This independent recording was the first I had heard of David Doersch, and I was impressed with the overall sound. The songs on the album (which are all originals) are generally a lighter, almost medieval sort of Celtic music, enhanced by Doersch's vocal abilities and a variety of backing instruments. "Contemporary Medieval Celtic" I'd call it, if pressed for a name.

Warrior Poet features Doersch on vocals and harmonies, trombone and ceremonial flute. He is joined by a number of guest musicians: Russell Rinker provides percussion, mandolin, drums, piano, tamborine, keyboard and backing vocals on various tracks, while Arthur Rosenberg plays recorder, harmony recorder and background percussion. Steve Hollidday adds guitar and background vocals, and Wayne Hill and Les Kayanan play violin and guitar, respectively. As well, Miranda Wiley (voice), Matthew Shallenberger (drums, cymbals) and Dave Paddock (banjo) each join Doersch on one track.

Throughout the album, I really enjoyed Doersch's vocals. He has a pleasant, soft voice that is especially well-suited to slower songs, but quite adaptable to other types of songs as well. His lyrics are striking and potent, and he delivers them with emotion. Doersch's vocals are backed up by a good number of traditional instruments, all well played.

"Goin' Back to Rendezvous" and "Miranda, Girl" are two of the faster-paced tracks on the album that I rather enjoyed. Both have a somewhat tropical beat to them, good vocal harmonies and pleasing vocal arrangements. A couple of Doersch's songs, "None but the Stars" and "O, Herne," were very well done (both instrumentally and vocally), but not in a style that I personally find appealing. "Dear River" is a rather potent song, reminiscent of native music and quite flattering to Doersch's voice. Again, not a style that I'd likely listen to often, but very good all the same.

There are a small number of songs on the album for which I do have some (albeit slight) more legitimate criticisms. I like the tune to "Charlie's Lament," and Doersch's voice suits it well. I also like the instrumentals. However, I think that the instruments are perhaps a little strong for the song. The bridge (which was a little slower and less instrumental) appeals to me a lot more. "Out for Blood" is an excellent song with great piano bits and strong drums that are well-suited to the tune. The song, however, is the only one on the album where I though a voice other than Doersch's would do it more justice. The style and lyrics seem more suited to a deeper baritone voice. The only other song I have any sort of criticism for is "Dammit, Man." Again, it is well written and I like the instrumentals, but something seems a little off in the arrangement. Each instrument seems to be doing its own thing, and they don't quite come together as a whole. Excellent vocals, though!

And excellent vocals indeed. Doersch really shines in his slower songs. "The Jester and the Lady," "Into the Night," "Beneath a Bleeding Sky" and "The Drummer's Song" are all filled with Doersch's poignant lyrics, pleasing harmonies and striking instrumental arrangements. Rosenberg's recorder and Rinker's piano definitely figure in the "good music" equation as well. Doersch has a knack for good melodies, and his expressive voice helps make the songs real to the listener -- my personal favorite, "The King's Proud Dragoons," illustrates all of these features well.

All told then, this is a good recording from David Doersch. The album is a potent mix of original works featuring insightful lyrics, appealing vocals, skillful accompaniment and pleasant melodies.