The Complete Discography thread Van Morrison (lyrics, singer, bootleg, blues)

[Son of JayJamJah]

Following another successful release in 1971 with the Country rock styled “Tupelo Honey” Morrison, despite his outward appearance was beginning to feel his marriage and the person he had become within it slipping away. It later be known that during the recording his relationship with wife Janet was falling apart and divorce had become a question more of when then if. This album he decided would focus on nothing more then music and exactly whatever kind at whatever moment he wanted to create...







St. Dominic’s Preview (1972)

Van’s sixth studio album features several firsts for the artist. It’s noted as his first album not to focus on Love as the central theme; it’s also the first to repeatedly combine elements from both Astral Weeks and Moondance. With his marriage falling apart behind the scenes, Van demonstrates his personal maturation by focusing his musical energy not on self loathing and pity but instead by embracing the chance to fully engorge himself in the music. Sometimes underrated and somewhat overlooked, by rarely disregarded, St. Dominic’s Preview is a shining example of all out effort and commitment to honest and personal music.


1. Jackie Wilson Said – The first song is always a radio song, usually the biggest hit commercially in the end, that’s Van’s M.O since “Blowin’ Your Mind” opened with “Brown Eyed Girl” Following a tried and true formula from the past two albums, Van leads off Saint Dominic’s Preview with a jazzy upbeat radio single paying homage to a childhood hero musically. Inspired by Jackie Wilson’s “Reet Petite” as the opening lyrics cite, a full band behind the peppy lyrics constructs the energy and atmosphere of the song. 8.5\10

2. Gypsy – Interesting songs are always favorites of mine and Gypsy is if nothing else interesting. Skittish and jagged it’s a haunting follow up and the best performance Van has turned in, in this style to date. The songs lyrics spell out the formula and necessary imagery to create the song’s transient and torrid mood. “Sway to sounds of two guitars around the campfire bright; then mellow out like violins in the morning light.” Despite its blistering chorus and choppy, crumbling half-broken verses and bridge it’s a rather satisfied and celebratory song. 8.5\10

3. I Will Be There – Old time R&B jazz style song featuring a youthful sound. Lyrically satisfactory if not ordinary but it’s all in the delivery anyway here. Rugged and ragged Van on vocals backed by piano and brass alongside the standards. With a definitively and distinctly full sounding bridge floating into the second piano solo backed verse and then into with a horn led instrumental and capped off with a powerful final chorus and all inclusive escalating outro it is again, two in a row, a high point within a genre\style for Morrison. 8.5\10

4. Listen to the Lion – Vocally driven hypnotic perfection. Beautiful and beguiling, one of the longer songs Van’s ever released at over 11 minutes; each one necessary to express the angst is clearly feeling over his internal revelation (“all my love come tumblin’ down”) Van and it’s impending consequences (“I shall search my very soul”). The song is not just an internal monologue but a plea to others to follow his ambition. Let the Lion inside yourself out, be as courageous and proud as you can, stand up for yourself, love yourself, and be true to yourself. Instrumental tranquility as bass and percussion create a bouncy pulse and swim in the stinging acoustic and vocal leads. Bells and triangles ring behind the scene as back up vocals reinforce the suffering artists plea to himself and all. Van himself spends a good portion of the song caught in the music’s wake and growling like a Lion himself. Infinitely relaxing and at some point of almost everyone’s life relatable, a very memorable cut. 9\10

5. St. Dominic’s Preview – The apocalyptic title track almost steals the show amongst a brilliant assembly of diverse and dynamic tracks. As soulful and nostalgic as the greatest gospel music, as melodious and entrancing as the most aesthetic pop music. Featuring a dominant performance from a backing brass section and as palpable and enjoyable lead guitar work as has been seen in a long time within van’s work. A brilliant lyrical performance scanning nostalgia, prophecy, mysticism and all with the natural ambiguity we’ve come to expect. The only song to embrace both the Moondance and Astral Weeks sides of the album. With my favorite cycle of verse, pre-verse and chorus ever as well as a poignant and cathartic personal sentiment it’s my second favorite stand alone Van song ever. 10\10

6. Redwood Tree – Morrison outdoes himself again as he reaches the pinnacle of country pop\rock with a powerful and peppy story telling song. Lyrically well assembled and with esoteric phrasing and emphasis throughout as well as obvious soulful punches. Horns and bass standout outside of the vocals and guitars and keys provide rhythm and occasional flair. A potentially pop hit that sort of faded into relative obscurity but also noted by fans as a fond memory, Morrison makes this song with a vocal performance that makes it believable and authentic. 9\10

7. Almost Independence Day – Ending side the album just as he ended side one Van feels his way through an eerie environment finding an esoteric and alluring dysfunctional landscape for his final gasp on the most overlooked and underrated album Van the Man has produced. The song is an amazingly celebratory extravagant venture as Van looks forward to a metaphorical (or maybe not so) Independence Day. The bellowing foghorn appropriately overwhelms the rest of the music and only the punchy portions and Van’s sharpest shrieks can be fully heard as played. There is emphasis on the acoustic guitar the one tie that has continued to bind throughout. 8.5\10

...This album has always stood out for me; it's the most consistent album outside of the big two and if maybe too rangy to fit most tastes at least technically sound and undeniably to itself and the artist true. The break-up and his impeding breakdown are inevitable at this point, what he hinted in "Moonshine Whiskey" is coming to fruition, this is the next natural progression as Van pours out his emotion putting himself first without being spiteful or petty. Brilliant production taking full advantages of a raised budget and technological advancements in the profession. An album I appreciate more and more all the time.




