Van Morrison’s Astral Weeks and Veedon Fleece

Cut From the Same Cloth:
Van Morrison’s Astral Weeks and Veedon Fleece

Van Morrison’s Astral Weeks and Veedon Fleece

Buy Astral Weeks
Buy Veedon Fleece

This article was provided by Mike Fishman, who has written about Van Morrison for the Mystic Avenue blog and writes about film for IndependentFilmNow.com.

Any musician with a career spanning 50 years is going to hit at least a few major milestones and when you’re talking about an artist as prolific as Van Morrison the milestones inevitably start piling up. While 2018 saw widespread celebrations of his seminal 1968 recording, Astral Weeks, the fall of 2019 found many longtime fans turning their attention to Veedon Fleece (released in October of 1974), one of Morrison’s lesser-discussed yet just as affecting works. Both albums were heavily influenced by Morrison’s Irish roots and personal life and share a special kinship often alluded to by ardent listeners. Given the singer-songwriter’s copious output it is remarkable that only these two albums mirror and complement each other, in both subtle and overt ways. And with some five years and a handful of albums separating the two, the similarities can’t be attributed merely to the musician being in a similar state of musical mind.

Both albums are clearly marked by prominent acoustic guitar, bass, flute and strings. The singing, too, feels connected with Morrison vocalizing with an abandonment doled out elsewhere more sparingly. While Morrison is known for his intensity of singing and repeating or stretching out words to emphasize meaning or move into pure sound, no other albums display such vocalizing to such a degree. As well, both albums are marked by a narrative approach in the lyrics that is seen less frequently elsewhere. Perhaps most overtly, both display a greater sense of place than any other of his albums of original material. While Morrison would continue to mine sites of remembrance from his youth in Belfast, no other albums are as steeped in setting. As Morrison noted in an interview for Rolling Stone in 1978, unlike his other records up to that point most of Astral Weeks and Veedon Fleece were written in Ireland. The album covers themselves suggest the importance of setting, with a poem on the back of Astral Weeks referencing locations in Massachusetts (where Morrison lived before recording the album in New York City) and Veedon Fleece with its cover photo of the singer in the Irish countryside. Stylistically, vocally and lyrically, Veedon Fleece recalls Astral Weeks, making the two bookends for an extremely productive and eventful period of time in Morrison’s life. The connections between the two albums become apparent when one compares the two, side by side.


Astral Weeks by Van Morrison
Released: November, 1968 (Warner Brothers)
Produced by: Lewis Merenstein
Recorded: Century Sound Studios, New York City, September-October 1968
Side One Side Two
Astral Weeks
Beside You
Sweet Thing
Cyprus Avenue
The Way Young Lovers Do
Madame George
Ballerina
Slim Slow Slider
Primary Musicians
Van Morrison – Acoustic Guitar, Lead Vocals
Jay Berliner – Guitars
Larry Fallon – Strings, Horns, Harpsichord
Richard Davis – Bass
Connie Kay – Drums

Astral Weeks starts off with Richard Davis’s insistent bass on the title track as Morrison launches into an uncertain but evocative image, “If I ventured in the slipstream between the viaducts of your dream.” With the bass driving it all, Jay Berliner’s guitar propels the song forward as John Payne’s flute dances around the vocal, strings trill and vibes and percussion add flavor until it all swirls together in an amalgam of folk, jazz, blues and soul, moving from uneasy to calm, with lines about “a home on high…so far away…way up in the Heaven.” Morrison stretches out the word “Heaven,” accentuating the ethereal meaning of the word. The song closes gently with Morrison humming over final plucked guitar notes and a bowed bass note extending the otherworldly effect. While more an inner journey than to a physical place there is a narrative here, of a protagonist addressing his lover waiting for her to “find” him, wondering if she will “kiss-a my eyes,” this woman who has a boy she is taking care of, “putting on his little red shoes.” “From the far side of the ocean, if I put the wheels in motion…” It’s not a stretch to imagine that Morrison was singing about his future wife Janet, an American who had a young boy from a previous marriage. Clocking in at just over seven minutes, the album opener is the second longest song on the album and sets the stage for the seven songs that follow.

As with Astral Weeks, Veedon Fleece opens with the second longest song on the album. “Fair Play,” and introduces a markedly consistent sound and feel that will inform the rest of the album and that shares Astral Weeks’ mix of folk, jazz, blues and soul as well as lyrics incorporating Morrison’s Irish roots. Similar to the prominent bass on “Astral Weeks,” the piano is at the forefront, playing off of Morrison’s committed vocals, though here the gentle melody more falls into place than charges ahead. As with “Astral Weeks,” there is an air of uncertainty and tension and meaning is slippery. Both opening songs find Morrison singing with abandon, luxuriating in pure sound. Here the singer takes the word “Geronimo” and repeats it, playing with the phrasing until it becomes “ronimo-woh,” perhaps in keeping with the word’s use as an expression of letting go. But it could also be referring to Morrison’s dwelling in San Geronimo, California on Meadow Way as he sings “meadow’s way to go/And you say Geronimo.” Written, as most of the songs on Veedon Fleece were, during a trip Morrison took to Ireland in 1973 following his divorce, “Fair Play” weaves together images from both the Irish countryside and his life in America, sharing Astral Weeks’ theme of place. Both opening tracks, in fact, start off with locations, “Killarney Lakes are so blue” in “Fair Play” to the more ambiguous slipstream of “Astral Weeks.” As Morrison stretches out the word “meadow’s” much as he did “Heaven,” a countryside of the mind is conjured, a countryside both Irish and American. Both album openers also share a sense of yearning. On “Astral Weeks,” the singer wonders, “If I ventured in the slipstream…could you find me?” while on “Fair Play” the protagonist wishes “we could be dreamers in this dream.” Both songs end gently, with the tension resolving, eschewing fade-outs. After the previous five studio releases (Moondance, His Band and Street Choir, Tupelo Honey, St. Dominic’s Preview, and Hard Nose the Highway) we are back in Astral Weeks territory.

“Beside You,” the second song on Astral Weeks, starts off gently, even tentatively, with soft guitar that feels like a hushed response to the previous song as Morrison opens by naming a character and moving through at least the makings of a story: “Little Jimmy’s gone…way over on the railroad…the tipping trucks will unload all the scrapbooks stuck with glue.” Images appear that will be mainstays in the songwriter’s work: back streets, a railroad yard, church bells, someone turning around to address another person. A sense of a tortured soul runs through the song with Morrison forcefully repeating the phrase “beside you” and ending on an anguished “child.” The mixture of uncertainty and hopefulness creates a tension that is unresolved in contrast to the album’s title song, which ends on a note of tranquility.

As on Astral Weeks, the second song on Veedon Fleece, “Linden Arden Stole The Highlights,” continues the album in an introspective mood. James Trumbo’s piano opens the song tenderly, with notes of melancholy and regret. Morrison enters, assured and conversational, the lyrics now directly narrative. As with “Beside You,” the song starts by naming a character, Linden Arden. Morrison sings hard, barking out words, biting them off at times, and utilizing a falsetto that soars over acoustic guitar and strings. His impassioned vocals nearly reach the pained intensity of “Beside You” when he darkly draws out the word “hatchet.” Across just two and half minutes a story emerges of a hard-drinking man hiding out in San Francisco after having “stole the highlights” with “one hand tied behind his back.” Whatever the specifics, this is clearly a troubled man on the run in whom “whiskey ran like water in his veins” but who loves “the little children like they were his very own.” The song ends on a note of turmoil, the desperation of “livin’ with a gun.” As with Astral Weeks, the album opens with a long song finding peaceful resolution followed by one that continues the mood but turns conflicted and bothered.

“Sweet Thing,” the third song on Astral Weeks, changes the mood significantly from “Beside You,” the upbeat strumming guitar acting as a bridge to more sunny days. A romantic love song propelled by percussion and a galloping bass, the song finds the singer looking forward to when he and his lover will “walk and talk in gardens all misty wet with rain” and declaring enigmatically “I will never grow so old again.” Flute and strings add texture to the album’s most succinct example of Morrison’s blending of folk, jazz, soul and blues.


