Moya Brennan, born Máire Ní Bhraonáin known as Máire Brennan, is an Irish folk singer, songwriter and philanthropist. She is the older sister of Brídín Brennan, she began performing professionally in 1970 when her family formed the band Clannad, is considered as the "First Lady of Celtic Music". Moya released her first solo album in 1992 called Máire, a successful venture, she has won an Emmy Award. She has recorded music including Titanic, To End All Wars and King Arthur. Máire Philomena Ní Bhraonáin was born in Dublin after her parents eloped from County Donegal to marry in County Louth. Máire grew up as the eldest child of a musical family in the remote parish of Gweedore, a Gaeltacht area in County Donegal, where the Irish language and tradition continue to flourish, her mother Máire was a music teacher and her father, Leo Brennan, was a member of a cabaret band with whom she performed as a child. Moya is the eldest of nine children, she has four sisters, Eithne, Olive and Brídín, four brothers, Ciarán, Pól, Leon and Bartley.
She sang along with her siblings in the family pub, Leo's Tavern in the village of Meenaleck, a short distance from the family home. She took part in pantomimes at the local Amharclann Ghaoth Dobhair. After leaving secondary school, Brennan spent a few years at the Royal Irish Academy of Music in Dublin studying the harp, the piano and singing, she has taught music at Holy Cross College in Falcarragh, County Donegal. It was during this time in 1970 that Brennan joined her two brothers Pól and Ciarán and their mother's twin brothers Noel and Pádraig Ó Dúgáin and formed Clannad, they were introduced to television by Tony MacMahon. After enjoying a decade of being among the world's foremost Irish musical groups, Clannad graduated to chart success in 1982 with the album Magical Ring. Brennan was at the forefront of the group's success and her voice became synonymous with Celtic music and Irish music at the time. Brennan recorded 17 albums with Clannad and has won a Grammy, a BAFTA and an Ivor Novello award with the quintet.
Her sister Eithne Ní Bhraonáin, who spent a while with Clannad, continues to pursue a successful solo career under the name Enya. Following their 2008 reunion tour, it was announced that Moya would be working on a new unplugged album with Clannad for release in 2009, this never came to fruition. Brennan released her first solo album in Máire, on Atlantic Records. Misty Eyed Adventures on BGM followed three years later. In 1998, Brennan signed with Word Records and released Perfect Time, Whisper to the Wild Water a year later; the album was nominated for the Grammy Award for Best New Age Album in 2001. Brennan is managed by her brother Leon Ó Braonáin, her music is classified as New Age or Celtic. She accepts the Celtic label, but has at times indicated a slight discomfort with being seen as "New Age" as much of her music is Christian, with several of her songs centring on maintaining a relationship with Jesus; some of her songs show influences from her Roman Catholic upbringing or seem relational due to her own views concerning Mary, the mother of Jesus.
In 2000, her autobiography, The Other Side of the Rainbow. was published and she performed her song "Perfect Time" live at World Youth Day in Rome in front of crowds of pilgrims and Pope John Paul II. There were 2.1 million people present, making it the largest crowd gathered in the Northern Hemisphere. She considered it. Moya recorded on the event's album, One, she recorded a duet with Booley, now known as Duke Special. The song, titled "Peace Has Broken Out", is about the Troubles in Ireland. In film, she was featured vocalist on King Arthur, co-writing the title theme "Tell Me Now" with Hans Zimmer and wrote additional music score for To End All Wars. In 1995, she duetted with Shane MacGowan. Brennan has collaborated with many other musicians, including Chicane, Alan Parsons, Robert Plant, Van Morrison, Michael McDonald from the Doobie Brothers, Bruce Hornsby, Joe Elliott, The Chieftains, Paul Young, Paul Brady, Michael Crawford, Joe Jackson and Ronan Keating. In total Brennan has recorded 25 albums, has sold 20 million records.