First Time I Listened to it: 1973
Defining Track(s): St. Dominic’s Preview, Listen to the Lion
Line in my head: "Meanwhile Back in San Francisco, trying hard to make this whole thing blend"

Star rating: (1-5) (from my personal catalog) *****
How it made me feel today: (1-10): 9.5
Overall Ranking: (Top 5)


Next up: Hard Nose the Highway- 1973

[bsmix]

This is one of my favorites from him so far. Thanks alot for the info on the setting of his career and life for each album, it was important for this one. I could feel the sadness in the songs. 'Listen to the Lion' has to be my fav from this. Volume control is awesome on that track. 'Gypsy' is cool and the horns on 'Saint Dominics Preview' really added to the song with out overpowering anything. Awesome guitar on 'Almost Independence Day'; it's also another one that goes from really loud to almost silent in a second.

[Son of JayJamJah]

Following the multifaceted St. Dominic’s Preview Van went right back into the studio and soon after released Hard Nose, his seventh solo studio album. Never had an album so passive been produced amongst a time of such personal turmoil and impending collapse. Shortly after he finished the album, he finished his marriage, and while “Hard Nose…” is far from an emotional eruption, there is a sort of unintentional insincerity to the album’s theme would not be fully exposed until the delightful melancholy that is Veedon Fleece.






Hard Nose the Highway (1973)

Hard Nose the Highway was consistently the worst reviewed Warner Bros album to date when it was released in 1973, five years after the seminal “Astral Weeks” it is a mellow jazz compilation that, admittedly in large part seems more mundane than the usual Van. Focusing on transition and a natural earthy theme, the listening experience provokes leisurely activities at its most sinister and evokes nostalgia throughout. The lyrical imagery is inundated with geographical and metrological metaphor and chatter as the album uses Love and pain only as a sidebar not a central focus...

1. Snow in San Anselmo – Emotional Jazzy opening to the 1973 Morrison Lp and a dynamite overall performance reinforced by the bay Area Symphony Choir. Simple and direct with just enough style. Jazzy bass and back-up vocal driven interludes interrupting the melancholy just long enough to invigorate your interest in the story are a highlight as is the painstaking drawn out title line of each chorus. A song that transports the listener to a otherwise non-descript snow fall in San Anselmo. Overall the song is a complex and captivating introduction to the album. 8\10

2. Warm Love – The most popular single from the album, the layered and lovely Warm Love is hard not to enjoy. A sort grown up answer to “crazy love” and yet a young and light-hearted song, its simple message and contrasting composition make it a delight. With a wonderfully phrased chorus (“and it’s ever present everywhere”) and a punchy verse featuring a familiar but almost forgotten flute accompaniment. 7.5\10

3. Hard Nose the Highway – Poetic and Poignant, the title track features a horn driven chorus which typically meant great things for the listener in Van’s early days. The application of the entire musical entourage throughout the song really elevates its status for me. Horns and keys drive the melody and appropriately so as it is a recurring theme amongst the album. On an album criticized for having average at best lyrics, a very strong performance is present here. Every verse’s opening line is perfectly paced amd apropos. Has the feel of a personal message of encouragement and perseverance more then a story being told or lesson being taught. Energetic outro paying tribute to Moondances’ “These Dreams of You” (“you paid your dues in Canada”) among the further foreshadowing of Van’s personal struggles to come and his determination to prevail. A song that most folks can relate to regardless of class, creed etc. 8\10

4. Wild Children – The most easygoing and traditionally jazzy number on the album. Van drifts in and out of lyrical pattern and inevitably finds room for improvisation both lyrically and musically. Has the feeling of a ball room number strangely enough; its content is debatable, some find it an anti-war song, others a simple song of reminiscences. There are nods to Tennessee Williams, Rod Steiger, Marlon Brando and James Dean and a feeling of remorse. However the song lacks the punch needed to keep interest in the story. 6\10

5. The Great Deception – The most interesting number on the album. Melodic and harmonious with a familiar but original rhythm. A cynical Morrison issues harsh criticism on his mainstream contemporaries in all sectors of the public entrainment cultural and media communities. A sarcastic slap in the face with a clear accusation of hypocrisy. An overlooked classic in my opinion including one of the great lines ever. “…where they rob you with a smile instead of a gun.’ Musically it’s a circular and creative composition with a simple and savvy rhythm. One of the better bass guitar performances of the album as it’s a simply two guitar, bass and drums assembly that gives the signature performance of the Lp. 8.5\10

6. Green – “Green is the color of spring” A tribute to his daughter, a non-original Van composition taken from of all places Sesame Street. Elegant and gentle, easy to move through and appropriately ordinary, a quality song but nothing special. Piano, horns and electric guitar drive the bluesy R&B rhythms. The remaining instrumental performances are simply complementary and fail to stand out. A few very nice escalations in between verses stand out in a steady performance. 6.5\10

7. Autumn Song – While relaxing and musically very strong, not a lot going on here. A nice bit of contrast and return in the jumpy jazzed up chorus between the blues style electric guitar and constant rhythms of the verse. At ten and half minutes it’s a real mood song more then anything and one of Van’s longest. Van allows a little leeway for the stream of conscious lyrical and vocal performance but nothing remarkable or even comparable to the exploits of songs from the albums predecessor St. Dominic’s Preview with tracks like “Listen to the Lion” 6.5\10

8. Purple Heather – The re-arranged traditional ballad done in true Morrison style. The final track of the album is the most openly exclamatory ditty amongst the sometimes presumed muck, probably the most charismatic number to be found, piano lead is outstanding and the strings provide that familiar buzzing accompaniment in the back drop. With a deliberate rhythm and vocals trying to escape from the first note it’s a clear cut build song. A celebratory track, and also the final recorded on Van’s first completely and intentional solo production job. A wonderful instrumental featuring contrasting pianos and strings (violin, viola, cello) really give the song a strong identity as a complete work. 8.5\10

…Shortly after Van completed Hard Nose he was divorced from his wife Janet Planet. As mentioned it was initially considered a failed effort, however most hard core fans have always enjoyed the album and in fact a lot of mainstream media has come a round to it in the years since. Rolling Stone which initially bashed it as “uninspiring and habitual in nature” whatever that means, has changed it’s official tune now boasting "Hard Nose the Highway is psychologically complex, musically somewhat uneven and lyrically excellent." At times it ranks amongst my top five or six albums from Van, and never fails to disappoint after a long respite. At the moment Purple Heather is one of my favorite songs. This album is unquestionably amongst the quintessential Van Morrison and required listening for well rounded music fans.