Veedon Fleece by Van Morrison
Released: October, 1974 (Warner Bros.)
Produced by: Van Morrison
Recorded: Mercury Studios, New York & Caledonia Studios, Oakland, CA, November 1973-Spring 1974
Side One Side Two
Fair Play
Linden Arden Stole the Highlights
Who Was That Masked Man
Streets of Arklow
You Don’t Pull No Punches, But You Don’t Push the River
Bulbs
Cul de Sac
Comfort You
Come Here My Love
Country Fair
Primary Musicians
Van Morrison – Lead Vocals, Guitars
Ralph Walsh – Guitars
James Trumbo – Piano
David Hayes – Bass
Dahaud Shaar – Drums

On Veedon Fleece, the third song connects directly to its preceding one, with the first line of “Who Was That Masked Man” echoing the closing line of “Linden Arden Stole The Highlights,” now detailing the loneliness of “livin’ with a gun.” Morrison again adopts a falsetto that lends urgency to the mournful melody as acoustic guitar dances around the sung lines. The title can’t help but evoke the Lone Ranger; a symbol of the America that Morrison was taking a respite from but the protagonist here is no hero in the traditional sense. One can easily imagine we’re still concerned with Linden Arden, now on the run after cleaving off the heads of the men who came looking for him. There is a palpable sense of paranoia and of being watched with the image of a fish inside a bowl, an image Morrison would return to years later on one of his many songs about the pitfalls of fame, “Goldfish Bowl.” Perhaps on some level Morrison is referring to himself, already struggling with fame. There is a sense of existential dread throughout, stated perhaps most plainly in the line “when the ghost comes round at midnight…he can keep you from the sun.” The music swells on the unsettling line, “You can hang suspended from a star/ or wish on a toilet roll.” However you interpret that line it speaks of anguish, setting the song quite apart from Astral Weeks’ third song, the uplifting “Sweet Thing.” Interestingly, when Morrison performed the entire Astral Weeks in 2008 to mark its 40th anniversary, he restructured the album’s sequence so that the third song was “Slim Slow Slider,” a song that shares the bleak desolation of “Who Was That Masked Man.” While there is no obvious connection to Astral Weeks‘ “Madame George,” it’s notable that the song includes the image “and the hand does fit the glove” recalling the central line in “Madame George,” “Hey love, you forgot your glove.”

“Cyprus Avenue,” the fourth song on Astral Weeks, starts with strumming guitar hinting at intensity as a harpsichord dances in to remain present throughout, strings whirling and swooping, the bass stepping in and out. A tale is told of a lovelorn man “conquered in a car seat” watching a 14-year-old girl walking down “the avenue of trees…in the wind and rain…when the sun shone through the trees.” He tries to talk to her but his tongue gets tied and he decides to go walking by the railroad “where the lonesome engine drivers pine.” The reference to locations (Cyprus Avenue is a street in Belfast that a young Morrison liked to walk along) and narrative flow give the song a cinematic feel that is also present in the album’s most elaborate song, “Madame George.” The girl in question is obviously younger than the singer who observes her as “so young and bold, fourteen, yeah I know.” But he also knows that “nobody stop me from loving you” nor can anyone stop him from fantasizing about her in a carriage being drawn by six white horses. The sense of anguish at observing a group of girls walking home from school making up rhymes blissfully unaware of his emotional suffering is accentuated by the ever-present harpsichord. Morrison sings passionately, alternating barked-out lines with soft caresses. He raggedly extends the word “ribbons,” evoking an image of ribbons in a young girl’s hair fluttering in the wind. As he observes leaves falling from trees, the indifference of nature seems to mock his romantic longings. The lyrics share a strong sense of both yearning and a feeling of being at odds with the world that runs through both Astral Weeks and Veedon Fleece.

“Streets of Arklow,” the fourth song on Veedon Fleece, is notable as a culmination of the intermingling of the folk, soul and blues of its preceding three songs and the first song on the album where Morrison starts to really let loose, coming down hard on “and our souls were clean,” then breathing out gently “and the grass did grow.” It’s a song enraptured with beauty and a desire to revel in the moment, probably with a lover. A line about gypsies who love to roam (another image that appears frequently in Morrison’s lyrics) gives the song a cinematic feel. As with the word “ribbons” on “Cyprus Avenue,” Morrison stretches out the word “drenching” to wring out its meaning. In place of a harpsichord, “Streets of Arklow” is supported by gliding strings, at times murmuring in the background, then swelling darkly. A rain could be coming on over the green fields and streets of Arklow. The strings give the song a strong sense of movement until it comes to an abrupt stop that feels immediately picked up by the next song, “You Don’t Pull No Punches, But You Don’t Push The River,” the centerpiece of the album. In what is surely a coincidence, the fourth songs on both albums are named for their settings.

Side Two of Astral Weeks opens with a song that feels slightly out of step with the rest of the album. “The Way Young Lovers Do” starts with gentle vibes and guitar but quickly builds in intensity as the bass thumps furiously and strings enter followed by brash horns as the pace becomes frenetic. One wonders what the song, a love song about walking through fields wet with rain and dancing the night away, might have felt like without the strings and horns, though certainly a tasteful trombone adds to the jazz feel. Morrison sings at full throttle and is likely tipping his hat to Ray Charles in the line “in the night time, yeah, that’s the right time.” Elsewhere, a line about how the lovers “sat on our own star and dreamed of the way that we were and the way that we wanted to be” may remind listeners of the line in “Who Was That Masked Man” about hanging suspended from a star. But unlike that song, “The Way Young Lovers Do” is relentlessly upbeat, a conflict-free ode to love shared only on Astral Weeks with “Sweet Thing.” Some wonderful scat singing from Morrison is heard on the fade-out.

Side One of Veedon Fleece ends as Astral Weeks does with a long song (at 8:50 the longest song on the album), with hard-strummed acoustic guitar and scat singing from Morrison that makes the song feel as if it’s picking up from where “Streets of Arklow” left off. As strings swirl, a flute trills against probing piano. As with “Cyprus Avenue,” the song is about a woman the narrator is preoccupied with. Now though, the protagonist is not pining away for a teenager but directly addressing a woman he knew “way back in shady lane,” possibly even the same girl of “Cyprus Avenue” now an adult. But the journey in “You Don’t Pull No Punches, But You Don’t Push the River” is not down memory lane but in the clear present and “out in the country…to the west coast…to the cathedrals…and the beaches,” perhaps conjoining images of Ireland and America as in “Fair Play.” Morrison sings about “days of blooming wonder…going as much with the river as not” (see Don’t Push the River (it flows by itself) by Barry Sands), William Blake, and the ultimate mystery in Morrison’s music, the “Veedon Fleece”. However you define Veedon Fleece, the phrase is as central to the song and the album as the glove in “Madame George” and is noteworthy as one of the few Morrison album titles not taken directly from a song title. If Morrison was starting to let loose on “Streets of Arklow,” he’s in full swing here, singing about as hard as he ever has right off the bat on the line “way back in shady lane.” The singer seems almost possessed by the music as he uses his voice like an instrument, alternately stretching out words and clipping them, moving from mournful calmness to blues shouting and back again. Such looseness of singing and a feeling of improvisation and letting go that is part of the fabric of both Veedon Fleece and Astral Weeks would be seen more occasionally on Morrison’s subsequent studio albums. Just past the six minute mark the music turns serene and gentle. Flute floats about as strings are plucked and Morrison repeats phrases, creating a trance-like effect. As the song comes to a quiet close with Morrison whispering “you don’t push the river,” the ending of “Astral Weeks” may come to mind as well as the emotional intensity of “Cyprus Avenue.”

Van Morrison in 1968

“Madame George” follows “The Way Young Lovers Do” on Astral Weeks and, as with “You Don’t Pull No Punches, But You Don’t Push The River,” is the centerpiece of the album. With a running time of more than nine minutes, the song is anchored by nuanced bass as decorous acoustic guitar, supple flute and violin join in to create a swirling effect fitting for the memory story that unfolds. Morrison returns to Cyprus Avenue and the back streets of Belfast in a portrait of a young man “sitting on a sofa playing games of chance” at a party with the captivating Madame George. Madame George remains an elusive character and Morrison himself has confirmed that he’s actually singing Madame Joy. Is it pure coincidence that the singer’s given name is George? A line about “playing dominoes in drag” adds to the ambiguity. Whether “Madame George” refers to a specific person or a symbolic figure, the lyrics portray a young man moving on from friends and circumstances of his youth. The events unfold in a cinematic style in perhaps Morrison’s most polished combination of the narrative and the visual. As the young man takes leave of Madame George “she jumps up and says, ‘Hey love, you forgot your glove’.” The glove…the party scene…a reluctant farewell. “And you know you gotta go…dry your eye, your eye, your eye, your eye, your eye.” Alternately insistent and blissful. Then the fade-out…“get on the train, the train.” As on both albums, equal parts mystery and snapshot accuracy. Completists will want to give a listen to two recordings Morrison made prior to Astral Weeks: a bluesy version of “Madame George” and “Madame Joy,” a sweet paean to a beloved teacher.

