Eric Bibb: "Me To You" (Code Blue)

This recent visitor was a revelation; an American in exile in Europe who could play country blues with the kind of instinctive natural charm and skill of the now departed generation of sweet-picking master craftsmen. His previous two albums showed he was an exceptional talent, but this collection - his first for a major label - finds him trying to widen his appeal through a dilution of his homespun style. The material is broader in focus, even bland at times, but Bibb remains a serious player, somebody capable of moving the hardest heart with an easy familiarity and a beguiling tune. Though the acoustic surrounds have given way to more elaborate arrangements, this transition to Robert Cray territory is eased by collaborations with Bibb heroes like Pop Staples and Taj Mahal. And in the 14 tracks there is ample compensation for the odd lapse.

By Joe Breen

Deanta: "Whisper Of A Secret" (GLCD)

Underpinned by Deirdre Havelin's superb, solid, reined-in flute, fine "own-tunes" dominate Deanta. Clodagh Warnock's bazouki and Mary Dillon's warm, effortless vocals build out a thoroughly interesting, expert production. Typically, the pensive Usual Suspects jigs escalate to surprising Scottish snap with Eoghan O'Brien's harp and guitar, Rosie Mulholland and Kate O'Brien on fiddles. Slow reels' intensity is developed, Deiseal-like, by a parachuted-in Ritchie Buckley. Continuity is fractured somewhat, too, by the singer's cello, keyboard and uilleann pipes-mediated Lone Shanakyle (quite brilliant and delicately tasteful in its own space). White Lilies' Waltz mediates a return to "big" reels under the title Crossroads, title track air Cogair Ruin with flute and harp, rambling jig Druid's Mountain, and finally, solidly-driving Scarta Glen reels.

By Fintan Vallely

Anuna: "Behind The Closed Eye" (Danu)

Anuna depart from all familiar paths in this combination with the Ulster Orchestra and saxophonist Kenneth Edge. The Lesley Hatfield-directed great string backing and accentuation yields a pleasant and sweetly-balanced production; is this an abandonment of their courageous a cappella hallmark? Strings and sax are seamlessly interwoven on The Great Wood, tiny voices appear crystal-clear on horizons of the bigger Aishling sound, soar to prominence in Ave Maria but never dominate. While sax and muted drums make it all dangerously familiar, redolent of Kenneth Edge's and Anuna's stamps on Riverdance and River of Sound core sound, nevertheless it is well-chosen material, finely produced and beautifully delivered.

By Fintan Vallely