First Time I Listened to it: 1974
Defining Track(s): “The Great Deception” best captures the cathartic and cynical nature of the album. “Warm Love” is the biggest commercial hit.
Line in my head: “Hey Kids dig the first takes, ain’t that some interpretation”

Star rating: (1-5) (from my personal catalog) ****
How it made me feel today: (1-10): 7.5
Overall Ranking: TBD


Next up: Veedon Fleece- 1974

[Son of JayJamJah]

With the divorce finalize Van went back to Ireland for holiday and back into the studio for his most personal, cathartic and poignant production since Astral Weeks. This would be the final unraveling of the young Van, the prolific Rhythm and Blues Rock superstar and spirit divided and confused. The end of the beginning, but nowhere near the end. This album marks a return to the basics and the start of a transformation.




Veedon Fleece (1974)

Veedon Fleece is a metaphor for anything and everything, it is the unknown, it’s what we are all searching for, what we can’t define or quantify. That’s all bunk of course if you ask Morrison who casually concludes; “It’s fiction, I made it up” regardless there is little denying that while a more optimistic and celebratory cycle, Veedon Fleece is a return to form from Astral Weeks, musically it’s superior at moments, but lacks the flow and consistency of Van’s WB debut. Divided into three sections within the album, a sort of delicate playful introduction, a heart pounding, escalating climax of a middle and a love song infused final stanza that reignites the Van who lived between Astral Weeks and Veedon Fleece, if only in a more sentimental and tender fashion…

1. Fair Play – Slow and soothing, the opening tack sets a mellow and serene tone for the album. Moving the listener across the plane of thought like a accomplished dancer across the parquet. Lyrically a fantastic performance, musically exquisite with so much happening on so many levels; each instrument telling its own story. Piano keys step through the verses around the bass and acoustic guitars. Van wallops the opening vocal performance diving head first into the chorus with an appropriate lyrical accompaniment (“Geronimo” and the converse “High-ho Silver”) Van’s story is that of his life and that theme is continual through every chapter of the album, very strong opener. 8.5\10

2. Linden Arden Stole the Highlights – Following the theme of “Fair Play” Linden Arden is slow and meticulous. The Piano’s keys are the counterpart to the flutes fluttering melodies on Astral Weeks. The ebony and ivory and accompanied at first by guitar then full string arrangements. Continuous building the intentionally ominous mood of the album, it acts as the bridge from the first and third songs, together the three from the “first chapter” of the album. Inspired by an incident Van witnessed in a dental office waiting room. A perfect bond in between very different, similar songs. 8\10

3. Who was that Masked Man – Van’s vocals go to their highest register and while it’s not exactly faultless, it works for the song complimenting the subtle orchestral sound behind its lead acoustic guitar. This song acts as the final act of Van’s decent back into the haze of his untrusting wounded past. The most direct reference to the despair of the divorce. There is desperation and hopelessness not present since Astral Weeks as Van cites, loneliness, longing and personal anguish and even hints at suicide. The dark conclusion of the first chapter trilogy within Veedon Fleece with departing line “No Matter what they tell you, there is good and evil in everyone”. 7.5\10

4. Streets of Arklow –The album takes a turn down a darker, even more ominous but more hopeful path with Streets of Arklow. Musically more through and fully engaged back in the sorrowful but determined world of Astral Weeks, it’s raw with humming violins, other strings and punchy piano fills throughout. Fascinating lyrics filled with references to a bright and beautiful surrounding and backed by Celtic style flute and piano take center stage however as the keys and strings bring framing and mood to each measure. The song introduces the listener to the new direction of the album very well as the story continues to develop. 8.5\10

5. You don’t pull no punches, But you don’t push the River – Assertive from the beginning, a continuing Celtic influence is present as is a heightened sense of urgency. No longer walking the streets, but not stalking them note by note. Taking the listener on a musical journey as the pulse steadily builds throughout the song as layers are added musically and lyrically. Seemingly improvised through most it features Van’s foray into verbal fascination with the self accused meaningless title line “Veedon Fleece” who\which the protagonist and his holy and poetic sidekicks search far and wide for. “William Blake and the Eternals standing with the Sisters of Mercy, Looking for the Veedon Fleece” Easily the most intense song on the album and a strong effort which brings the cycle to an appropriate apex. A brilliant composition; the frenzied crying and growling of the final lyrical revolution is the icing on cake and a heart pounding side one finisher. 9\10

6. Bulbs – A reenergizing effort moving out of the second chapter of the album, fun and free. A tale of emigration to America upon reflection from holiday back home. Almost a stand alone song, but necessary to bridge the overall cycle and tell the complete story. Simple strumming and heavy acoustic (stand-up bass) follow futbol metaphors into blue street light brass driven country guitar licks. With a steady, constant build from the first note it transforms itself from mellow folk cry to fast paced honky-tonk style rhythm and blues. Electric steel guitar plucking and acoustic strumming perpetrate the melody until “her 100 Watt bulb just blew”. Featuring all those wonderful performances as well as lyrical interludes in the traditional Van styling it’s a complete victory of a song. Outstanding lyrics, flawless musical execution and creative construction: Simply put a romp of a song. 9.5\10