Opening Side Two of Veedon Fleece and coming on the heels of “You Don’t Pull No Punches, But You Don’t Push The River,” “Bulbs” is strikingly jaunty, mirroring the move from the mystical leaves of “Cyprus Avenue” to the energetic “The Way Young Lovers Do.” Morrison’s vocals are forceful with a country-blues “hey, hey, hey” and some deep grunting that suggests a tuba.

On Astral Weeks, the swaying fadeout of “Madame George” flows fluidly into the pulsating intensity of “Ballerina” as the melancholy of the former is uplifted. The singer launches into a second-person narrative to a woman he cares about deeply, exhorting her to spread her wings and “fly it, sigh it, try it.” The vocal grows in forcefulness as he encourages her to “step right up, just like-a ballerina.” The songs fades, echoing the splintered light ending of “Madame George” as Morrison sings “take off your shoes…just like a ballerina,” extending the syllables.

On Veedon Fleece, “Cul De Sac” follows “Bulbs” and marks a return to the more introspective feel of the album. Bluesy piano and guitar drive the song as Morrison delivers one of his most impassioned vocals on record. He emphasizes nearly every word, enunciating, stretching vowels, repeating syllables, hammering on “you,” letting loose with a startling shout, and grunting as the song fades out. Setting is ever-present with references to Mt. Palomar, California and “down the cobblestones.”

“Slim Slow Slider,” the closing song on Astral Weeks, is the album’s shortest, the original recording having been edited in length. As is, the song gives the album a fittingly mournful and conflicted ending, with John Payne‘s soprano saxophone winding its way around Morrison’s downbeat vocal like a snake and ending on a flurry of frantic notes. The lyrics provide a second–person narrative about a friend he sees “down by Ladbroke Grove this morning” who’s “out of reach” heading somewhere where she “won’t be back.” The song’s bleakness caps the album, standing in contrast to the re-birth of the album opener. While performing the album on stage in 2008, along with placing “Slim Slow Slider” in third position, Morrison ended with the sequence of “Cyprus Avenue,” “Ballerina” and “Madame George,” perhaps in his view more in keeping with the ‘rock opera’ he has stated he originally envisioned.

The three-song sequence closing Veedon Fleece comprise perhaps the most clear connections to Astral Weeks, any one of which could fit comfortably on the earlier album. “Comfort You” descends gently, with Morrison singing sweetly, a guitar fluttering and strings entering, caressing the melody. The singer is likely addressing a lover, although as is often the case with Morrison’s lyrics, it could just be a close friend. The song grows in intensity until Morrison is wailing, then a sublime ending as he hums the proceedings to a close.

“Come Here My Love” opens with spare guitar and finds Morrison singing in a more direct manner, almost conversational although occasionally elongating a word as he implores his lover to lift his “melancholy feeling that just don’t do no good.” The pace recalls “Slim Slow Slider” but this is a love song and hopeful, a song about “contemplating the fields and leaves and talking about nothing” and becoming “enraptured by the sights and sounds of nature’s beauty.”

“Country Fair” closes the album with guitar, bass and synthesizer whispering behind Morrison’s wistful vocals as Jim Rothermel’s recorder remains prominent throughout. The delicate melody and impassioned singing create an atmosphere both calming and restless, recalling the tension of “Slim Slow Slider.” But here images of watching a river run, counting pebbles in the sand “on an old open day” and “the cool night air in sweet summertime,” not to mention an Irish country fair, convey a romantic mood and a feeling of time standing still. There is an overwhelming sense of both celebrating the beauty of life and acknowledging how fleeting the moment can be. That yearning to capture the moment echoes the protagonist’s wondering about his place in the world and the grasping at moments of Astral Weeks. And perhaps nothing Morrison has recorded sounds so remarkably like the sublime ending to the title track of Astral Weeks than the closing moments of “Country Fair,” with Morrison humming and the final evocative line, “on an old pine cone open day.” The halting probing of “Beside You” may also come to mind as well as the idyllic musings of “Fair Play.”

Thus the closing song on Veedon Fleece harkens back not only to the first song on the album but the first songs and by extension the entire cycle of Astral Weeks, creating one cycle out of two. Perhaps, too, there is something more hidden and personal that gives the albums a common resonance: Astral Weeks, the first fully-realized statement from a hungry young Morrison; Veedon Fleece, inspired by a return to Ireland and self. Regardless of the particulars, the two albums contain separate yet linked journeys that form a natural, unique flow.

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Classic Rock Review of Astral Weeks
Classic Rock Review of Veedon Fleece

 

Veedon Fleece by Van Morrison

Veedon Fleece by Van Morrison

Buy Veedon Fleece

This album review is provided by Mike Fishman, who has written about Van Morrison for the Mystic Avenue blog and writes about film for IndependentFilmNow.com.

Veedon Fleece by Van MorrisonAny musician with a career spanning 50 years is going to hit at least a few major milestones and when you’re talking about an artist as prolific as Van Morrison the milestones inevitably start piling up. This past Fall of 2019 found many longtime fans celebrating 45 years since the release of Veedon Fleece, Morrison’s eighth studio album and one of his lesser-discussed yet just as affecting works. This October 1974 studio release, heavily influenced by Morrison’s Irish roots and personal life, shares a special kinship with 1968’s Astral Weeks as two albums that mirror and complement each other, in both subtle and overt ways.

While critically acclaimed upon it’s release, Astral Weeks did not initially sell well during a time when Morrison was financially struggling. His next (third) solo album, Moondance, would become his million-selling commercial breakthrough in 1970. Here, Morrison abandoned the previous record’s abstract folk compositions and composed more accessible and rhythmic songs. This commercial and/or critical success continued with his subsequent albums – His Band and the Street Choir (1970), Tupelo Honey (1971), Saint Dominic’s Preview (1972) and Hard Nose the Highway (1973).

All of the songs on Veedon Fleece were composed and produced by Morrison with most written in his native Ireland in October 1973. The album features prominent acoustic guitar, bass, flute and strings with the vocals delivered with an intensity and a narrative approach in the lyrics that is seen less frequently elsewhere. While Morrison would continue to mine sites of remembrance from his youth in Belfast, few other albums are as steeped in that setting as this one.


Veedon Fleece by Van Morrison
Released: October, 1974 (Warner Bros.)
Produced by: Van Morrison
Recorded: Mercury Studios, New York & Caledonia Studios, Oakland, CA, November 1973-Spring 1974
Side One Side Two
Fair Play
Linden Arden Stole the Highlights
Who Was That Masked Man
Streets of Arklow
You Don’t Pull No Punches, But You Don’t Push the River
Bulbs
Cul de Sac
Comfort You
Come Here My Love
Country Fair
Primary Musicians
Van Morrison – Lead Vocals, Guitars
Ralph Walsh – Guitars
James Trumbo – Piano
David Hayes – Bass
Dahaud Shaar – Drums

Veedon Fleece opens with the second longest song on the album. “Fair Play,” and introduces a markedly consistent sound and feel that will inform the rest of the album with a mix of folk, jazz, blues and soul as well as lyrics incorporating Morrison’s Irish roots. Here, James Trumbo‘s piano is at the forefront, playing off of Morrison’s committed vocals with a gentle melody that falls into place than charges ahead. “Linden Arden Stole the Highlights” continues the album in an introspective mood. Trumbo’s piano opens the song tenderly, with notes of melancholy and regret until Morrison enters, assured and conversational with the lyrics now directly narrative and naming the main character. Morrison sings hard, barking out words, biting them off at times, and utilizing a falsetto that soars over acoustic guitar and strings. His impassioned vocals grow intense when he darkly draws out the word “hatchet.” Across just two and half minutes a story emerges of a hard-drinking man hiding out in San Francisco after having “stole the highlights” with “one hand tied behind his back.”