Since 2002, she has promoted herself as Moya Brennan — a spelling resembling the phonetic pronunciation of her name for those not familiar with the Irish variant of the spelling – and, in 2009, she changed her name by deed poll. Under this moniker she released an album entitled Two Horizons in 2003 under her new label, Universal, she has collaborated with dance artist Chicane for performing the vocals on the single "Saltwater", featured in the VisitScotland advertising campaign, as well as having been used by Fáilte Ireland to promote Ireland, by Belfast city council, both in television adverts. On 17 March 2004, she performed at the Speaker's Luncheon on Capitol Hill in front of President George W. Bush and Irish dignitaries. During the World Youth Day 2005 in Cologne, she performed with Pope Benedict XVI in the Vigil in front of a million people and was part of the official WYD CD Building on World. 2006 saw the release of her Christmas album entitled'An Irish Christmas', although it was planned to bear the title'Love Came Down'.
A year Brennan released her album'Signature', which she described as
Journey into the Morn
Journey Into The Morn is a progressive rock album by Iona. Released in 1996, it was their first studio album since Beyond These Shores in 1993. Recordings were based in the north of England again The Soundfield, Derbyshire with audio engineer Neil Costello, with some additional recording at Perfect Sounds, Thornton, Nr. Bradford. Band Joanne Hogg - vocals, guitar Dave Bainbridge - guitars, keyboards, e-bow guitar, mandola Tim Harries - bass, vocals Terl Bryant - drums, percussion Troy Donockley - uilleann pipes, low whistles, tin whistle, whitby shell chimes Mike Haughton - saxophone, tin whistle, vocalsAdditional musicians and special guests Máire Brennan - Celtic harp, vocals Robert Fripp - guitar synth, Frippertronics on "Divine Presence" and "The Search" Peter Whitfield - violins, viola Chris Eaton - additional backing vocals Disc - Total Time 78:14 "Bi-Se I Mo Shúil" Part 1 – 2:06 "Irish Day" – 5:14 "Wisdom" – 4:58 "Everything Changes" – 5:34 "Inside My Heart" – 6:09 "Encircling" – 11:41 "Journey Into the Morn" – 2:58 "Lindisfarne" – 6:30 "No Heart Beats" – 4:49 "The Search" – 2:42 "Divine Presence" – 5:29 "Heaven's Bright Sun" – 7:26 "Bi-Se I Mo Shuil" Part 2 – 4:33 "When I Survey" – 8:05 1996, UK, Alliance Records ALD 050, Release Date 20 February 1996, CD 1996, UK, Alliance Records ALC 050, Release Date 20 February 1996, Cassette 1996, U.
S. Forefront Records FFD-5142, Release Date 20 February 1996, CD 1996, U. S. Forefront Records FFC-5142, Release Date 20 February 1996, Cassette 2005, UK, Open Sky Records OPENVP9CD, Release Date 5 November 2005, CD
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
Nightwish is a symphonic metal band from Kitee, Finland. The band was formed in 1996 by lead songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, former lead singer Tarja Turunen; the band soon picked up drummer Jukka Nevalainen, bassist Sami Vänskä after the release of their debut album, Angels Fall First. In 2001, Vänskä was replaced by Marco Hietala, who took over the male vocalist role filled by Holopainen or guest singers. Although Nightwish have been prominent in their home country since Angels Fall First, they did not achieve wider success until the release of the albums Oceanborn and Century Child, their 2004 album, has sold more than one million copies and was the band's breakthrough in the United States. Their biggest US hit single, "Wish I Had an Angel", received MTV airplay and was included on three US film soundtracks to promote their North American tour; the band produced three more singles and two music videos for Once, as well as a re-recording of "Sleeping Sun" for the compilation album, Highest Hopes: The Best of Nightwish, before Turunen's dismissal in October 2005.
Her last performance with Nightwish was during a concert recorded for the live album/DVD End of an Era. After the concert, the other members informed Turunen with an open letter that she was no longer a member of Nightwish. In May 2007, Nightwish announced Anette Olzon as Turunen's replacement; that September, the band released their sixth album, Dark Passion Play, which has sold 2 million copies. The album's lead single, "Amaranth", became; the supporting tour, one of the band's largest, started on October 6, 2007 and ended on September 19, 2009. The band released an EP/live album, Made in Hong Kong, in March 2009 as a CD/DVD, their seventh studio album, was released globally on various days in late 2011/early 2012. On October 1, 2012, Nightwish announced that they had parted ways with Olzon and would be finishing the tour with at that time ReVamp vocalist Floor Jansen. In October 2013, Nightwish made Jansen and longtime session uilleann pipes player Troy Donockley permanent members of the band, they were featured in the acclaimed album Endless Forms Most Beautiful, released on March 27, 2015.