7. Cul-de-sac – Mellowing back out but presenting an interesting jazzy contrast (to bulbs) with the same two featured instruments and a theme featuring Van’s reflection on moving to America in the forefront. Both build from the start to end, but Bulbs picks up pace while Cul-de-sac gathers emotion. A smooth transition from the climatic “…Don’t pull no Punches…” and the reinvigorating “Bulbs” into the love song filled finale chapter. This is a more mature Van then the one from Astral Weeks realizing that he has simply loved and lost and will Love again. You can hear the cautious but convincing confidence in his voice as he convinces himself it’ll all be okay, first in a whisper then a growl then a scream. 8\10

8. Comfort You – Into the Love song portion of the album. Continuing the cycle with Veedon another turn, carrying elements from the previous songs, especially the early songs, Comfort You brings it down some more and brings the strings to center stage with the acoustic guitar and violins. Subtle lyrically and not at all cliché, the piano provides a friendly accompaniment for another very strong vocal performance. Relaxing, satisfying song and well placed as a final turn for the album. 8\10

9. Come here my Love – Poetic and intriguing lyrical, subtle musically, perhaps the most tranquil song on an intentionally relaxed or at least melancholy album. Guitar is the driving force and only notable performance. Never really makes its move just sort of short and sweet reinforcing Vans expectation of new love. 7\10

10. Country Fair – Haunting, excellent and comforting. An all-encapsulating tale the final track of the albums final chapter does not let down. Starting with brilliant guitar work and harmonizing flute and vocal side bars, as “we stood out and watched the river flow” through the Country fair in one of the most innocent and unassuming love songs in all of Van’s catalog. Easing from stanza to stanza, portion to portion it departs as the albums enters with balance and order amongst chaotic surroundings and contents. Expectedly smooth. 8\10


…This was the first Van album I ever listened to on the day it was released. I was 17 years old had just graduated high school earlier that summer and had just begun to really dive into this music. At the time, Zeppelin and the Who was rocking the world, especially for me and my friends, but this was a music I related to in a different way, a more personal way. Like Astral Weeks, Veedon Fleece initially went largely ignored. Hard Nose was dismissed as average and this was out of left field, a return not the peppy stylings of Moondance, Street Choir and Tupelo Honey but to the melancholy of Astral Weeks, still over time it’s become a classic fro fans and critics alike and never disappoints me.




First Time I Listened to it: 1974
Defining Track(s): Bulbs is a masterful composition and stands out amongst the album however “You don’t Pull no Punches, but you don’t Push the River” is the defining track without question.
Line in my head: “Ain’t it lonely when your living with a gun”

Star rating: (1-5) (from my personal catalog) *****
How it made me feel today: (1-10): 8.5
Overall Ranking: TBD (Top 10)


Next up: A period of Transition - 1977

[Son of JayJamJah]

Following the release of Veedon Fleece Van did not record a studio album the next three years. With the next few posts I will bring some more detail to the overall picture of the discography with independent reviews and accounts as well as cover Van's 1973 Live album "It's too late to stop now" with a unique styled review and his show stopping performance at 1975's "The Last Waltz" while performing two songs alongside the Band in their farewell show.

So if you’ve been following this thread you probably got the impression that I am pretty big fan of the music and hopefully you are too, but just too prove I am a fair guy I’m bringing in another opinion here.

This is Robert Christgau…




from Wikipedia

He is an American essayist, music journalist, and the self-declared "Dean of American Rock Critics".

A little background…
Christgau grew up in New York City, where he says he became a rock and roll fan when disc jockey Alan Freed moved to the city in 1954. He left New York for four years to attend Dartmouth College in New Hampshire, graduating in 1962. While at college, Christgau's musical interests turned to jazz, but he quickly returned to rock and roll after moving back to New York.
He initially wrote short stories, before giving up fiction in 1964 to become a sportswriter, and later, a police reporter for the Newark Star-Ledger. Christgau became a freelance writer after a story he wrote about the death of a woman in New Jersey was published by New York magazine. He was asked to take over the dormant music column at Esquire, which he began writing in early 1967. After Esquire discontinued the column, Christgau moved to the The Village Voice in 1969, and he also worked as a college professor.
In early 1972, he accepted a full-time job as music critic for Newsday. Christgau returned to the Village Voice in 1974 as music editor. He remained there until August 2006, when he was fired "for taste" shortly after the paper's acquisition by New Times Media.[3] Two months later, Christgau became a contributing editor at Rolling Stone. In 2008, Christgau left Rolling Stone and followed Joe Levy to Blender, where he became co-chief music critic. Christgau had been a regular contributor to Blender before he joined Rolling Stone.
Christgau has also written frequently for Playboy, Spin, and Creem. He has previously taught during the formative years of the California Institute of the Arts. As of 2005, he was also an adjunct professor in the Clive Davis Department of Recorded Music at New York University.