The third song on Veedon Fleece connects directly to its predecessor with the first line of “Who Was That Masked Man” echoing the closing line of “Linden Arden Stole the Highlights,” now detailing the loneliness of “livin’ with a gun.” Morrison again adopts a falsetto that lends urgency to the mournful melody as acoustic guitar dances around the sung lines. The title can’t help but evoke the Lone Ranger; a symbol of the America that Morrison was taking a respite from but the protagonist here is no hero in the traditional sense. There is a palpable sense of paranoia and of being watched with the image of a fish inside a bowl, an image Morrison would return to years later on one of his many songs about the pitfalls of fame, “Goldfish Bowl.” “Streets of Arklow” is notable as a culmination of the intermingling of the folk, soul and blues of its preceding three songs and the first song on the album where Morrison starts to really let loose. It’s a song enraptured with beauty and the sharing of beauty with another. “Streets of Arklow” is supported by gliding strings, at times murmuring in the background, then swelling darkly, to give the song a strong sense of movement until it comes to an abrupt stop that feels immediately picked up by the next song, “You Don’t Pull No Punches, But You Don’t Push The River”. The centerpiece of the album, this side one closer is the longest song on the album with hard-strummed acoustic guitar and scat singing as strings swirl and a flute trills against probing piano. The journey in “You Don’t Pull No Punches, But You Don’t Push the River” is partly down memory lane but mostly in the clear present, possibly conjoining images of Ireland and America.

Van Morrison in 1974

Opening Side Two of Veedon Fleece, “Bulbs” is strikingly jaunty with Morrison’s vocals featuring a country-blues “hey, hey, hey” along with some deep grunting that suggests a tuba. “Cul De Sac” marks a return to the more introspective feel of the album. Bluesy piano and guitar drive the song as Morrison delivers one of his most impassioned vocals on record, as he emphasizes nearly every word, enunciating, stretching vowels and repeating syllables. “Comfort You” descends gently, with Morrison singing sweetly, a guitar fluttering and strings entering, caressing the melody, while “Come Here My Love” opens with spare guitar and finds Morrison singing in a more direct manner, almost conversational although occasionally elongating a word. “Country Fair” closes the album with guitar, bass and synthesizer whispering behind Morrison’s wistful vocals as Jim Rothermel‘s recorder remains prominent throughout. The delicate melody and impassioned singing create an atmosphere both restless and calming to close the album.

Veedon Fleece has been referred to as Van Morrison’s “forgotten masterpiece” and its influence reverberated through the music of scores of artists for decades to come. After a decade without taking any time off, Morrison took a hiatus from music following the album’s release and would not release a follow-up album for three years.

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1974 images

Part of Classic Rock Review’s celebration of 1974 albums.

Into the Music by Van Morrison

Into the Music by Van Morrison

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Into the Music by Van MorrisonVan Morrison completed his impressive 1970s output with his classic 11th studio album, Into the Music in 1979. The album features a large ensemble of musicians and singers to back Morrison’s distinctive, soulful and oft-improvised vocals, with many of the lyrics celebrating life, love and other positive themes. The album’s title was taken from a 1975 biography of Morrison by Ritchie Yorke, which is a play on the song title “Into the Mystic” from 1970’s Moondance album.

Moondance was Van Morrison’s first million selling album and it was quickly followed by a couple more albums which were critically and commercially successful, His Band and the Street Choir later in 1970 and Tupelo Honey in 1971. Both of those albums also produced hit singles but Morrison decided to break from that formula with a trio of meditative, poetic and experimental albums, Saint Dominic’s Preview in 1972, Hard Nose the Highway and Veedon Fleece in 1974. By this point the artist had been working almost non stop for nearly a decade, so he decided to take an extended hiatus. He returned in 1977 with the release of A Period of Transition, a collaboration with New Orleans legend Dr. John, followed by the synth-heavy album Wavelength in 1978.

Morrison wrote most of the songs for Into the Music while staying in a rural English village and would often compose while walking through the fields with his guitar. The album was recorded in early 1979 at the Record Plant in Sausalito, CA with co-producer/engineer Mick Glossop and released in the summer of that year.


Into the Music by Van Morrison
Released: August 1979 (Mercury)
Produced by: Mike Glossop & Van Morrison
Recorded: Record Plant, Sausalito, CA, 1979
Side One Side Two
Bright Side of the Road
Full Force Gale
Steppin’ Out Queen
Troubadours
Rolling Hills
You Make Me Feel So Free
Angeliou
And the Healing Has Begun
It’s All In the Game
You Know What They’re Writing About
Primary Musicians
Van Morrison – Lead Vocals, Guitars, Harmonica
Herbie Armstrong – Guitars, Vocals
Mark Jordan – Piano
David Hayes – Bass
Peter Van Hooke – Drums

 

One of the more upbeat tracks, “Bright Side of the Road”, opens the album. The song is a lyrical and musical celebration to its core and is both expertly performed and produced, even if its single release failed to reach the Top 40. “Full Force Gale” continues the upbeat trend but with a more country flavor due to the prolific fiddle by Toni Marcus and a slide guitar lead by Ry Cooder. The lyrics by Morrison are explicitly spiritual as he describes the feeling of encounters with “the Lord”.

“Steppin’ Out Queen” is a jazzy pop track featuring fine piano by Mark Jordan and a rich arrangement with brass and backing vocals are excellent additions to make this a rich arrangement which still leaves plenty of space for Morrison’s soulful vocals. “Troubadours” is a rather unique ballad with instrumentation that includes fanfare, flutes, and violin all over Jordan’s simple piano and the bass rhythms of David Hayes, while “Rolling Hills” is a pure Irish folk song with fiddle, mandolin and perfectly executed vocal delivery. The celebratory first side concludes with the melodic and pop-oriented “You Make Me Feel So Free”, a stellar example of well-produced late seventies sound, complete with a sax lead by Pee Wee Ellis.

Van Morrison

For this album, Morrison set out to “return to something deeper and once again take up the quest for music”, and this is most evident on the spontaneous and transcendent second side. On “Angeliou”, an otherwise very English folk song with harpsichord, the repetitive lyrics are beautifully delivered by Morrison’s summoning every vocal trick at his disposal, while later spoken word sections are accompanied by the distant, beautiful vocalizing by Katie Kissoon. “And the Healing Has Begun” is another Gospel ballad with a simple, rotating chord structure, leading to the climatic medley built on the 1951 cover “It’s All in the Game”, with a very relaxed and subtle unfolding of the song and arrangement. “You Know What They’re Writing About” is, essentially, the long outro to the previous track which offers Morrison a final opportunity for dramatic vocal gymnastics, where he fluctuates from a whisper to a crescendo.

Into the Music reached the Top 30 on the UK Charts and received widespread acclaim with some critics listing it as one of the year’s best albums. The release finished off a legendary decade of output for this artist who continues to perform 40 years later.

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Rattle and Hum by U2

Rattle and Hum by U2

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Rattle and Hum by U2With some major commercial success in the bag by 1988, U2 decided to try something different. The ambitious double length LP Rattle and Hum is a hybrid of new studio tracks and live recordings comprised of select cover songs and previously released originals and this record was released along with a companion documentary film. The result is a collection that is both interesting and entertaining as well as uneven and disjointed, all of which was reflected in the album’s mixed critical reception.

The idea for this album was spawned in mid 1987 during the tour supporting their highly acclaimed and commercially successful The Joshua Tree. Film director Phil Joanou pitched the idea to the band and they ultimately chose a late 1987 show  at McNichols Sports Arena in Denver, Colorado as the concert to film and record the bulk of the live material. The project’s title was derived from a lyric from the song “Bullet the Blue Sky”, which appears here as one of the live tracks.

Rattle and Hum was produced by Jimmy Iovine, with studio tracks recorded at several studios, including the legendary Sun Studio in Memphis, Tennessee. Much of this new studio material incorporated elements of American roots music such as folk, blues, Gospel and soul into U2’s distinct rhythmic sound.