Nightwish is the third-best-selling band and musical entity in Finland with certified sales of nearly 900,000 certified copies. The group is the most successful Finnish band worldwide, selling more than 9 million records and receiving more than 60 gold and platinum awards, having released five Number 1 albums and thirteen Number 1 singles. On October 26th, 2018, Nightwish has been inducted to the Finnish Music Hall of Fame, becoming the honorary gallery's 11th member. After playing keyboards in several heavy metal bands in the 1990s, including Nattvindens Gråt and Darkwoods My Betrothed, Tuomas Holopainen decided to create his own project while sitting around a campfire with friends in 1996, he had a clear idea of the music: experimental acoustic music he wrote himself during his time in the Finnish Army, similar to the music played around campfires, but with a distinct sound and atmosphere, played on his keyboards. He soon invited friend and schoolmate Erno "Emppu" Vuorinen to play acoustic guitars, the classical vocalist Tarja Turunen, who shared the same music teacher, Plamen Dimov.
The three musicians recorded their self-titled acoustic demo in winter 1996. The name "Nightwish" was derived from their first song together – the demo included the song "The Forever Moments", an early version of "Etiäinen". In early 1997, following the release of the Nightwish demo, Jukka "Julius" Nevalainen joined the band, acoustic guitar was replaced with electric guitar; the addition of heavy metal elements to the band's existing experimental style gave the band a different sound, forming the core of the Nightwish sound. The band entered the studio in April 1997 to record seven songs for their second demo, Angels Fall First. In May 1997, the demo made its way to the Finnish record label Spinefarm Records, who wanted to release it as the band's debut album of the same name; the label offered Nightwish to a record deal, the band returned to the studio to record four more songs to accompany the tracks of the demo. The full-length album was released in November 1997 and reached number 31 on the Finnish album charts, with the single "The Carpenter" reaching number 3 on the Finnish singles chart.
"The Carpenter" single was released as a split with label mates Children of Thy Serpent. The band made their live debut in their hometown Kitee in December 1997. Since they were missing a bass player, Samppa Hirvonen joined them as a sessional live member. Marianna Pellinen was a sessional live member as an additional keyboard player and a backing vocalist for Turunen. There were plans to make Hirvonen a permanent member, but he joined the army as part of Finnish army conscription just as they began recording Oceanborn, so they asked Sami Vänskä to join instead, since Tuomas knew him from the band Nattvindens Gråt. During the winter of 1997 and 1998, the band performed only seven times, because Turunen was finishing her schooling, Nevalainen and Vuorinen were serving their obligatory Finnish military service. Nightwish returned to the studio in August 1998 as a five-piece to record their follow-up album for Spinefarm Records. On October 7, 1998, Nightwish released Oceanborn, in Finland only. Adopting a more technical and progressive sound than Angels Fall First, Oceanborn saw the band
The low whistle, or concert whistle, is a variation of the traditional tin whistle/pennywhistle, distinguished by its lower pitch and larger size. It is most associated with the performances of British and Irish artists such as Finbar Furey and his son Martin Furey, Old Blind Dogs, Michael McGoldrick, Riverdance and Davy Spillane, is accepted as a feature of Celtic music; the low whistle is used for the playing of airs and slow melodies due to its haunting and delicate sound. However, it is becoming used more for the playing of Irish and British jigs and hornpipes, it being easier to produce some ornamentation on the whistle, due to the size of the finger holes; the most common low whistle is the "Low D", pitched one octave below the traditional D whistle. A whistle is classed as a low whistle if its lowest note is the G above middle C or lower. Whistles higher than this are termed "soprano" or "high" whistles. Low whistles operate on the same principles, are fingered in the same way as traditional pennywhistles although for many, a "piper's grip" may be required due to the distance between the holes.