Here are his brief reviews and grades for each of the albums we’ve covered so far starting with Moondance in 1970…

Moondance [Warner Bros., 1970]
An album worthy of an Irish r&b singer who wrote a teen hit called "Mystic Eyes" (not to mention a Brill Building smash called "Brown Eyed Girl"), adding punchy brass (including pennywhistles and foghorn) and a solid backbeat (including congas) to his folk-jazz swing, and a popwise formal control to his Gaelic poetry. Morrison's soul, like that of the black music he loves, is mortal and immortal simultaneously: this is a man who gets stoned on a drink of water and urges us to turn up our radios all the way into (that word again) the mystic. Visionary hooks his specialty. A+

His Band and Street Choir [Warner Bros., 1970]
Morrison is still a brooder--"Why did you leave America?" he asks over and over on the final cut, and though I'm not exactly sure what he's talking about, that sounds like a good all-purpose question/accusation to me--but not an obsessive one, and this is another half-step away from the acoustic late-night misery of Astral Weeks. As befits hits, "Domino" and especially "Blue Money" are more celebratory if no more joyous than anything on Moondance, showing off his loose, allusive white r&b at its most immediate. And while half of side two is comparatively humdrum, I play it anyway. A

Tupelo Honey [Warner Bros., 1971]
Van seems to be turning into a machine and a natural man simultaneously. I like the machine a whole lot--this super-bouncy product is almost as rich in cute tunes as The Shirelles' Greatest Hits. But I worry that domestic bliss with Janet Planet--who here abandons liner notes to pose with hubby fore, aft, and centerfold--has been softening Van's noodle more than the joy of cooking requires. A-

Saint Dominic's Preview [Warner Bros., 1972]
"Jackie Wilson said it was reet petite," he shouts for openers, and soon has me believing that "I'm in heaven when you smile" says as much about the temporal and the eternal as anything in Yeats. "Listen to the lion," he advises later, referring to that lovely frightening beast inside each of us, and midway through the eleven-minute cut he lets the lion out, moaning and roaring and growling and stuttering in a scat extension that would do Leon Thomas proud. The point being that words--which on this album are as uneven as the tunes--sometimes say less than voices. Amen. A-

Hard Nose the Highway [Warner Bros., 1973]
The relaxed rhythms are just lax most of the time, the vocal surprises mild after St. Dominic's Preview, the lyrics dumbest when they're more than mood pieces, and the song construction offhand except on "Warm Love." B-

Veedon Fleece [Warner Bros., 1974]
I count it as progress that his muse is feeding him baseball metaphors, but Morrison hasn't vented his Gaelic soul so unabashedly since Astral Weeks. He'd get away with it if there were more than one decent song on side two. Soothing, evocative late-night music that indulges his discursive side. Favorite title: "You Don't Pull No Punches but You Don't Push the River." B+

[Son of JayJamJah]

In between Hard Nose and Veedon Fleece Van released his first live album, the 1973 summer tour compilation entitled “It’s too late to stop now”. If you don’t own this album and like this thread, you need to change the first statement. I could tell you about how not a single track on this album was altered from its original live recording. I could tell you how Van declared which performance would be included prior to the performances based on how he was feeling leading into the song. I could tell you how it was supposed to be a 20 track album, but a glitch in the tape on one track and a single missed guitar note on Moondance led Van to exclude those tracks. However, you need to know little else then the simple fact that this is among the greatest live albums ever recorded. Please listen while you read, I’ll send you a copy on request if you promise to buy or delete within one month. Scouts honor I suppose for the Americans at least.




It’s too late to Stop Now (1974)

I had the great fortune of attending one of the shows on this tour; not sure if any of the tracks made the cut but I can tell you what didn’t. In addition to the dismissal of Moondance and what is believed to have been T.B Sheets Van intentionally did not include the never released song “I Paid the Price” the most direct nod to the divorce he ever put into music or otherwise for that matter. But most notably excluded were the performances from the upcoming Veedon Fleece album. At our show it was the highlight of the evening. Van played Cypress Avenue went into a rough version of the opening verse of Streets of Arklow, the music went quiet he started chanting “searching for the Veedon Fleece” the plays what is clearly a young version of “Bulbs” with maybe the same lyrics maybe not and I thin an extra verse. Anyway it was amazing and the band played a 5 minute instrumental of Domino with improvised solos over the melody while Van recovered off stage…

Set List

1. "Ain't Nothin' You Can Do"
2. "Warm Love"
3. "Into the Mystic"
4. "These Dreams of You"
5. "I Believe to My Soul"
6. "I've Been Working"
7. "Help Me"
8. "Wild Children"
9. "Domino"
10. "I Just Want to Make Love to You"
11. "Bring It On Home to Me"
12. "Saint Dominic's Preview"
13. "Take Your Hands Out of My Pocket"
14. "Listen to the Lion"
15. "Here Comes the Night"
16. "Gloria"
17. "Caravan"
18. "Cyprus Avenue"



This funky promenade begins with stirring rendition of the Joe Scott and Deadric Malone’s “Ain’t Nothin’ You Can Do” originally pressed by Bobby “Blue” Bland the Blue Band in the late 50’s. Horns blare in between robust shouts of the helplessness of heartache. “Electric Lights go out” as Van exposes another of his early 50’s R&B\Soul influences. “Warm Love” the quintessential hit from “Hard Nose the Highway” is next as it’s picked up from the same show. Delivered in punchy fashion throughout the verses as Van follows the rhythm exact before faded comfortably back into the typically melody for the chorus. “The Sky is crying and it’s time to go home” as Van rains down the chorus in improvised fashion the last time around slurring his way through the performance for emphasis. “Into the Mystic” is next, as always Van interprets the song in a new way for the performance. A lighter horn section the studio version plays the part admirably as keys and strings fill in the cracks. “I just want to rock your soul baby” It’s almost impossible to screw this song up. Another Moondance number is next with “These Dreams of You” an interesting number as it was originally a dedication of Love and happiness despite the flaws to his now ex-wife Janet. Van kicks it up a number and focuses on the surreal imagery of dreams that frames the song beyond the more personal meaning. “Go to sleep don’t even say one word” as the song falls into a jazzy instrumental with even more soul then the album version. A surprise and welcome addition to his foremost Live compilation. “I Believe to My soul” is a Ray Charles song, and Van does it justice as few others could in such a large shadow. Staying almost completely true to the original with a more well rounded sound incorporating more instruments in the background. The first number included from “…Street Choir” is “I’ve been Working” which doesn’t carry the same weight outside the context of the album typically but gets a funked up makeover for it’s Live appearance as keys and bass guitar slide and bend their way through the music. This performance among the whole stands out as one of the most all-inclusive elemental performances fusing jazz\soul\rhythm&blues\funk into a thrashing rock number.





