Once upon a time in what would become known as the land of Raggle Taggle, The Waterboys reigned supreme. It was 1985 when the band, led by Mike Scott, released This Is The Sea. It was an epoch-defining album that would signify their arrival as one of the biggest and most influential alternative acts of the era, especially in Ireland. ‘The Whole Of The Moon’ was the breakthrough single and it went on to become one of the all-time Irish rock anthems, a hit single twice over despite band leader Mike Scott’s refusal to promote it on Top Of The Pops.
The Waterboys’ Irish connection was strong. Steve Wickham, who had come to prominence first with In Tua Nua, joined the band for This Is The Sea, bringing his distinctive fiddle colourings to the sound. Shortly afterwards, the entire clan mover to Ireland, basing themselves here for almost four years, during which the follow-up, Fisherman’s Blues, was recorded. A far more heavily folk-based record, it was a huge Irish hit (the band were also renowned for their brilliant, spontaneous, celebratory live shows). There was a moment, with Sharon Shannon, Nollaig Bridgeman and Trevor Hutchinson in the line-up alongside Wickham, when the band became more Irish than the Irish themselves, and as a result their influence on the local scene was immense.
In the heel of the hunt, Scott’s restless spirit prevailed. As he shifted musical focus, the band was eclipsed by the supernova of Britpop. But his songwriting muse continued to burn brightly and, in 1995, he released his first solo album, Bring ‘Em All In. It is his Blood On The Tracks, a deeply moving confessional record that gives at least a partial account of the journey that saw Scott retreat to Findhorn Bay in Scotland, where he joined the 'new age' spiritual community that is based there – and in the process came just a little bit closer to finding himself.
Since then, he has released another solo album and sporadically taken The Waterboys back on the road. With Book Of Lightning, however, Wickham is back in the fold, and the intent is clear: this – in theory at least – is the record to catapult them back to centre stage.
The urgency of ‘The Crash Of Angel Wings’ sets the tone for what follows – an album of confident and muscular folk-influenced rock that nods variously towards the likes of Dylan, Van Morrison, The Band, Mark Bolan and Velvet Underground. ‘Sustain’ is vintage Scott, with a classy string arrangement that adds depth and breadth to a potent song. ‘Strange Arrangement’ is brilliantly crafted and lyrically powerful, recalling the confessional landscape of Bring ‘Em All In over an exquisite melody. ‘Everybody Takes A Tumble’, referencing Van Morrison bemoaning the activities of copycats, is another highlight, equal to anything produced at their Fisherman’s Blues peak, and there’s a hauntingly exquisite re-jigging of the stately ‘You In The Sky’ from that album’s re-mastered release. Both ‘Nobody’s Baby’ and ‘Love Will Shoot You Down’ have a rasp that evokes the ghost of John Lennon and ‘She Tried To Hold Me’ is a superb homage to Bob Dylan that underlines the kind of company that Mike Scott really aims to keep.
The mystical overtones to Scott’s weather and landscape-laden lyrics may not be everyone’s cup of mead, and the review copy has a booklet-style cover with drawings by Steve Wickham, which suggest that he should probably stick to the fiddling. But that this is the extent of the caveats is a measure of just how good the record is. Waterboys fans will be thrilled to have Scott back on form, while the uninitiated will get a chance to understand what all the fuss was about. Make no mistake: Book Of Lightning is the real deal.