Rattle and Hum by U2
Released: October 10, 1988 (Island)
Produced by: Jimmy Iovine
Recorded: Sun Studio, Memphis, TN; Point Depot, Danesmoat & STS Studios, Dublin, Ireland; A&M Studios & Ocean Way, Los Angeles; McNichols Arena, Denver, CO; Sun Devil Stadium, Tempe, AZ; 1987-1988
Side One Side Two
Helter Skelter (Live)
Van Diemen’s Land
Desire
Hawkmoon 269
All Along the Watchtower (Live)
I Still Haven’t Found What I’m Looking For (Live)
Freedom for My People
Silver and Gold (Live)
Pride (Live)
Side Three Side Four
Angel of Harlem
Love Rescue Me
When Love Comes to Town
Heartland
God Part II
The Star Spangled Banner
Bullet the Blue Sky” (Live)
All I Want Is You
Group Musicians
Bono – Lead Vocals, Harmonica
The Edge – Guitars, Keyboards, Vocals
Adam Clayton – Bass
Larry Mullen, Jr. – Drums, Percussion

The album opens with an odd sequence of songs, starting with a live cover of The Beatles’ “Helter Skelter”, which is a bit smoother, cleaner and calmer than McCartney’s original. Next comes “Van Diemen’s Land”, featuring guitarist The Edge on lead vocals for this sparse arrangement with picked electric and much reverb. The lead single from the album, “Desire” is the first place where the heart of the album is reached with a Bo Diddley-like rhythm working well as bedding for Bono‘s soaring vocals and fine harmonica. The song reached the Top 5 in the US and later won a Grammy Award. “Hawkmoon 269” finishes the original first side as a methodical track, built on repeated rhythms and lyrical motifs along with fine overdubbed, layered guitars.

The album’s second side features all live tracks, starting with a cover of Bob Dylans‘s “All Along the Watchtower”, recorded in San Francisco. Although upbeat throughout, the overall vibe is rather lethargic, not even coming close to capturing the magic of the Hendrix version on Electric Ladyland. “Silver and Gold” is a strong rocker with a folk-like lyrical delivery and a strong bass presence by Adam Clayton along with an explosive ending guitar lead by The Edge. Also included on side two are live versions of previous U2 hits “I Still Haven’t Found What I’m Looking For” and “Pride (In the Name of Love)”, with the former track featuring a Gospel-like arrangement with a chorus by The New Voices of Freedom.

U2 in 1988

The third side of Rattle and Hum is the album’s finest, starting with the exquisite “Angel of Harlem”, a fine, lyrically rich Soul rendition which shows the group’s musical versatility. Released as the album’s second single, the song was a hit on both sides of the Atlantic. “Love Rescue Me” was co-written by Bono and Bob Dylan and it slowly fades in with harmonica and picked electric guitar. Arranged like a classic ballad, the track is quiet during the verses, exploding during choruses where Dylan joins Bono on vocals, and later on features The Memphis Horns. “When Love Comes to Town” features B.B. King on lead guitar and co-lead vocals and is held together with Clayton’s thumping bass and rolling drums by Larry Mullen, Jr., all adding further unique elements to this album’s potpourri of sound. “Heartland” closes the side through a slow, methodical intro before slowly building towards a full-throated, high octave chorus and arrangement.

The fourth and final side commences with “God Part II”, an intense, rhythmic rocker with some dance elements and the chorus hook “I Believe In Love”. The song was written by Bono as a sort of sequel to John Lennon’s song “God” from his 1970 album Plastic Ono Band. After a short inclusion of Jimi Hendrix’s Woodstock performance of “The Star Spangled Banner”, comes the climatic live track “Bullet the Blue Sky”, recorded at Sun Devil Stadium in Tempe, Arizona, featuring a persistent, mechanical motion. The album concludes with the ballad “All I Want Is You” with fine sonic effects over simple, strummed guitars along with an orchestral arrangement which adds to the song’s beauty.

Despite the critical panning, Rattle and Hum topped the charts in over a half dozen countries and went on to sell over 14 million copies worldwide. It also marked the end of an era for the group as they headed into the 1990s and forged a new sound on future albums.

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Vagabonds of the Western World by Thin Lizzy

Vagabonds of the Western World
by Thin Lizzy

Buy Vagabonds of the Western World

Vagabonds of the Western World by Thin LizzyThe 1973 release Vagabonds of the Western World, the third studio album by Thin Lizzy, is a cohesive collection of original style and substance by this group from Ireland. The songs are presented in a range of rock sub-styles from British style blues-rock to their own style of Irish folk rock with some slight psychedelic and jazz tinged numbers. The album would prove to be the high water mark for the original trio of Phil Lycott (bass, vocals), Eric Bell (guitars) and Brian Downey (drums, percussion).

Lynott and Downey knew each other since school in the early 1960s and they played together in the Dublin area band, The Black Eagles, through 1967. After heading out in differing music adventures for a few years, they came back together and formed Thin Lizzy with Bell in 1969. The following year they signed with Decca Records and relocated to London where they recorded their self-titled debut album in early 1971. TShades of a Blue Orphanage followed a year later but neither of these first two albums charted or sold very well. Later in 1972, the band released a single of their original rock arrangement of the Traditional Irish folk song “Whiskey In the Jar”. Led by Bell’s excitable lead guitar and Lynott’s steady, matter-of fact vocal delivery, this song became a a UK Top Ten hit,

The surprise success of the “Whiskey In the Jar” single gave Thin Lizzy a larger recording budget and studio time to record Vagabonds of the Western World. The album was recorded in London during the summer of 1973 and was co-produced by Lynott and Nick Tauber.


Vagabonds of the Western World by Thin Lizzy
Released: September 21, 1973 (Decca)
Produced by: Nick Tauber & Phil Lynott
Recorded: AIR Studios and Decca 4, London, July 1973
Side One Side Two
Mama Nature Said
The Hero and the Madman
Slow Blues
The Rocker
Vagabond of the Western World
Little Girl in Bloom
Gonna Creep Up on You
A Song for While I’m Away
Group Musicians
Philip Lynott – Lead Vocals, Bass
Eric Bell – Guitars
Brian Downey – Drums, Percussion

The album starts with the excited slide guitar over thumping rhythms on “Mama Nature Said”. Here Lynott’s raspy vocals add a further sonic level to this fun stomp with an obvious environmental lyrical overtone. “The Hero and the Madman” begins with an odd spoken intro provided by guest Kid Jensen over the music built on bass and drums rhythm along with Bell’s guitar finely floating in a wah-wah like haze before exploding into an astronomical closing guitar lead. “Slow Blues” is an aptly titled track by Downey and Lynott with several distinct sections, including a funk-based verse and a folksy/psychedelic mid-section.

“The Rocker” is the only track on the original album credited to all three group members and this thematic track may be the record’s most indelible. Here, the guitar and bass lock in for a fine series of riffs and pretty much all of the final three minutes of the song are reserved for an extended guitar lead. The title song begin’s with the traditional Irish greeting “Tora Lora Lora” over Downey’s floor tom beat. Eventually, “Vagabond of the Western World” breaks into moderate but dramatic verse and more straightforward choruses.

Thin Lizzy in 1973

“Little Girl in Bloom” features cool, odd beats and some overlapping vocals and fine harmonies, all provided by Lynott. The song is built mainly on pairs of bass notes that make it simple but very original until about three minutes in when the complete rhythm kicks in with a bit of guitar harmonizing, a preview the sound of Thin Lizzy in future years. “Gonna Creep Up on You” is another basic but interesting rocker, leading to the album’s original closer, “A Song for While I’m Away”. This unique track is vocally like a sixties pop ballad complete with strings and orchestration but with strong drum rhythms that are much harder rocking and give it a duplicate sound. When the album was later released for CD, four additional tracks were added including, “Whiskey In the Jar”, the Zeppelin-esque riff-driven blues rocker “Black Boys on the Corner”, the rock/reggae/bosa nova fusion of “Randolph’s Tango”, and the heavy blues rocker “Broken Dreams”.

Just a few months after the release of Vagabonds of the Western World, Bell abruptly left the band citing ill-health and disillusionment with the music industry. Thin Lizzy used several guitarists in the subsequent years before forging their signature dual-lead sound that brought them to even higher fame in the mid 1970s.

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1973 Images

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Jailbreak by Thin Lizzy

Jailbreak by Thin Lizzy

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Jailbreak by Thin LizzyAfter a long musical journey which included style shifts, various lineup changes and five less-than-commercially successful albums, Thin Lizzy finally broke through in 1976 with Jailbreak. This quasi-concept record has an overlying theme about a figure simply known as “The Warrior” breaking away from the despotic “Overmaster” to lead the oppressed masses in a dystopian-shattering revolution. But the real beauty of this album is tilted far more towards its sound than its lyrics, as Thin Lizzy had fully mastered the the crisp, harmonized guitar attack with much rhythmic movement to complement the distinctive, barked-out lead vocals of composer and front-man Phil Lynott.

