With his 40th studio release, The Prophet Speaks, and articles galore on the 50th anniversary of Astral Weeks, not to mention frequent touring and a rumored project with Willie Nelson, Van Morrison stories abound these days. His output in the last couple of years has been staggering, reflecting perhaps a newfound energy and a commitment to his music, mostly by looking back. Van was certainly prolific in the ‘70s and ‘80s too in terms of exploration and innovation. Now, it’s a matter of homing in on what he loves – jazz vocals, blues and R&B, and a few new tunes of his own. Yet, turn on most radio stations and you’ll hear the same five or six Morrison tunes you’ve heard for decades.
This is for listeners. It’s not an attempt to break down Van’s many creative periods and dissect the inspirations or his psychological approach. We’ll leave that for others. This is a rather spontaneous look at his catalog to identify some terrific albums and songs. If there’s another installment several months from now, it would be rather easy to find a different but equally compelling list Do yourselves a favor and seek these out. Also, the listings are not in ranked, but for the most part, chronological order.
Albums – (Songs or Sequences in Bold)
Veedon Fleece – It was composed following his sudden divorce from wife Janet Planet and subsequent retreat from the U.S. It’s dreamy, emotional, and heart-felt with imagery of Ireland running throughout. This autobiographical album is elegant, brilliant, and in places lyrically befuddling. While it is full of great songs, the stark blues of “Streets of Arklow” and “You Don’t Pull No Punches But You Don’t Push the River” are revelatory.
No Guru, No Method, No Teacher – Recorded at the height of his spiritual period, it focuses on spiritual innocence as it struggles with notions of God and liberation from earthly constraints. The instrumentation includes oboe, acoustic guitar, organ, and vibraphone setting it apart from others in his catalog and forming a sound that is the epitome of Celtic soul, especially in the sequence that includes “Foreign Window,” “A Town Called Paradise, In the Garden” and “Tir Na Nog.” The melodies are often meditative, and mantra-like except for “A Town Called Paradise” which finds Morrison in an “Astral Weeks”-like melodic approach. Morrison often has themes of transcendence and transformation. This sequence is among the very, if not the best, he’s ever put on record.
Poetic Champions Compose – This followed the former and as the title might indicate, marks another shift in sound, moving toward jazz as typified by the opening five-minute jazz instrumental “Spanish Steps.” It’s a mellow, less autobiographical record that has a warmth that some of his albums lack. Two infectiously hook-filled songs set themselves apart -“I Forgot That Love Existed” and “Did Ye Get Healed?”
Irish Heartbeat (with The Chieftains) – This is the third, including the two previous from Morrison’s creative peak in the late ‘80s, representing some of his most soulful (bold claim considering his catalog) vocals, especially on the traditional Irish tunes “Raglan Road” and “I’ll Tell Me Ma.” Interestingly, Morrison plays drums on this album, the only time he ever did so. Morrison would later use the Chieftains on his Hymns to the Silence. Of the ten tracks included, eight are Irish traditional with the title track and “Celtic Ray” written by Morrison and appearing on Beautiful Vision and Inarticulate Speech of the Heart. We’re not calling out any certain songs, but the album stands out due to the remarkable chemistry among the players and Morrison’s deeply felt vocals.
Astral Weeks: Live at the Hollywood Bowl – His classic album had never been performed live in its entirety. With only one full band rehearsal, Morrison took the original track order and shuffled it to make it flow better live. He extended most tunes, turning some into medleys while tightening others, and playing with different tempos and instrumentation. Somehow it worked gloriously, as one writer exclaimed, “As I hear Van searching for God.” There’s a palpable energy here as Van gives others plenty of soloing room. Among the many highlights is “Slim Slow Slider,” segueing into the deep blues, with Morrison on harp, of “I Start Breaking Down.”
You’re Driving Me Crazy – This was released just this past April and is a side of Van Morrison we rarely see as he laughs after a couple of tracks while in a few other places his “Oh Yeah” prods other soloists. This collaboration between Morrison and jazz organ icon Joey DeFrancesco and his band has that bristling energy that would elicit bubbling enthusiasm from any listener, even the moody Belfast Cowboy. Following a flurry of albums in the jazz and blues mode, it stands out due to Van’s seemingly “effervescent” (a rare term for one who is often referred to as cantankerous) approach. Listen to how he transforms “The Way Young Lovers Do” from Astral Weeks into a jazzy vamp.
Other Notable “Must Listen” Songs and Sequences
“And the Healing Has Begun” – from Into the Music, deeply soulful
“Take Where You Find It” – a triumphant, anthem-like very different Morrison tune from Wavelength
“I’ll Take Care of You/It’s a Man’s Man’s Man’s World” from the live double A Night in San Francisco as well as “Lonely Avenue/4 O’Clock in the Morning” – Okay, they are all covers but Van delivers the James Brown approach in the initial sequence and collaborates with his hero, Jimmy Witherspoon in the next. By the way, the album has features Junior Wells and John Lee Hooker on other tracks.
“Behind the Ritual” – from Keep It Simple, standing out as one of those “Cypress Avenue” or “Caravan” tunes where you can envision Van stomping around the stage in a crouch as he belts out the tune, which this writer was fortunate enough to have seen.
“Going Down to Bangor” – an original Morrison blues from Keep Me Singing that uses conventional Chicago blues to sing about a place in Ireland
BONUS – Morrison’s just released The Prophet Speaks contains some of his better, more recent material including the infectious, upbeat, rather poppy tune “Got to Go Where the Love Is”
