Horslips is often credited as being the first “Celtic rock” band, remembered for their trail-blazing blending of traditional Irish tunes and themes with modern songs, arrangements and instrumentation. Apart from later reunions, compilations and such, the group produced 11 albums from 1972 to 1980. They first caught my attention in 1974 with their 3rd album, Dancehall Sweethearts, which was the first in which they incorporated brass accompani-ment and a few more rock-style songs. But The Book of Invasions, their 6th album, is by all accounts their best. It was released in 1976 to... well, reasonable critical and commercial success.
A concept album based on the book of Celtic legends by the same name, this is a complex work in both theme and execution. As the inner liner explains – and believe me, some ex-planation is helpful – the story has three arcs telling the tales of conflicts of legendary an-cient races. You won’t realize that in a casual listen – it sounds like a collection of shorter songs, albeit related ones. Beautiful instrumental pieces often separate upbeat, rock-infused songs with fantasy themes.
It opens with “Daybreak,” an instrumental piece that opens with a quiet horn call, then picks up its pace and complexity to hint at what is to come. It moves on to a brief, lilting tune, “March Into Trouble,” then vocals kick in with one of the singles released from the al-bum, “Trouble With a Capital T,” in which a warrior acknowledges coming conflict. “Sword of Light” is regarded by some as a classic from the album, a paean to a mythical weapon. I can’t mention all the songs here, but they all are... well, thoughtful and intelligent. All are listenable. You can just enjoy it for the music, or you can delve into the story and mythos it chronicles.
The album is a showcase for the band’s truly wonderful musicianship, which had dramatically evolved since their first album. There are the traditional fiddle, whistle, pipes, and mandolin, alongside modern guitar, drums, and keyboards – all of which are well integrated, all the band members playing cohesively in the presentation and service of the music. The vocals are perhaps not exactly stellar, but are certainly adequate.
Production of the LP is pretty good for this genre in 1976. (I have a 2000 CD on the Edsel label that does not approach the sonic quality of the LP – no surprise to this analog-oriented guy.) (LP & CD, Amherst Records, 1976) It is often available in used record bins, and is worth the coin – if, of course, in decent shape. It has seen some limited re-issues but not, I believe, in this country. The group’s most successful album, it unaccountably failed to vault them into the ranks of superstardom. Perhaps it was too good for the masses. A pity, that.