Thin Lizzy was founded in Dublin in 1969 when Lynott and drummer Brian Downey left their group Orphanage to form a new band with musicians formally from the band Them. In 1971, the group relocated to London but the musical style remained distinctly Celtic with lyrics strongly referencing Dublin and surrounding areas. In 1972, Thin Lizzy’s version of a traditional Irish ballad, “Whiskey in the Jar” was a smash hit in their native Ireland and reached the Top 10 in the UK. However, album sales did not follow suit and after, the departures of several guitarists, Lynott decided to morph the group’s sound towards harder rock and recruited Scott Gorham and then-18-year-old Brian Robertson for a double lead-guitar attack starting with the 1975 album, Fighting.

However, the record label was growing impatient with lackluster sales and gave Thin Lizzy one final chance to produce a commercially successful album. With producer John Alcock, the band extensively composed, rehearsed and recorded tracks over the winter of 1975-76, developing a tight arrangement on each of Jailbreak‘s nine track.


Jailbreak by Thin Lizzy
Released: March 26, 1976 (Vertigo)
Produced by: John Alcock
Recorded: Ramport Studios, London, December 1975–February 1976
Side One Side Two
Jailbreak
Angel From the Coast
Running Back
Romeo and the Lonely Girl
Warriors
The Boys Are Back in Town
Fight or Fall
Cowboy Song
Emerald
Group Musicians
Phil Lynott – Lead Vocals, Bass
Scott Gorham – Guitars
Brian Robertson – Guitars
Brian Downey – Drums, Percussion

The opening title track, “Jailbreak”, is a pure hard rock song of action with timeless theme of escape. It musically builds tension a bit during verses, setting up a satisfying chorus release, and contains other cool distinctions ranging from the corny alarm section under the bridge to the cool lyrical nod to Robert Johnson’s “Hellhound on My Trail”. Co-written by Robertson, “Angel From the Coast” picks up where the opener left off and accelerates with much movement in the hyper-funk lead riff and rhythm. This song features exceptional drumming by Downey with great rudiments throughout by the entire band and the soaring, harmonized lead precedes a rapid funk chord effect by the two guitars in an extended bridge jam.

“Running Back” was the album’s most controversial track, internally. Intended as the lead single from the album, Lynott and Alcock brought in session keyboardist Tim Hinkley to add more “pop” elements. This was done against the objections of Robertson, who had played a large role in the original arrangement, including his own additions of piano and bottleneck guitar, and Robertson ultimately did not play on the album version of this song. Although a bit tacky lyrically, “Romeo and the Lonely Girl” features a pleasant music mix with acoustic backing the blues/jazz electric guitar, animated drums and a later piercing guitar lead. The dramatic “Warriors” was co-written by Gorham and is the hardest rocker on the album, employing some mid seventies-style heavy metal with just a tad of punk, adding to the overall sonic diversity of the album.

Thin Lizzy in 1976

The original second side of Jailbreak is where the true musical gems are found. “The Boys Are Back in Town” is, by far, the most distinctive Thin Lizzy song. It features interesting chord progressions during the verses, a brilliantly simple chorus hook and one of the most indelible rock riffs ever put to record as Gorham and Robertson perfectly harmonize their guitars during the post-chorus breaks. Lyrically, the song originated as a tribute to a returning vet from Vietnam but later morphed as a sort of party anthem dedicated to any number of traveling heroes. Although the song was not a tremendous charting hit upon its original release, it has been used countless times at sporting events, in movies, on television and as a permanent fixture on classic rock radio all over the world. In contrast to the preceding popular upbeat number, “Fight Or Fall” is quite mellow and laid back with acoustic guitar and subtle electric overtones, but with a still steady and upbeat rhythm by Lynott and Downey. This fine track is divided by slight rudimentary breaks between the verses and features a bit of American soul added to the ending section.

“Cowboy Song” starts as a subtle, Western ballad with Lynott’s bass imitating a trotting horse. But soon breaks into a riff-driven hard rocker, especially with the infectious riff which builds to triple harmonized guitars, post lead section. The final verse cools with just bass and drums, before this all explodes into a blistering, blues/rock guitar lead later in the song. The album concludes with “Emerald”, a strong rocker in tribute to Irish heritage and one more thematic “fight” against invaders, with dueling guitars to nicely symbolize the battle and rebellion. This closing track is also notable as the only composition on this album credited to all four band members.

Jailbreak was the group’s first Gold album and it set them up for subsequent success in the years that followed. However, a bit of the commercial tailcoats were severed when both Lynott and Robertson suffered ailments and injuries which caused large parts of the 1976 tours to be cancelled and expedited the production of the group’s follow-up album, Johnny the Fox.

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1970 Album of the Year

Moondance by Van Morrison

1970 Album of the Year
Buy Moondance

Moondance by Van MorrisonWe’ve covered more music from the year 1970 than from any other year at Classic Rock Review. Through these nineteen articles covering twenty-three different albums, we’ve observed some of the finest rock groups as they branched out to embrace some roots or otherwise raw musical genres. Through all that great music, we believe that no one hit the sweet spot like Van Morrison and the most and authentic, entertaining and timeless effort of his long career, Moondance. Morrison blends diverse styles such as jazz, folk rock, country, R&B, and American soul with potent melodies and pristine arrangements, all on a cohesive album which always sounds fresh. For these reasons, we have chosen Moondance as our album of the year for 1970.

Morrison’s previous album, Astral Weeks, was filled with impressionistic, stream-of-consciousness tunes and was recorded in just a few sessions in New York City in late 1968. After that recording, Morrison and his wife decided to move to upstate New York, where the composer began writing songs for a follow-up album. Despite the critical acclaim of Astral Weeks, its improvised nature did not lead to much commercial success and Morrison looked to strike a balance between musical integrity and audience accessibility.

Coproduced by Lewis Merenstein, fresh musicians were recruited for Moondance, starting in the summer of 1969. While all the tracks were composed by Morrison on acoustic guitar, he entered the studio with no written arrangements, leaving room for this album to grow organically with any riffs or fills generated spontaneously through jam sessions. The result is a record of renewal and redemption which is every bit as authentic as its predecessor while shedding that album’s dark and gloomy feel, as Morrison employs simple memories and nature motifs lyrically.


Moondance by Van Morrison
Released: February 28, 1970 (Warner Bros.)
Produced by: Van Morrison & Lewis Merenstein
Recorded: A & R Studios, New York, August–December 1969
Side One Side Two
And It Stoned Me
Moondance
Crazy Love
Caravan
Into the Mystic
Come Running
These Dreams of You
Brand New Day
Everyone
Glad Tidings
Primary Musicians
Van Morrison – Lead Vocals, Guitar, Harmonica
John Platania – Guitars
Jeff Labes – Piano, Keyboards
Jack Schroer – Saxophones
Colin Tilton – Flute, Saxophone
John Klingberg – Bass
Gary Mallaber – Drums, Percussion

The lyrics of Moondance seem to be symbiotically linked through the individual tracks with certain elemental themes reappearing throughout. One of these primary elements is water and nowhere is it more prominent than on the opening track “And It Stoned Me”. This nostalgic song about a day of adolescence in Ireland, speaks of walking to a fishing hole, getting caught in the rain, and ultimately receiving some H2O rejuvenation. Each lyrical line is filled with vivid yet poetic images and emotions while the moderate yet soulful rock sound features sax accents and a dual lead section featuring Morrison’s acoustic guitar and the piano of Jeff Labes.

The pure jazzy title tune is built on a walking bass pattern of John Klingberg, subtle piano chords by Labes and a great overall melody by Morrison. It later features a jazzy sax lead by Jack Schroer The lyrics of “Moondance” are specifically a tribute to the autumn season as well as romance in general and this hit song did not actually chart until 1977, seven years after its release. “Crazy Love” features Motown inspired, high pitched soul vocals which were accomplished by Morrison getting as close to the microphone as possible. This song is also the  to feature Gospel-style backing singers while the music is very reserved with acoustic, bass, and brushed drums.

“Caravan” is a pure celebration of radio portrayed through a moderate rock backing and very intense vocalization. After two verses comes the first of two improvised bridge sections that bring this song to a new level along with syncopated beats and punching brass. The side one closer “Into the Mystic” paints an indelible picture of life on the water where Morrison again returns to his youth in the port city of Belfast. The mood of this subtle folk tune is driven by a cool but direct bass line, strummed acoustic, and a building array of other instruments added ounthe duration, including a foghorn-mimicking alto saxophone for great effect.