“You gotta help me, I can’t do it all by myself” The second section of the album opens with “Help Me” a cover of another 1950’s Blues standard this one penned by Sonny Boy Williamson and Willie Dixon. Van has always made a habit of covering the music he feels he owes a debt of gratitude to at his live performances and it is about the only time other then when introducing the band he’ll address the audience. With a fun finish it’s an essential to the album for the experienced listener. “Wild Children” is an often forgotten song from “Hard Nose the Highway” noted mostly for the references to Actors and Playwright influences like James Dean and Tennessee Williams. Van’s voice is flawless with all the elegance of a studio recording packed into a single take Live. Van ups the ante and the pulse of the performance with the ironically reclusive “Domino” the top hit of the “Street Choir” album. Several altered lyrics hint at an untold story as Van continues to battle his stage fright and generally private nature to find true happiness within the music that runs through his mind. Still “Don’t want to discuss it” and still “time for a change” but now Van breaks into a light accompanied bridge building toward a final frenetic crescendo to the Live version of his ode to the Fat Man. Willie Dixon’s often covered “I just want to make Love to you” is the next number on the docket as Morrison first shyly then more confidently always interpreting every note, every word as a piece of the story. Sam Cooke lends his music to the next number as Van covers the heart wrenching “Bring it on Home to Me” with a sputtering slur and a heart full of soul behind music so raw you can reach out and feel it. A brilliantly written song, perfectly interpreted and executed to fit the artist. As close to being as good as the original as you can get. Finally the second section of my review ends with another personal favorite. The nostalgic “St. Dominic’s Preview” serves as the canvas for Van’s next exploit as his incorporation of viola and violin leads along with more deliberate lyrical delivery pays tribute to the folk inspired esplanade through memory lane without losing the necessary reverence for the seriousness of his homeland conflict that inspires this somehow hopeful song of apocalypse. “That’s the way it all should happen when your in the fairytale state your in” Maybe more then ever the message of this song is clear…an end is just a new beginning.



(To be Continued)

[Son of JayJamJah]

Anyone still following this thread or should i scrap it?

[Ghostrider]

Originally Posted by JayJamJah

Anyone still following this thread or should i scrap it?

Keep going JJJ, you're doing a great job so far. I hate to admit it but before reading your dissertation/discographie the only Van Morrison album I was really familiar with was Moondance. Now I will definitely be visiting the torrents to fill in the gaps in my VM collection.

[Son of JayJamJah]

Van’s first album back from hiatus following Veedon Fleece is 1977’s “A Period of Transition. Van was very reclusive during his respite from the music industry. His only live performances were alongside “The Band” at the Last Waltz and a few small shows with little if any promotion. Expectations were very high for the prolific songsmith who had already redefined “white” R&B music in America and the Western Europe. Perhaps Van summed up his feelings on the need for the break and the unwelcome pressure it brought to him best.

“I think I needed to break a lot of that expectancy down. I know from experience that I go to see some artists expecting a particular thing. If they don't come up with that then I'm disappointed, but if I have no expectations they usually do something I haven't heard before and I'm turned on. The moment you expect something, you never get it.”




A Period of Transition (1977)

Van’s return to the forefront and to the critical eye of the public was largely greeted with mild to disappointed reviews and reaction. Morrison teamed up with Dr. John Rebennack to create a Jazz\Blues fueled album to signify a sort of transition both back to creating music and to a more up-beat positive outlook in the world of his songs. Featuring several good songs, but lacking a real stand-out it’s an album that gets better as it progresses and as I it ages but never elevates itself to elite status for most fans. I was pleasantly surprised with how much I still enjoyed a few tracks but almost tempted to skip a few listens on the review of some of the others. All and all here’s the nuts and bolts…

1. You Gotta Make it Through the World – Engineered to be a gospel blues number it starts with a funky Blues intro the opening track serves to further elevate the already colossal expectations of Fans for the return album. But that enthusiasm is tempered quickly as the song fails to live up to expectations. Mundane and ordinary, not flawed in a bad way, but not flawed in a good way either. Powered by horns and a heavy handed baseline it’s a climb that leaves you looking up at the summit. With sparse moments of glory every now and then it’s an overall good song that needed to be great. 7\10

2. It Fills you up – With punishing horns and producer Mac (Dr. John) Rebennack on the keys the subsequent number on “…period…” is another just short of complete composition, but a step in the right direction. A Jazzy Country-Blues gait gets your toe-tapping but the repetitive circular construction of the song fails to captivate you. Even as Van leaves us with a hearty growl and soulful final chorus there is still a sense of “what if” that is unsettling or perhaps disappointing. Borrowing from the acclaim of recent live performances, the improvisational feel of the lyrics and the drawn out endings of both of the first two numbers feels so much more rehearsed and tame then those of his previous works. Still a quality song. 7.5\10

