David Arkenstone may be the premier storyteller in the new age
genre, able to do with musical notes what John Grisham does with words. His latest album is no exception but, as alway, is exceptional. Tackling the
Celtic phenomena to give us vibrant, yet olde music, is ample evidence that his composing skills are up to the challenge. From Irish jigs to Limerick laments, this Celtic collection offers variety and a feel for the Irish people and their musical heritage.

Opening with a traditional sounding reel, "Equis Fair," Arkenstone
immediately reaches for the strings and drum with a harp and flute segue that will envision pictures of Highland lads and lasses dancing ala Riverdance. "Heart of Spring" is a lush, warm-spirited  piece featuring the flute's dulcet tones. Fresh, yet innocent, like the new season. Followed by "Storm Cry" with a greater intensity, insistent drums and the fiddle reprising the initial reel but deeper and more insistent than the opening cut.

With spring comes the "Road To the Faire" which embarks joyously upon a musical journey that introduces the first vocal chant, very Enyaesque in
style. There is a minor march beat overlaid with an Irish lilt. "Light Of The Water" returns to the lush orchestral sound, while "In The Ancient Time" is a traditional choral piece delivered acapella with a hushed reverence. One of the more soul-stirring pieces Arkenstone has written.

"Festival" starts out slow and eerily quiet like the fog on the moor,
only to have the sun break through with increasingly joyous strings,
interspersed with momentary, slow, reflective moments before returning,
reinvigorated, to the main theme. A melody of love, "Yearning Hearts," reaches out with flute and strings, and given the right lyrics could have the impact of a "Titanic" lovesong.

The most ambitous piece is the multi-movement "Behind Walls Of Stone," combining all the elements used up to now, from vocals to full instrumentation. "The Boats" has a 60's rock feel that the notes liken to "Yes" but could just as easily be compared to "Crosby, Stills & Nash." In fact an even better comparison might be to "Simon and Garfunkel."  A beautiful guitar solo graces "Cailleachs Whisper" before being joined by the wind instruments and strings.

"Children Of The Sun" is another acapella choral piece delivered with the reverence of a church service. The flute returns in a long opening solo on "The Turning Of The Year," a change of pace and seasons like a fresh snowfall, before succumbing to the strings like sunlight reflecting off the white blanket, joining them in a upbeat, if abrupt, end.

The pipes are callin' on "The Dragon's Breath," which reminded me a lot
of scenes from "Excalibur." The album closes with an impressive piece, "The Quest Of Culhwch," which evoked images of Arkenstone's prior
Grammy-nominated classic "In The Wake Of the Wind." With choral pauses between marches this brings the album to a dramatic close.

Arkenstone is a fan of Tolkien, and this album had a ring of authenticity
coupled with towering innovation in a musical fellowship worthy of the
loremaster himself. "The Celtic Book Of Days" will fill yours with enjoyment, along with your evenings.