“We were born before the wind, also younger than the sun / Ere the bonnie boat was won as we sailed into the mystic…”

The album’s second side contains some lesser known but quality songs. The Top 40 hit “Come Running” is upbeat, almost country in its approach, especially with the boogie-woogie piano by Labes, a two chord guitar pattern by John Platania and the first real affirmative presence by drummer Gary Mallaber. The track is not very complex lyrically but this is intentional as it works as an upbeat counter to some of the deeper songs from the first side. “These Dreams of You” portrays upbeat blues with bass rhythm, slide acoustic, and harmonica by Morrison. On “Brand New Day”, the tone is excellent even if the vocal melody seems a bit recycled. Nonetheless, this track is definitely a spiritual, Gospel influenced, song of redemption with rich backing harmonies.

Van MorrisonThe energy returns fully on “Everyone”, which starts with a cool harpsichord by Labes that persists through repetitive, beat driven pattern of this song of pure celebration. Colin Tilton provides flute flourishes throughout this Baroque-styled track which is an ode to the power of music. The album concludes with “Glad Tidings”, featuring the most pronounced bass line, exceptional drumming, subtle saxophones and squeezed out electric guitar notes all behind Morrison’s clarion vocals. While many songs on this album revisit the past, this one is set firmly in the present day of 1970 as Morrison sends “glad tidings” from his new home in New York.

Moondance was a critical and commercial success, peaking in the Top 40 in charts in both the US and the UK. It has continuously sold well during the four and a half decades since its release, eventually certified as triple platinum in sales. Later in 1970, Morrison released the follow-up album, His Band and the Street Choir, which feature “Domino”, the song which ultimately became Morrison’s biggest hit ever. Through the 1970s and into decades beyond, he released a succession of fine albums but none have reached quite the level of esteem as our album of the year, Moondance.

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1979_ThinLizzy BlackRoseARockLegend1

Black Rose by Thin Lizzy

Buy Black Rose: A Rock Legend

Black Rose by Thin LizzyPerhaps the last great classic album by Thin Lizzy, the 1979 release Black Rose: A Rock Legend, peaked at number 2 on the U.K. album charts, making it the band’s most successful album commercially. Produced by Tony Visconti, the rich sound established on the group’s previous albums continues and is built upon by the eclectic songwriting of lead vocalist and bassist Phil Lynott. Thin Lizzy has been hailed as the first true rock band from Ireland, and Lynott took this privilege seriously by composing several songs through their career which were rooted in Irish tradition, starting with the famous Irish traditional folk song, “Whiskey in the Jar”,  which was Thin Lizzy’s first charting hit in 1972. On Black Rose, the closing title song contains a seamless medley of Irish standards and Celtic mythology, presented within a top-notch rock arrangement that makes this album one of a kind.

Thin Lizzy recorded their commercial breakthrough, Jailbreak, in 1976. On this album, the group established their signature twin guitar sound with guitarists Brian Robertson and Scott Gorham and the success of the album saw the group touring alongside bands Like Aerosmith and Rush. However, Lynott contracted hepatitis and the tour had to be cancelled. The following tour was again cancelled, this time when Robertson got a hand injury resulting from a drunken brawl, which ultimately resulted in artery and nerve damage. The 1977 album, Bad Reputation, was recorded as a trio, but Robertson did rejoin the band for the critically acclaimed Live and Dangerous in 1978. However, the strain between Robertson and Lynott ultimately resulted in the guitarist being replaced by blues-inspired journeyman Gary Moore.

Lynott and Moore had played together in a band called Skid Row in the late sixties right before Lynott formed Thin Lizzy. In 1974 Moore briefly joined Thin Lizzy during a tour in 1974 and was a replacement for Robertson during a tour in 1977. Black Rose saw the first actual recording to feature Moore, who offered a shredding contrast to Gorham’s more traditional style, but advanced the dual guitar sound to a level not seen by the band before or after.


Black Rose: A Rock Legend by Thin Lizzy
Released: April 13, 1979 (Vertigo)
Produced by: Tony Visconti
Recorded: Paris and London, December 1978–February 1979
Side One Side Two
Do Anything You Want To
Toughest Street in Town
S & M
Waiting For an Alibi
Sarah
Got to Give It Up
Get Out of Here
With Love
Róisín Dubh (Black Rose):
A Rock Legend
Group Musicians
Phil Lynott – Lead Vocals, Bass
Scott Gorham – Guitars, Vocals
Gary Moore – Guitars, Vocals
Brian Downey – Drums, Percussion

The album commences with the thundering rhythms by Lynott and drummer Brian Downey before the two guitarists break into the first of many harmonized guitar riffs. Recorded in Paris, the song uses rapidly rhyming lyrics during the verse which yield to a more traditionally constructed chorus. Above the outro thumps, Lynott adds some distant vocals stating “Elvis is dead” and the brief start of “Blue Suede Shoes” before it completely fades out. the collaborative “Toughest Street in Town” leans more towards early eighties style hard rock as it massages the band’s “tough guy image” in a rather trite fashion with a chanting hook but still some slightly interesting lyrics,

“Like a rat in a pack it attacks from the back through a crack in a track and you take a smack…”

A long drum roll introduces the unique composition “S & M”, which is driven by flange-drenched rapid funk music and starkly brutal lyrics. This track was co-written by drummer Downey, who provides a consistent shuffle throughout and also adds a slight drum solo later. “Waiting for an Alibi” is pure upbeat rock and probably the best constructed pop/rock track on the first side. The first single released from Black Rose, the song features further harmonized guitars by Moore and Gorham and well-crafted, poetic lyrics by Lynott. “Sarah” completes side one as a ballad with slightly Latin rhythms dedicated to Lynott’s then-newborn first daughter. This song sounds different than anything else on the album due to the instrumental arrangement and additional session musicians, including a pre-fame journeyman harmonica player called Huey Lewis. Moore’s fine, sharply contrasting lead guitar after the second verse/chorus temporarily brings the song back into the hard rock realm.

A bluesy intro by Gorham introduces “Got to Give It Up” before the song rockets into another strong rock song with more great lead guitars. Apparently glimpsing his own dire fate, Lynott wrote the song about resolving to get on the wagon but failing to do so. Almost as a response to the previous song, “Get Out of Here” offers a more rigid counterpoint. This song was co-written by Midge Ure, who would later join the band as a full member. A bit corny, but still a fun listen musically, the song is filled with pessimistic lyrics;

“I used to be a dreamer but I realized that it’s not my style at all / In fact it becomes clearer that a dreamer doesn’t stand a chance at all…”

“With Love” is a desperate song with a dark feel overall where guest bassist Jimmy Bain supplies a boogie bass pattern under the dualing lead guitars. The closing “Róisín Dubh (Black Rose): A Rock Legend” is a wild Irish rock odyssey by Lynott and Moore where everyone in the band is at the top of their game performance-wise. Consisting of a blend of traditional songs fused together by original riffs, Rolling Stone recently called this “the best Irish rock song of all time”. Completing the tribute to the Emerald Isle, Lynott name-drops some famous Irish artists during the improvised outro, including James Joyce, Oscar Wilde, and Van Morrison.

While Black Rose was a critical and commercial success, Thin Lizzy could never quite ride the success as their bad luck continued when Moore abruptly left the band later in 1979. The band recorded three more studio albums to mediocre receptions before  Thin Lizzy’s breakup in 1983. Tragically, Lynott died three years later due to complications from substance abuse, solidifying this album as the group’s final masterpiece.

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1979 Images

Part of Classic Rock Review’s celebration of 1979 albums.

The Unforgettable Fire by U2

The Unforgettable Fire by U2

Buy The Unforgettable Fire

The Unforgettable Fire by U2 U2 decided to take a bit of a turn following their initial mainstream success. They brought in producers Brian Eno and Daniel Lanois to forge the ambient sound of The Unforgettable Fire. Much of the album was recorded in a castle in the group’s native Ireland, with the live acoustic of the various rooms lending much to the unique final sound. Led by the layered and effects-laden guitar of The Edge and the introspective and philosophical poetic lyrics of Bono, this album brought the group to a higher artistic level, while still carrying enough pop/rock punch to make this a mainstream success and solidify U2’s new found standing as the eighties top rock group.

Steve Lillywhite had produced U2’s initial three albums, culminating with the UK chart topper, War, in 1983. However, both the producer and the band agreed that they did not want to create the “son of War” on the next album and amicably parted ways. The Edge was a longtime fan of Eno’s “weird works”, but Eno was also initially reluctant to work with the band and suggested Lanois, his engineer, instead. However, Bono’s vision for the band won Eno over and both Eno and Lanois agreed to produce the record.

