Finally granting the rights to release an official best of, Morrison also begins touring more and making himself available for interviews again. His albums are commercially and critically successful for awhile and his first effort of the decade does not fail to live up to expectations…
Enlightenment (1990)
Ironically named album and probably the last album to contain direct and obvious links to the 1970’s side of Morrison’s music, one song was a leftover from Common One and several songs pay lyrical homage to the likes of Astral Weeks and St. Dominic’s preview. Still moving with the times largely, the influence of the era is all over this album for better or worse…
1. Real Real Gone – The horns and howls of Van’s early years stand out jumping on a bed of evolved adult contemporary rhythm from the grizzled vocalist. The downside of the song is that it’s simple and safe repetitive melody undercuts a passionate performance from Morrison dying to get out. Written 10 years prior to this album and its release.
7.5\10
2. Enlightenment – The mega mellow, self effacing title track is ambient jazz rock, with a mature Morrison on full display. The Harmonica instrumental break and Van’s occasionally forays into vintage vocal vestige. A likeable song from word one but without any sort of panache to make it stand out.
7\10
3. So Quiet in Here – Notable for being considered a continuation the legendary Moondance classic “Into the Mystic” the bellowing foghorns are where the musical comparisons end however and it’s more the feel that finds continuity then the actual notes. A casual charmer that I still enjoy almost 20 years out.
7.5\10
4. Avalon of the Heart – One of the absolute highlights of the album, a typical later years Morrison gospel tinged epic. Finding that same sense of urgency he’s always been able to conger, Morrison’s chant heavy lyrics make
8\10
5. See Me Through – A calm confidence and mystical jazz set a pleasant mood for a slow by satisfying walk down Morrison’s favorite musical avenue of the era. The somber romanticism with just enough optimism to keep you from apathy, it’s his forte these days and in a lot of ways has been throughout his career.
7\10
6. Youth of 1,000 Summers – Take em’ to church. This is that transcendental Morrison finding inspiration from all him and bottling it into a harmony and musical groove. It’s certainly not the most timeless piece of music, it like most of the album is very 1990, but that’s part of it’s charm, this song is about energy and expression and that’s where Morrison does some of his best work.
7\10
7. In The Days Before Rock’N’Roll – Paul Duncan provides spoken word vocals behind an orchestral R&B through the verses and Morrison provides a numinous and only semi-sensible vocal melody chorus. It almost sounds like a dream sequence from David Lynchs Twin Peaks at times, but behind it all it’s a fantastic, creative and outstanding way to pay homage to those who came before him.
8.5\10
8. Start All over Again – The gentle general vibe of the record continues very much in this one. With simple full sounding progression and transitions an a gentle jazzy build it’s just another musical piece of the puzzle this time around for Van Morrison. Take note of the Vibraphone.
7\10
9. She’s My Baby – No doubt about it from the first note. This is the evolution of “Warm Love”, “Tupelo Honey”, “Crazy Love” and all the other simple and sweet Morrison love songs. Violins emphasize the conviction of Morrison’s chorus chant. That same tender groove carries the melody throughout and more then any other instrument it’s Van’s voice which controls, escalates and resets the pace.
8\10
10. Memories – Maybe the most unique track on the album, and one that has as nice an opening as any. A little sappy and sentimental maybe, but that’s not always a bad thing. The contrasting musical elements make for an absorbing listen. The instrumental break is a little too much for me and sadly highlights the few elements of the direction of the album I do not enjoy.
7.5\10
…What it turns out to be is a collection of good, but certainly not great songs with a few relative high and low points and an overall enjoyable but uninspiring feel. There is some artistic foreshadowing as well it turns out. Morrison, never one to slight his predecessors, becomes more and more ardent in his affection for them with age. His later work will be largely inspired and adapted from the work of his idols.
Defining Track(s): In The Days Before Rock’N’Roll, Avalon of the Heart
Line in my head: “We let the Goldfish go”
Christagu’s Take: B+ Only a perverse mother****er would choose such a title for an album whose title refrain goes "Don't know what it is." What's he trying to do, fake out the satori market? Also: orchestras, the names of r&b singers, a weird recitative about the radio, and other tried-and-trues, all executed with faith, hope, and charity. Inspirational Verse: "In my soul, in my soul, in my soul."
Star rating: (1-5) (from my personal catalog)
****
How it made me feel today: (1-10):
7.5
Overall Ranking: TBD
Next up: Hymns to the Silence- 1991