The Book of Invasions - A Celtic SymphonyI’ve always been fascinated by the way a love of music can link episodes in your life, even when they have nothing else in common.  When you meet someone and discover that you were at the same incredible gig years before or that you both love an obscure country, soul, blues or rock artist that no-one else has heard of.  Or when you’re managing a venue and your entertainments manager tells you that he’s booked an artist for a St Patrick’s Day gig called Johnny Fean and you realise that it’s the Johnny Fean who played with Horslips twenty years earlier.  Then, another fifteen years later you post something on a social network and the same Johnny Fean “likes” it.  That’s the kind of link I mean and I want to tell you about the band and the album that triggered these coincidences.

Horslips had released five albums before “The Book of Invasions --  A Celtic Symphony” was released in April 1976.  This was the first album the band recorded for Elton John’s label, DJM, and despite heavy promotion (including coloured vinyl singles) and good reviews, it only achieved an album chart position of 39 for one week in the UK.  One of the reasons it’s so memorable for me is that it was part of the soundtrack for my “A” level revision through the long hot summer of 1976 (alongside Gallagher and Lyle’s “Breakaway”, Thin Lizzy’s “Jailbreak” and the Joe Walsh live album “You Can’t Argue with a Sick Mind”).

So, what makes the Horslips album a Closet Classic? The band had experimented with various permutations of rock, Irish folk and Celtic mythology on their previous albums, but it was on “The Book of Invasions” that everything gelled with the long-cherished idea of creating a classical symphony from these components.  Just to wrap some context around “Invasions”, this was the era of the concept album when virtually every artist or band was trying to create a theme to link a few dodgy songs (yes, I do mean you Rick Wakeman) to create a pseudo-classical work.

Is it a symphony?  Well, it’s split into three movements and it has a leitmotif which crops up throughout the album in various guises. “Daybreak” opens the album with the “Tá ‘na lá” (“It is day”) theme from a traditional Irish drinking song, in one of its many appearances, as a trumpet major key triad followed by a guitar harmonic version which leads into a harmony guitar version. before modulating into a more menacing minor key.  And that’s just the first track.  I’m not going to list all of the folk tunes used on the album because you can find them for yourself on the Horslips website; I’ll just say that it’s quite common on this album for a song to morph from a traditional ballad into a classic 70s riff-driven rock song.

If you’re looking for classic Celtic rock songs, then you’ll find plenty of those on this album.  “Trouble (With a Capital T)”, “The Power and the Glory” and particularly “The Warm Sweet Breath of Love” (a dead ringer for the under-rated Thin Lizzy song “Running Back”) would all sound perfectly at home on “Jailbreak” which was released in the same month.  But it’s not just the rock songs which work on “Invasions”; the folkier “The Rocks Remain”, “King of Morning, Queen of Day” and “Sideways to the Sun” (the story of the downfall of the Tuatha De Danann) and the instrumental interludes are all beautifully played.

I’m not saying “The Book of Invasions” is a perfect album, but it does have its perfect moments (the segue from “The Power and the Glory” to “The Rocks Remain”, for example), and at a time when everything can be found online, it would be a shame to miss this one.  The scope of the album is quite breathtaking; Irish mythology rubs up against folk melodies, rock arrangements, symphonic themes, a huge range of instruments and bags of style to create a genuine classic album.

This album was the chart highpoint for Horslips in the UK and, although the subsequent “Aliens” and “The Man who Built America” were popular in the USA, the band split in 1980.  Like many bands from this era, Horslips reformed for selected gigs in the noughties and can still be seen live occasionally.  If you’re into rock or folk or both and you haven’t heard this before, you really should give it a listen especially after I’ve made it so easy for you.