In May 1984 the band moved into Slane Castle where they wrote and recorded much of the material. Bassist Adam Clayton said they were “looking for something that was a bit more serious, more arty”, and the castle offered much inspiration on that front. The group took the album’s title from an art exhibit about the bombing of Hiroshima that they saw while on tour in Japan.


The Unforgettable Fire by U2
Released: October 1, 1984 (Island)
Produced by: Brian Eno & Daniel Lanois
Recorded: Slane Castle & Windmill Lane Studios, Ireland, May–August 1984
Side One Side Two
A Sort of Homecoming
Pride (In the Name of Love)
Wire
The Unforgettable Fire
Promenade
4th of July
Bad
Indian Summer Sky
Elvis Presley and America
MLK
Group Musicians
Bono – Lead Vocals
The Edge – Guitars, Keyboards, Vocals
Adam Clayton – Bass
Larry Mullen Jr – Drums

The rolling drums of Larry Mullen Jr introduce the album opener “A Sort of Homecoming”. The rhythm is soon crowded out by a bucket of treated guitar phrases, all of which seem pretty cool by themselves but kind of saturate the atmosphere as produced on this album. This recording of the fine song suffers in comparison to the later, superior and simpler live version on the 1985 EP, Wide Awake in America, where the vocals and rhythm are much better defined and the song’s true beauty shines through.

“Pride (In the Name of Love)” is the most brilliant early career track by U2. Here is the quintessential U2 sound displayed at its height with the steady and shuffling rhythm section of Mullen and Clayton, the alternating arpeggios, chord strums and textures of The Edge, and Bono’s vocals soaring above all else. The first of two songs written about Martin Luther King, Jr, it was released as the album’s lead single in September 1984 and became a popular radio hit.

“Wire” could easily be a pre-cursor to the later, dance-oriented Manchester sound, as the opening spastic guitar is joined by even more frenzied rhythms, including some strong funk elements. Clayton puts down some slap bass and Bono’s vocals are near screams at times, harkening back to U2’s post punk roots. “The Unforgettable Fire” is an upbeat, but deep and most philosophical track on side one. This title song has at once a pop feel along with something darker and more foreboding. It was released as the album’s second and final single and includes a string arrangement by Irish musician Noel Kelehan. “Promenade” is a short and incomplete song, seemingly built as a studio experiment in capturing sound.

The second side begins with the Eno-influenced atmospheric instrumental piece “4th of July” before launching into “Bad”, the highlight of side two. This song continually builds as it goes, with Bono’s voice getting ever more animated and Mullen and Clayton getting more intense, while The Edge stays pretty consistent throughout. It began with an improvised guitar riff during a jam session at Slane Castle, with Bono adding lyrics about heroin addicts in Dublin.

U2

“Indian Summer Sky” is another fine, upbeat track with multiple sections of vocal and musical motifs. “Elvis Presley and America” is a unique but odd and questionable acoustic, with long, improvised lyrics. This song was almost entirely a spur of the moment creation with rhythm borrowed from an altered backing track of “A Sort of Homecoming”. The closer “MLK” is all synth and vocals, but with a brilliant melody and lyrics that serve as a lullaby to honor Martin Luther King, Jr. Unlike much of the other experimental tracks, this brief closer gives the album a real classic feel to end the album on a high note.

The Unforgettable Fire was re-packaged in 1985 along with a VHS documentary of the making-of the album. and a remastered 25th Anniversary edition was in 2009 with several bonus tracks. U2 launched a worldwide The Unforgettable Fire Tour, further increasing the band’s massive popularity.

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1984 Images

Part of Classic Rock Review’s celebration of 1984 albums.

 

Astral Weeks by Van Morrison

Astral Weeks by Van Morrison

Buy Astral Weeks

Astral Weeks by Van MorrisonAstral Weeks was the second solo album by Van Morrison, and in a lot of ways it was his own, direct counter-reaction to the debut album which was released in 1967 without Morrison’s consent and filled with weak studio outtakes. With a blending of folk, blues, jazz, and classical music, Astral Weeks was a complete departure from anything Morrison had done previously and the impressionistic, stream-of-consciousness nature of the music has received critical acclaim for four and a half decades and counting. Amazingly, most of the recording of the eight album songs was done in just two sessions and done among musicians who had never played together before.

Van Morrison got his start with the group Them, which had a handful singles in the mid 1960s. After an American tour in 1966, the band members became involved in a dispute with their manager over revenues, which ultimately led to the band’s break up. Convinced to record solo by producer Bert Berns, Morrison recorded eight songs in 1967, which were originally intended to be used as ‘A’ and ‘B’ sides of four singles. Instead, these songs were compiled and released as Morrison’s debut album Blowin’ Your Mind! without the singer even being consulted. Although the song “Brown Eyed Girl” did reach the Top 10 in the US, Morrison was dissatisfied with the album and sought out a new recording contract.

Morrison moved to Boston where he started to perform in an acoustic duo with double bassist and Berklee student Tom Kielbania. Soon, they began to develop the basic material for Astral Weeks. Producer Lewis Merenstein Went to see Morrison’s live act and was moved by his unique sound. Merenstein had a background in jazz, and decided to replace Kielbania with veteran bassist Richard Davis, who served as the session leader among the unfamiliar musicians. By all accounts, the sessions lacked basic formalities, with Morrison playing the songs on acoustic guitar and letting the session musicians play exactly what they felt.


Astral Weeks by Van Morrison
Released: November, 1968 (Warner Brothers)
Produced by: Lewis Merenstein
Recorded: Century Sound Studios, New York City, September-October 1968
Side One Side Two
Astral Weeks
Beside You
Sweet Thing
Cyprus Avenue
The Way Young Lovers Do
Madame George
Ballerina
Slim Slow Slider
Primary Musicians
Van Morrison – Acoustic Guitar, Lead Vocals
Jay Berliner – Guitars
Larry Fallon – Strings, Horns, Harpsichord
Richard Davis – Bass
Connie Kay – Drums

All eight songs were composed by Morrison and each original album side was subtitle, with side one called “In The Beginning”. The opening title song is one of the strongest on the album. A pure ballad of romanticism which gradually builds on its acoustic and double bass core, adding intensity throughout while not really changing chord structure and the long string-intensive fade out really drives home the central theme of “…to be born again in another time, in another place…” Morrison described it as “transforming energy, or going from one source to another with it being born again like a rebirth”.

The folksy, classical acoustic guitar of Jay Berliner begins “Beside You”, a truly improvised piece. A “spur of the moment” feel persists throughout, especially when it comes to Davis’ bass and, in fact, this song may be a little over the top for the average listener in its sheer roughness of composition. “Sweet Thing” is a lot closer to a traditional love song while still containing a bit of improvised vocals. Musically, it is held together by the glue of a semi-tight rhythm and the fine string accents of Larry Fallon coupled with the flute of John Payne. Lyrically, there positive and romantic lyrics in a natural setting;

And I will stroll the merry way and jump the hedges first
And I will drink the clear, clean water for to quench my thirst
And I shall watch the ferry-boats and they’ll get high
On a bluer ocean against tomorrow’s sky…

The first side ends with “Cyprus Avenue”, a great and romantically intense song with a core blues arrangement and topical Celtic/folk instrumentation. Fallon’s ever-present harpsichord and later fiddle makes the song a lot looser and more striking as it progresses. A long fade maintains (if not escalates) the intensity of this song, named after a wealthy street in Morrison’s hometown of Belfast.

Side two of Astral Weeks is subtitled “Afterwards” and begins with the most jazzy track on the album, “The Way Young Lovers Do”. With a just a splash of Mexican horns, this definite sixties swing song is a very rewarding listen in spite of being one of the shorter songs on the album. A great fiddle adds real flavor to the subdued acoustic tune, “Madame George”, which is otherwise driven by Morrison’s voice and never really leaves the exact chord progression over its nearly ten minute duration. Driven by vibraphone, “Ballerina” is still intense and romantic on its own, with nice sustained horn accents. The song is the only one composed while Morrison was still a member of Them in 1966. Unfortunately, the album seems to run out of steam by the time it reaches the closer “Slim Slow Slider”, which is little more than a showcase for the saxophone of John Payne.

Despite the fact that it failed to achieve significant sales success and reached gold status 33 years after its release, Astral Weeks remains a cult favorite. Morrison would soon achieve his commercial breakthrough with his third solo album, Moondance, released in early 1970.

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1968 Images

Part of Classic Rock Review’s celebration of 1968 albums.