They belong to the same woodwind instrument family of end-blown fipple flutes. Though the tone of this instrument varies subtly among makers, low whistles are characterised by a more breathy, flute-like sound than traditional tin whistles. While the precise history of the low whistle is debated, it is known that various kinds of vertical fipple flutes have existed in antiquity; the fipple flutes developed during the 16th century were the ancestors of today's low whistle, carrying through from early transverse flutes the six-holed design tradition and conical bore shape. They were of wooden construction, but the late 17th century saw more extensive use of metals such as brass and nickel; the metal was rolled and soldered, further developments included the use of a tuning slide. These metal vertical flutes were found throughout Ireland, the Scandinavian peninsula and Flanders. English flute maker and jazz musician Bernard Overton is credited with producing the first modern low whistle in late 1971, which he made with Finbar Furey after Furey's prized Indian bamboo whistle was destroyed while on tour.
Unable to repair it, Overton attempted to produce a metal replica and Finbar and himself spent many hours in the shed at the back of Bernard's house in Rugby, designing and perfecting the flute. The first few were named the Furey/Overton flute but when Bernard gave up his job to hand make them full-time, they decided to market them as The Overton Flute; the first resulting instrument was an oversized tin whistle made of copper pipe with a wooden plug but was replaced by the aluminium one. While Overton was unsatisfied with its performance, he subsequently refined the design with an all-aluminium construction, producing a whistle in A. Impressed, Finbar requested a G version for his trademark Lonesome Boatman performances. According to Overton, "He asked for a whistle in low D, the same pitch as for the concert flute, he used them extensively. I was soon getting calls from England, Scotland and the USA, asking for the instruments, so I started to make them to order." Hence, the expression "Irish low whistle" is not denoting an Irish origin, but just an intensive use of this instrument in Ireland and, because of cultural similarity, in the whole British archipelago.
While before long several notable instrument makers were producing low whistles, it is the Riverdance tour of the 1990s, credited with giving the low whistle commercial exposure and recognition outside traditional music circles. Of particular note is Davy Spillane, whose work in fusing the sound of traditional instruments such as the low whistle with modern jazz or RnB, for example, has done much for the instrument's visibility; some of the most famous low whistle players are: Michael McGoldrick, Kevin Crawford, Phil Hardy from England, Davy Spillane, Paddy Keenan, John McSherry from Ireland, Brian Finnegan from Northern Ireland, Fred Morrison, Rory Campbell, Tony Hinnigan and Ross Ainslie from Scotland. Unlike the regular pennywhistle, the low whistle is a relative newcomer to folk music, some criticise it for attempting to fill a musical role well served by the tin whistle and Irish flute. To others it is viewed as a "transition instrument" for players seeking to learn the more prestigious flute or uilleann pipes.
While it is true that many skills learnt on the low whistle carry over to these instruments, "some of the greatest players of traditional music have been associated with the low whistle" and have helped foster its reputation as a versatile and respected instrument in its own right, with a unique and evocative sound. Much like the Irish flat-backed bouzouki, the low whistle can be seen as a product of a period when experiments in instrumentation were commonplace in traditional music, musicians sought diverse and innovative means of expression
Nicholas Beggs is an English musician, noted for playing the bass guitar and the chapman stick. Beggs was born in Winslow, Buckinghamshire in 1961, his parents were Herby and Joan Beggs, he has a younger sister, Jacqueline. His father left when he was young but came back into his life at a age. In November 1979, Beggs' mother died of cancer, leaving him to care for his sister, 15, he took a job as a dustman upon leaving school. His daughter Lula was born on 29 May 1991 and his first marriage to Eleni Gagoushi ended in 1994, he had another daughter, Willow Beggs, in 2002 with his girlfriend Ann Staniford, whom he married in 2003. He is stepfather to his wife’s three children, Olivia and Jake Keenan. Beggs lives in Leighton Buzzard, Bedfordshire. Beggs was a pescetarian for a while and is a vegetarian due to his rejection of the livestock industry. Beggs' first band Johnny and the Martians consisted of two friends on trumpet and acoustic guitar and Beggs on drums, he went to Linslade Secondary School.
