track introduces the main theme and also utilizes a great mix of Irish sound and pop music, but manages to do so with minimal vocals, a good amount of synth and more traditional instruments providing a nice backdrop. You also hear Marie's beautiful vocals on the verses and the signature, lush and dreamy choral sound of the band singing against heavy reverb on the choruses. This is the sound that would win the world over.

The album continues to incorporate heavy synth use on other songs like "Together We", the instrumental "Darkmere", "Scarlet Inside' and "Ancient Forest", these tracks fulfilling the more pop side of the band, while other songs like "Herne", "Now is Here", the beautiful instrumental "Lady Marian" (my favorite track on the album) and others use the more traditional style that remind one of the band's earlier albums. Excellent use of harp, flutes, acoustic guitars and such are definitely not ignored and there is a great mix of both styles on the album that will probably keep fans of both sides of the band happy.

Many will be happy that this album does not sound much like a soundtrack album, and to me, that works both for and against the album. It does make it more accessible, even when the band uses some progressive elements in "Scarlet Inside" and "Ancient Forest", but it also introduces listeners to the more ambient side of the band. Really, the only tracks on here that might remind you of soundtrack music is the woefully short, yet dramatic "Battles" and the dark, atmospheric "Darkmere". I would have liked to have heard these tracks a bit more developed, and for me, it makes the album suffer a little bit. Granted, the band was rather new at making this kind of music and finding the right way to reach new audiences, so I think they did a rather good job of creating an enjoyable album, though the progressiveness is a bit on the light side, it is one that I still love to listen too in the evening when the lights are dimming. This album is also the first album the band put out where all of the songs were original, written by the band. No traditional music was used on this album except for the obvious inspiration that comes across through the album.

Overall, even if I do enjoy the album, I have to give it 3.5 stars and round it down from there because of the light use of progressive style and the fact that it disappoints a bit since I expect to hear a soundtrack album. I do understand why it was decided to use these particular songs to build an album especially when they were trying to find an international audience. This would end up working for the band at first, but would also eventually bring on their later downfall. I must say however, that this album should not be ignored like some of the band's later material should be. It is a lovely album and has some very serene and calming moments that allow the album to fit quite well in their earlier discography. The mix of traditional and popular styles is done quite well if this album wasn't considered a soundtrack, so it is better to listen to it not as a soundtrack, but as a proper album. 3 stars, but don't pass it by.

 Pastpresent by CLANNAD album cover DVD/Video, 1989
4.05 | 3 ratings

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Pastpresent
Clannad Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Though given the same name as a 1989 compilation originating around the same time, and including many of the same tracks, this vintage video is essentially a documentary about the family group from Donegal who had stormed the British charts in the mid 1980s. Live footage is juxtaposed with videos set to the studio recordings, including lavish official offerings like "Hourglass" and "The Hunter", acknowledging the primarily promotional aspect of the film.

Often only excerpts are included in favour of commentary from band members about the group early history and evolution, black and white photographs of childhood, musical interests which transcend not only Irish folk but folk music in general, a visit to the old elementary school, and splendiferous seascape and landscape vistas. Maire is most often depicted and quoted, not surprisingly given her role as lead vocalist, harpist, and photogenic archetype. She even talks about the reticence in collaborating with Bono on hit single "In a Lifetime", given how they had always implicitly been a self sufficient "family" band. Still, prog veteran Mel Collins has been a long time associate in wondrous ways, and I admit disappointment that he is not to be seen during the sax solo on the official video.

While "Pastpresent" does not appear to have seen a DVD release, apparently a few laserdisc versions are around, and this is worth picking up if you would like an intimate and often magnificent visual document of these legends at their peak.

 Past Present by CLANNAD album cover Boxset/Compilation, 1989
4.00 | 5 ratings

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Past Present
Clannad Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Given that only one number here - the achingly magnificent Coinlech Glas an Fhómair - even references CLANNAD's 1970s period (though the version here is from 1983), it would seem that "Just Past Present" would probably be a better name for this compilation. Nonetheless, this is a reasonably well curated collection that divulges the group's embrace of prog attitudes at a time when most big P prog bands of similar vintage were either dead, moribund, or dispirited.

Apart from the obligatory and wonderful hits, "Theme from Harry's Game", "Robin the Hooded Man", and "In a Lifetime", we also hear their successful forays into Celtic Rock ("Second Nature"), pure Celtic ("Lady Marian"), pop prog ("Closer to Your Heart"), and pop balladry ("Something to Believe In"). Two rarities are included, the ambient "The Hunter" with bass lines that recall ELOY, and the even more breathy "World of Difference" in which steady contributor Mel Collins' sax nearly upstages Moira. Both straddle their waning 1980s style and the coming new age shift in the 1990s.

While the most recent album at the time, "Sirius", is overly represented by a few lesser tracks, somehow they do not lower the bar, as their breadth of styles seem oddly more effective and distinctive when interspersed with the bread and butter Clannad. Given that this was one of the group's highest charting albums, it would seem that both old and new fans agreed.

"Pastpresent" is a very worthy first stop for potential fans of the group or for new fans who want to get their feet wet but not necessarily dive right in. Be aware of its focus on a narrow swath of their history, as it ignores several excellent albums from 1973-1982 and a few very good ones from the later years.

 Hourglass / Theme from Harry's Game by CLANNAD album cover Singles/EPs/Fan Club/Promo, 1989
3.00 | 1 ratings

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Hourglass / Theme from Harry's Game
Clannad Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
3 stars 'Hourglass' is a non-album single track that has appeared on a couple of Clannad compilations. The song was inspired by the life and poetry of Debbie Barben, but a quick googling didn't reveal more about the person in question. The music video and the lyrics ("Then four gray walls come tumbling down / And just because her skin was brown") deal with a young black woman. This is a fresh-sounding, beautiful, peaceful and fairly typical, cleanly produced folk pop ballad by Clannad. Moira Brennan's ethereal voice is as nice as always and she plays a lot of harp on this song. Surely the song would have been a very good addition on a studio album such as Anam (1990).

The CD single also features the Irish band's well known TV series theme song that gave them a wide international stardom in 1982. A great, classic song, no doubt of that, but its re-appearing once more in this single feels a bit unnecessary.

[ P.S. Sadly racism still exists in our world, but hopefully it will become more and more irrelevant which colour one's skin is. Right now I'm very happy that the United States is having a new president after Trump who's still being a total asshole and doing his best to divide the nation in two. ]

Thanks to kenethlevine for the artist addition. and to NotAProghead for the last updates

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