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and legends. After more of the same from "Sideways To the Sun" the album is rounded off by the majestic "Ride to Hell" another Tull-esque creation. There's an unexpectedly open ending as the power chords of the song fade to flute and a repeat of the section's dominant theme.

The album not only tells of the legends of the mythic battles for the control of Erin, as it was, by the Tuatha De Danann and the Sons of Mil, but it manages to evoke the flavour of an ancient world through its music. Yes, purists will always point out that accordions, flutes and mandolins are still relatively new instruments in the scheme of things, not to mention guitars and keyboards. What is created here is an escapist and past times feel that gives life to the tale being set to it and that's what really matters, remember this is a folk-rock band not a bunch of historical purist musicians. They do conjure up the essence of a land of heroes, giants and gods, a twilight world at the dawn of prehistory.

For all its mythology and folk inspired styling, the album manages to avoid the twee clichs and overtly soppy themes that many lesser creators have fallen into. Its also very much the product of its time, sounding very much of its era, but then no-one has been able to replicate their work to any degree since and so this still remains the best conceptual arrangement of Celtic musical mythology. The most striking feature of Horslips' work is their attention to detail, the way they organise their extended pieces so coherently. But Son-Of-Tain this isn't. "The Book Of Invasions" is more ambitious, sophisticated and ultimately more substantial than its forerunner. No mean feat.

Learn more about this author, Dave Franklin.
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