After attending art school, in 1978 Beggs formed the band Art Nouveau, with Steve Askew, Stuart Croxford Neale and Jez Strode. Chris Hamill joined the band in 1981 and at Beggs' suggestion it was renamed Kajagoogoo; the release of the first single, "Too Shy", in January 1983 saw the band on a promotional tour as the record reached number 1 in the UK Singles Chart. After firing lead singer Limahl and, following a split with Strode, the three remaining band members reformed as'Kaja'. Between 1985 and 1987, Beggs concentrated on writing with various other songwriters and formed Ellis, Beggs, & Howard in March 1987. Ellis and Howard split in 1989, in 1990 Beggs joined the progressive folk band, Iona, he recorded The Book of Kells and Beyond These Shores. He continued working with various artists and bands including Gary Numan, Belinda Carlisle, Emma Bunton and Led Zeppelin's former bass player, John Paul Jones. In 1996, Beggs met Howard Jones on a flight from the United States and a friendship was established.
Jones invited Beggs to tour as part of his band. Beggs has worked with various bands and artists. Beggs went on to work as an Artists and repertoire manager for Phonogram Records, where he worked for eight months, he became a contributor to various guitar publications, is now a staff writer for Bass Guitar magazine. He is a Patron of London-based guitar and bass school, Guitar-X, he has recorded and released two solo albums and an EP: *"Stick Insect" & *"The Maverick Helmsman" *Stick Enterprises, as well as *"The Darkness Inside Mens Hearts", 2014 Burning Shed: a compilation of the solo Chapman Stick pieces from his two earlier albums, with 2 newly recorded Chapman Stick-based songs that bookend the releases. Beggs and Askew have been involved with a new duo called Industrial Salt, who have been successful in Japan, they have written material for Claudia Mills, a finalist on the BBC TV talent show, Let Me Entertain You. A reformed Kajagoogoo with Beggs and Croxford Neale toured in 2004. Since Limahl and Strode have both rejoined and the band has toured extensively over Europe in 2008 and 2009.
In February 2013, Beggs's project, with John Young and Frosty Beedle, released a self-titled album. As of 2011, Beggs is a member of Steven Wilson's touring band, having played in Wilson's albums, Grace For Drowning, The Raven That Refused to Sing, Hand. Cannot. Erase; the EP To the Bone. Beggs became a member of the band Fish On Friday from Belgium, who released an album named Godspeed at the end of 2014, contributed to John Mitchell's solo project Lonely Robot, which released the album Please Come Home in February 2015 as well as appearing on the Spectral Mornings EP. Beggs's latest collaboration is called The Mute Gods, with Roger King, their first album was released in January 2016, entitled Do Nothing. This was followed-up with Tardigrades Will Inherit The Earth in February 2017. Beggs' primary instruments are bass guitar, he has significantly modified a Chapman Stick to a MIDI-capable instrument triggering MIDI from both bass and melody strings. He has named this the "Virtual Stick". "Big Bubbles No Troubles" – RCA PB 42089 – June 88 – # 59 UK "Bad Times" – RCA PB 42041 – August 88 "Where Did Tomorrow Go?"
– RCA PB42317 – November 1988 "Big Bubbles No Troubles" remix – RCA PB 42089 – February 89 – # 41 UK "Big Bubbles No Troubles" remix – RCA PB 42788 – April 1989 Homelands – RCA – 1988 The Lost Years Volume One – available from Nick Beggs website The Lost Years Volume Two – again, available from Nick Beggs website as of February 2010 Lifesigns – Esoteric Antenna – 2013 "Stick Insect", 2002 CD Stick Enterprises "The Maverick Helmsman", 2004 CD Stick Enterprises "The Darkness Inside Mens Hearts", 2014 Burning Shed: a compilation of the solo Chapman Stick pieces from his two albums, "Stick Insect" and "The Maverick Helmsman" with 2 newly recorded songs bookending the release. With Steve Hackett Out of the Tunnel's Mouth, 2009 Beyond the Shrouded Horizon, 2011 Live Rails, 2011 Genesis Revisited II, 2012With Steven Wilson Grace For Drowning, 2011 Catalog / Preserve / Amass, 2012 Get All You Deserve, 2012 The Raven that Refused to Sing, 2013 Drive Home, 2013 Hand. Cannot. Erase. 2015 41/2, 2016 To the Bone, 2017 Home Invasion: In Concert at the Royal Albert Hall, 2018With Lonely Robot Please Come Home, 2015With The Mute Gods Do Nothing till You Hear from Me (20