3. The Eternal Kansas City – After a choir bellows out the harmonious tag line in ethereal fashion; the Jazzy rhythms continue to provide the albums atmosphere. Van and all the instruments in sync as that constant question “excuse me do you know the way to Kansas City?” is pondered. All colliding and collapsing into a bouncy R&B verse. A song of inspiration and perseverance it continues a rather upbeat feeling that is present throughout all the opening tracks of the album. Combining several of the elements present throughout the record in one composition points to it as the vertex track for the album. 8\10

4. Joyous Sound – A quick stepping romp of a song. Simple musically, lyrically and thematically its beauty is its effortlessness. Piano’s and horns continue to stand out giving the music a professional but somewhat cold feel without the right mood provided. Van gives some of his most dynamic vocals screaming out the opening of an occasional chorus. This is Morrison let loose and just performing, centered on his musical roots; it’s a throwback with a new twist. A song that grows on you with time. 7\10

5. Flamingos Fly – More Jazz with an element of funky R&B as the keys back a snappy chugging guitar rhythm. Horns move the song into the mellow and melodic chorus. The Vocals are a perfect fit and for the first time on the album a song really captures that Van energy and enthusiasm. A song recorded in mid-tempo and at a slow pace as well before being released at a moderately quick gait. Van has never performed the song live. The song is loaded with creativity taking the scenic route to simplicity. It’s a joy to move through each note. 8\10

6. Heavy Connection – Horns introduce the song, mellow guitars and keys move the melody in lockstep with Van’s vocals. A Country-Blues number on the surface, but an oeuvre of a more personal nature as reveled in each note he hums throughout the chorus and when bellowing the title line. A song that builds with each movement, layered and elegantly constructed. The horn solo interlude is the standout musical moment of the album. Powerful and poignant for the first time on the album; a spiritual song about the pleasures of life and love. Van carries the music home with an improvised testimonial (“I can’t stop this rainbow in my Soul”) over the invigorating chorus as the song fades into the distance. 8.5\10

7. Cold Wind in August – The most ominous song of the bunch with a sort of Veedon Fleece element meets the optimistic demeanor of the album overall. More subtle horns and keys and a bluesy guitar lead accompanied by basic bass and drums. A noble song that sort of takes you for a final stroll to conclude the album. Following the rules from start to finish it’s an exercise in writing a sad song with an optimistic feel. Just a little bit too well constructed and without the evolution necessary to grab your attention. 7.5\10

…The problem with this album is that expectations were unrealistic, for the first time I found myself disappointed by the first listen. However as you step back from your initial hopes you realize this album stands tall on its own merits. The jump in enjoyment is noticeable from the second listen and only gets better from there. It’s another consistently exceptional musical opus. The lack of risk taking is significant only in that the theme and title ring true; it’s a warm-up album, a period of transition into the next phase of Van’s life and thus his musical career and persona. Gone (for now) is the somber Belfast Cowboy who silently stalked the music in Astral Weeks and Veedon Fleece most notably. The new Van is a more sanguine and insightful poet who aspires to create harmonies and melodies that hypnotize and soothe. “A Period of Transition” is a noble step in the right direction and a testament to artists’ perseverance and ultimately his destiny to create and perform music.




Defining Track(s): “Eternal Kansas City” is the center of the album but “Heavy Connection” and “Flamingos Fly” demonstrate the two extremes of the album musically and are the best representations of a successful transition.
Line in my head: “Excuse me do you know the way to Kansas City”
Christagu’s Take: "It Fills You Up" and "Heavy Connection" work on chant power alone, but even they go on a little too long, and in general this is an unexciting record--but not definitively. It's full of the surprising touches--the (borrowed) instrumental intros to the blues that opens side one and the jump tune that opens side two, a throw-in couplet about Amsterdam that might as well have Van's fingerprints on it, and even the can't-always-get-what-you-need chorus on "Eternal Kansas City"--that signify talent putting out. I don't know; maybe that's depressing proof that this isn't just a warm-up. But after three years, let's say it is. B

Star rating: (1-5) (from my personal catalog) *** 1\2
How it made me feel today: (1-10): 7.5
Overall Ranking: TBD


Next up: Wavelength - 1978

[Son of JayJamJah]

After the mixed reactions to “A Period of Transition” in 1977 George Ivan Morrison went back to the studio and continued his evolution with what would become his more pop oriented album since “Blowin’ Your Mind” if not ever. Despite the relatively mild success of the previous album it nevertheless propelled Morrison into a prolific stretch of song writing. There was an optimistic sense to “…Period…” and that optimism has come to fruition within and all around Van’s tenth studio release “Wavelength”.




Wavelength (1978)

With an influx of electric guitar sound as well as more modern production and synthesized beats, “Wavelength” is a new kind of Van Morrison album with the same soul as all the rest. Wavelength served to reenergize Morrison’s fan base as well as his drive to perform. Following the album’s unprecedented commercial success Van assembled a new band, (The Caledonia Soul Orchestra having been disbanded for the minimalistic Veedon Fleece) and began touring again. The sound is in its totality original, a new style for Morrison more reflective of the popular sounds of the era…

1. Kingdom Hall – Energetic and excited from the first note; the album opener is a nostalgic step in a spiritual direction that would probably best define Van’s music of the era. A full sound from start to finish, picking right up where he left off. The Piano keys are entrancing as they step between the slurred lyrical deliveries. Horns and electric rhythms back the scat-style post chorus refrain and lay a bed for the rest of the song. Has a sort of easy southern country-rock feel to it but with a synthesized shadow of sorts. A much needed strong opener. 7.5\10

2. Checkin’ It Out – Sort of clumsy out of the gates, the song builds a sincere message out of a seemingly playful melody. Clean and concise, with the necessary malleability to let Van and the band explore, but overall a rather self contained number. Described as a song of losing your way and finding a beacon of hope\help in the form of a spiritual guide. Morrison guides the listener through the music as the simple acoustic melody moves its way past organs and electric fills. A graceful number but ultimately one without the depth to stand out. 7\10

