Folk raged in Germany in the early seventies, so this release seems logical enough. Previous Stivell LP's were only available as an import in Germany. Undoubtedly this is one of his best and this serves as a record that makes it clear why Stivell almost singlehandedly succeeded in carving an international niche for folk (rock) from Brittany. Apart from the almost pugnacious rock track Brezohoneg' rock, a convincing incentive to speak the native language of Brittany, it is traditional material almost throughout, but presented in a unique and strictly personal manner. Stivell's main instrument is the celtic harp and he uses this in itself quiet instrument with great elasticity and verve. The elegant guitars of Dan Ar Bras dominate the finely honed arrangements. The Breton material is powerful and full of uncommon twists, a far cry from the diluted versions for tourists in places like Vannes and Lorient. All tracks are filled with a combination of down-to-earth and even gritty directness with celestial widths and etherical visions, a combination that made Stivell a national hero after an exhausting career. The importance of Stivell for Breton culture cannot easily be overestimated.

Why the great ''celtic'' cover of the native (French) pressing was replaced by this horrible design is anybody's guess. A reasonable picture of Stivell with his harp is placed within an atrocious frame that sits uneasily on a flat green background. The lettering makes it even worse. Both fonts are totally unsuitable and the pink shadows are the sad climax of no taste at all. A graphic monstruosity. The backcover holds a fine live photograph, the information on the contents, a small version of the tasteless lettering and two small pictures of Stivell's previous French albums on Fontana.

Notes: The British version was titled From celtic roots and released as Fontana 6325 304 in 1973 in a totally different cover. The native (French) version had yet another (fold-out) cover and was released as Chemins de terre on Fontana with the same catalogue number as in Britain, also in 1973.

(www.vertigoswirl.com)

Alan Stivell is Britanny's finest musician and this is his finest album, although there are many others which could claim that title (e.g. 'Before Landing', 'A L'Olympia', 'Renaissance Of The Celtic Harp', etc.). This album is defiantly pan-Celtic with songs from Ireland ('Susy MacGuire'), Scotland ('Oidhche Mhaith') and Wales ('Can Y Melinydd') as well as Britanny. Astounding musicianship from Stivell and his recruits. He's famous for his harp playing but check out the bombarde on 'An Dro Nevez' and the bagpipes on the storming 'Ian Morrisson Reel', truly one of Stivell's triumphs. Those who appreciate the strains of Celtic nationalism that pervade Stivell's work will enjoy the sentiments expressed here: "hep Brezhoneg Breizh ebet" - "without the Breton language there is no Britanny".

Traditional folk elements are augmented with an at times substantially heavy rock component. The two styles make for an album of great diversity, range of mood and tempo and the all-round virtuosity of Stivell makes this a must have.

(www.amazon.co.uk)

It could be considered insulting to say that Alan Stivell is 'French'; he's actually a Breton, from the area known to English speakers as Brittany, home to one of the six ancient Celtic languages, along with Cornish, Welsh (the most actively spoken of the six), Irish, Scots and Manx (Isle of Man). Along with brief Fairport member Dan ar Bras, Stivell is chiefly responsible for the upsurge in interest in his region's folk traditions in the '60s and '70s. His chosen instrument is the Breton harp, looking a lot like the Irish harp (as used by Guinness as their logo), on which he is apparently a virtuoso; he also plays various pipes and flutes, plus keyboard instruments. Chemins de Terre/From Celtic Roots was Stivell's fourth album proper, although his earliest recording dates from his mid teens, in the late '50s. I can imagine that parts of it upset traditionalists at the time, especially the twin-guitar workout on his own composition, Brezhoneg' Raok, although there's plenty of traditional music from all corners of the Celtic region to balance it out. She Moved Through The Fair will be familiar to anyone with even a passing interest in English/Irish folk, as it seems to've been recorded by everyone, although the rest of the 'trad.arr' material is less well known, at least to me. There are a dozen or so musicians featured on the album, including the aforementioned Dan ar Bras on guitar, mixing the ancient and modern (Hammond, electric guitar, kit drums) with aplomb, with the end result that the album fits perfectly into the fledgling folk-rock genre. An excellent album, fusing disparate styles with care and sensitivity.