Irish music isn't like Christmas carols, the sort of thing people only play during the holidays. But unless you're a genuine Celtic music fan, you probably hear more Irish music around St. Patrick's Day than at any other time of the year.

Just as Christmas albums range from traditional ("We Three Kings") to commercial ("Rudolph the Red-Nosed Reindeer") to contemporary ("Christmas With 'N Sync"), so too do Irish albums. Here's a look at some of what this season offers:

Various

The Ultimate St. Patrick's Day Celebration (Columbia Legacy 65217)

Back before the Chieftains changed America's notion of what Irish music sounded like, the music played at most "green beer" St. Patrick's Day celebrations was a mixture of sentimental ballads and rousing rebel songs. That's precisely the blend offered by "The Ultimate St. Patrick's Day Celebration." Built around such sing-along favorites as "Whiskey in the Jar," "The Rising of the Moon" and "Danny Boy," this collection includes such old-time favorites as the Dubliners, Morton Downey (singing "When Irish Eyes Are Smiling") and the Clancy Brothers with Tommy Makem. Sure, it's unlikely to please purists -- it does, after all, include "The Unicorn," composed by that noted Irishman, Shel Silverstein -- but with the right crowd and enough beer, it makes for good party fare. **

Patrick Street

Live From Patrick Street (Green Linnet 1194)

As supergroups go, Patrick Street isn't quite on par with Blind Faith or Cream, but with Kevin Burke on fiddle, Jackie Daly on accordion, Andy Irvine on vocals and Ged Foley on guitar, it does boast some of the biggest names in Irish traditional music. "Live From Patrick Street" captures the quartet in all its glory, from the spirited interplay of "The Raheen Medley," which boasts some astonishing unison work between Burke and Daly, to the unvarnished melancholy of "My Son in Amerikay." Patrick Street's music isn't entirely traditional -- one of the most enjoyable tunes is "Music for a Found Harmonium," which was borrowed from the art pop ensemble the Penguin Cafe Orchestra -- but it eloquently conveys the spirit of Irish music. ***

John Whelan

Come to Dance (Narada 72418-47070)

In Ireland, step-dancing isn't reserved for flashy showpieces like "Riverdance," but is practiced everywhere from family gatherings to weekend ceili dances at the town hall. That down-to-earth approach to traditional dance music is what John Whelan tries to capture in "Come to Dance." Unfortunately, his intentions are more admirable than his execution. Although Whelan has assembled a solid collection of red-hot reels and slides, the playing itself is often maddeningly tepid. This isn't because Whelan and company can't play; to the contrary, the accordionist and his cohorts deliver these tunes with admirable precision. What they lack is fire, the extra enthusiasm that makes it impossible just to sit and listen as the music plays. **

Eileen Ivers

Crossing the Bridge (Sony Classical 60746)

Eileen Ivers isn't the most traditional of Irish traditional fiddlers, but that's what makes "Crossing the Bridge" worth hearing. When she tackles traditional numbers, her vigorous phrasing and crisp bow-work allow her to dispatch the tunes with virtuosity (as on the fierce "Crowley's/Jackson's") and wit (as on the puckish "polka.com"). Set her loose with a mix of jazz and African musicians, as on "Gravelwalk," and what she whips up sounds like a cross between a ceili band and the Mahavishnu Orchestra. Yet no matter how freely Ivers' musical imagination roams, her playing loses neither its individuality nor its grounding in Irish traditional music. And that sort of daring is what makes "Crossing the Bridge" an almost irresistible journey. ***1/2

Derek Bell

Mystic Harp 2 (Clarity Sound & Light 50162)

Tin whistle, fiddle and guitar may be the most common instruments in Irish music, but nothing evokes the music's spirit quite as vividly as the Celtic harp. Over the years, Derek Bell has done much to revitalize this instrument, both on his own and as a member of the Chieftains, and his latest album, "Mystic Harp 2," ought to further convince listeners of the harp's eloquence and beauty. Although the selections themselves -- written by Donald Waters with all the lush sentimentality of John Horner's "Titanic" score -- are more ersatz than genuine, Bell's quietly virtuosic performance conveys the full majesty of the Celtic tradition. Even better, he invests these tunes with such elegance and grace that it's hard not to be seduced by the album. ***

Various

Dublin to Dakar: A Celtic Odyssey (Putamayo PUTU 147)

What could Irish and African music have in common? More than you'd think. Not only are there cultural elements in common between harp-playing Celtic bards and kora-playing African griots, but Irish music's fondness for triplet-based melodies fits quite neatly with the polyrhythms found in African music. But don't take my word for it -- hear for yourself on "Dublin to Dakar: A Celtic Odyssey." Capercaillie folds Guinean rhythms into a traditional Gaelic clapping song; Brigid Boden's "One Glimpse of You" shows how easily Irish melodies fit a reggae beat; and Aine Minogue's "O Boro Braindi Braindi" mixes Irish dance phrases with rhythmic ideas derived from Indian and Moroccan music. Music, it seems, really is a universal language. ***

Various

Celtic Woman (Valley 15017)

Considering how much hype has been devoted to the rise of women in the recording industry, it seems inevitable that there will be a surge in the exploitation of sisterhood, as the market is glutted with all-female-artist collections of every stripe. So for those who'd like a little Lilith Fair in their St. Patrick's Day celebration, there's "Celtic Woman." Although the album purports to offer the best in contemporary Irish women's music, it's notably lacking in big-name singers, with nothing from such stars as Mary Black, Maire Brennan and Dolores Keane. That's not to say everyone here is a no-name; Loreena McKennitt contributes the epic "Annachie Garden," and Maighread Ni Dhomhnaill offers two beautiful ballads. But on the whole, "Celtic Woman" is as useful an expression of feminism as Virginia Slims. **

* = poor

** = fair

*** = good

**** = excellent

Pub Date: 03/11/99