3. Natalia – Free flowing country R&B ballad; one of three consecutive pseudo-love songs to close side one of the album. Teeters on the edge of boring at times getting caught up in an overly clean circular rhythm. Electric guitar feels forced and the horns and back-up vocals while technically sound are lacking purpose and texture. Even the tempo seems uneasy. For the second straight song and partially the second consecutive album, Van flirts with “grey area” of the song on the outro only to fade away. One of my least favorite songs Van released in the 1970’s. 6\10

4. Venice, USA – With that southern jazz\blues sound more adept to fit in amongst the previous album, “Venice USA” bounces its way along with a delightfully contrasting simplified musical refrain and a complex but contemporary lead vocal performance. Van’s soulful delivery and the diabolically interesting construction and direction of the song are enough to elevate the song to enjoyable despite its otherwise mundane nature. Lyrically and aesthetically it’s as simple as it gets. The Chorus is a fun easy harmonizing chant, the verse is a chew it up and spit it out promenade, the whole is (along with Kingdom Hall) the highlight of side one. 7.5\10

5. Lifetimes – It opens like a TV sitcom theme, or maybe it’s just my brain jumping into 1980’s mode. “Lifetimes” is a subtle, smooth and solid number. Continuing the theme of electric guitar leads and synthesized rhythms; also a very limited role for the brass section. Easy to enjoy but hard to identify what element has charmed you. There is no denying the delicate suspense of the chorus’ opening line or the magnetic synthesizer humming brought to the forefront on the bridge, but more then that it’s the way it just feels like it’s reaching out to you. The side one closer is a personal favorite of mine on the album. 7.5\10

6. Wavelength – Is it possible to be ahead of your time if the music sounds dated 30 years later? This song has got 1985 written all over it; a moderate hit in its hey-day, a prevailing favorite of many fans who prefer post Veedon Fleece Van. A good song but obviously flawed and as mentioned somewhat dated sounding today, a rarity with Van’s music and my palette. The synth is the star of the show here, sharing the stage with Van’s vocals. In harmony both are first gentle as the music builds around them. The song has a wide open spaces feel, it follows the rules and breaks new ground simultaneously as it builds from intro to verse to chorus, from start to finish combining elements of new wave and gospel\soul music. The slow acoustic version of this song, to my knowledge not available except via bootleg is breathtaking. 8\10

7. Santa Fe\Beautiful Obsession – Sante Fe\Beautiful Obsession is a slow, mellow R&B number in traditional Van style with a little country twist that harkens back to Tupelo Honey. It takes a hold of you as it moves along; the verse is narrative, progressing the rhythm, the chorus is comforting desperation, each word is holding on for dear life as the notes casual cascade across the melody. (“Do you need it, can you feel it?’) The Blues guitar is under stated and at it’s best in this number, simple but strong back and drums round out the resonance. The transformation to “Beautiful Obsession” is the casual conclusion of the journey to “Sante Fe”, explosive vocals over the same synthesized and natural rhythms that have guided you all the way. 8\10

8. Hungry for your Love – There is a song like this on every few Van Morrison albums, one of those raw, natural love songs that only the most clumsy of songsmiths would imagine and only the most brilliant could write. It’s a musical refrain and pure William Blake prose throughout the verses and that typical “cards on the table” chorus. Continuing to experiment with different combinations of instruments\sound Morrison plays the electric piano in lieu of acoustic guitar on this track. There is not a lot that you can say about the track, it’s the most natural number on the album, vulnerable and exposed it’s a reminder that what was, still is somewhere. 8\10

9. Take it Where you find it – The albums final track and ultimately the most important track on the record. Opening with a rolling snare and a mellow marching melody, moving into a patient verse and hurried chorus. The piano adds modishness and personality and the guitar cadence and humanity. The song is comprised of three basic movements, the aforementioned\described verse\chorus, and then an encapsulating chanted harmony with proclaiming horns that endures trapped in your mind and finally a third movement. There is no best way to describe the sort of impromptu third movement noted as “drift into the American dream” by critics and biographers. “I’m gonna walk down the street until I see my shining light” It’s this sort of ultra-victorious proclamation done with all the humility and humanity even the most virtuous of hearts can not readily rival. Musically and vocally very strong performances, collectively the pinnacle of the last two albums and a promising precursor for things to come. 9\10

…This one takes a little while to get going, to find its gait and really hit full stride. However the second is the most promising stand on its own collection assembled since Saint Dominic’s Preview. The Morrison of “wavelength” is an artist still in transition but more confident in his new persona, more poised and relaxed and able to let things come to him rather then forcing the pieces into place as in parts of “…Period…” and the first side of this album. It’s an overall eclectic sound, sort of contrasting variations on a theme. A victorious record but one that leaves a few rocks unturned.




Defining Track(s): “Kingdom Hall” foreshadows the continuing move towards religious\spiritual themes within Morrison’s music. “Wavelength” captures the conceptual evolution of the sound, but “Take it Where You Find it” steals the show on the way out.
Line in my head: “Lost Dreams and Found Dreams in America”
Christagu’s Take: Unlike A Period of Transition, this is a good Van Morrison record, as up as any he's ever made, but it's certainly not a great one. You might pay attention to side two, an evocative reinterpretation of Van's America fixation, but side one is nothing more (and nothing less) than class programming. B+

Star rating: (1-5) (from my personal catalog) ***3/4
How it made me feel today: (1-10): 7.5
Overall Ranking: TBD


Next up: Into the Music - 1979