Van Morrison "Days Like This" (1995)

Days Like This
release date: Jun. 20, 1995
format: cd
[album rate: 4 / 5] [3,78]
produced: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Perfect Fit" - 2. "Russian Roulette" (4 / 5) - 3. "Raincheck" (4 / 5) (live) - 4. "You Don't Know Me" - 5. "No Religion" - 6. "Underlying Depression" - 8. "Days Like This" - 10. "Melancholia" (4,5 / 5) (live) - 12. "In the Afternoon" (4 / 5) (live)

23rd studio album by Van Morrison released on Exile / Polydor produced by Van himself. His daughter Shana Morrison features as duet singer and on backing vocals on tracks #3, 4, 9, and 10 (the latter being the album's best track). Van may dwell on his back catalogue, and he may tend to be repetitious, but gosh doesn't he just know how to write good songs. The album was a bland experience at the time of the release. It is one of his most mainstream pop / rock crafted albums and it has a bit of the same polished sound as you'll find on Enlightenment (1990) and Avalon Sunset (1989), however, it also contains great songs that I wouldn't be without. "Russian Roulette", "Raincheck", "Underlying Depression", "Days Like This", "Melancholia", and "In the Afternoon" are all songs way above average. And that's really just Van in a nutshell: even when he just seems to cruise on auto-pilot, he always has an extra gear and something more to offer.

Van Morrison "A Night In San Francisco" (1994) (live)

A Night In San Francisco (live)
release date: May 17, 1994
format: 2 cd (2008 remaster)
[album rate: 4 / 5]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Double disc live album by Van Morrison - which could've been called "Two Nights in California", are the recordings from two live concerts in Dec. 1993 in California - one night at the Mystic Theater, Petaluma, Dec. 12, and another night at the Masonic Auditorium, San Francisco, Dec. 18 - the 2008 Remaster contains the bonus track "Cleaning Windows" recorded at the Masonic Auditorium, Dec. 17, 1993.
A handful of special guests appear on some of the 23 songs, which represent many covers as well as familiar Morrison compositions. The guest artists are John Lee Hooker, Candy Dulfer, Junior Wells, Jimmy Witherspoon, and Morrison's daughter, Shana Morrison. Aside from these, a strong group of handpicked supporting musicians appear throughout all compositions: Ronnie Johnson on guitar, James Hunter on guitar & vocals, Brian Kennedy on vocals, Nicky Scott on bass, Georgie Fame on keyboards & vocals, John Savannah on piano & vocals, Geoff Dunn on drums, Teena Lyle on percussion & vibraphone, Kate St. John on soprano & tenor saxophone, and Haji Ahkba on flugelhorn. And this bunch really back Morrison in the best possible way.
The album is full of individual performances as well as tight, spontaneous and delightful playing, and on top of it all, Van Morrison swims in, with, against the streams of sound in the most natural manner. The album contains more than 2½ hours of music, which may seem like a long time, but frankly, it doesn't feel one minute too long. Also, the recordings and the production sound is just like being there.
Highly recommendable.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Van Morrison "Too Long in Exile" (1993)

Too Long in Exile
release date: Jun. 8, 1993
format: cd
[album rate: 4 / 5] [3,88]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Too Long in Exile" - 3. "Lonely Avenue" - 4. "Ball & Chain" - 6. "Till We Get the Healing Done" (4 / 5) - 7. "Gloria" - 9. "Wasted Years" - 11. "Moody's Mood for Love" - 14. "I'll Take Care of You"

22nd studio album by Van Morrison who has teamed up with several familiar names including Georgie Fame, Jonn Savannah, Nicky Scott, Kate St. John and Candy Dulfer, but there's also room for one Mr. John Hooker on two of the songs (#7 & #9).
The album doesn't reveal big changes since the great Hymns to the Silence (1991), which on the other hand appears as more introspective and stylistically varied with this being a more simple-construct of pure rhythm & blues, urban blues and soul jazz compositions without strong influences from celtic folk or traditional singer / songwriter. The album contains 15 tracks with several songs running more than 6 minutes and it's rather lengthy for a single cd release with a total running time exceeding 77 minutes, which also explains why the album was issued as a double vinyl album like the predecessor.
Too Long in Exile was generally met by positive reviews praising it's pure bluesy style and Morrison's free vocal performance.
For some years I found it one of his lesser releases, but you have to hand it to The Man - there's hardly anything as a non-quality album from his hands, so you just have to let it grow on you, and it will reveal itself as another fine collection of songs. And that's how it often is with Van Morrison: an album may sound much like a former release, but if you really pay attention, there's nearly always something new, and something quite extraordinary about a new album as he always puts his soul to his work - and that pays off.
It peaked at number#4 on the UK albums chart list, thus making it his best charting studio album to date. Recommendable.
[ allmusic.com 2/ 5, Rolling Stone 3,5 / 5, Chicago Tribune 3,5 / 4 stars ]

Van Morrison "The Best Of - Volume Two" (1993)

The Best Of - Volume Two (compilation)
release date: Mar. 9, 1993
format: cd
[album rate: 4 / 5]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

2nd official best of album by Van Morrison - and as contrary to the The Best Of (1990) this is compiled by himself. Most tracks are recorded from 1984-91 except for two tracks by Them from 1965 and '66, and 11 of the 15 tracks are Morrison songs, two are traditionals, and two songs performed by Them are credited John Lee Hooker and Bob Dylan respectively.
The album peaked at number #31 on the UK albums chart list (number #6 in New Zealand) and didn't receive as much recognition as his first best of album. Perhaps because when selecting his own best songs, he has avoided many great compositions that he may have tired from, or songs he considers from a time he's no longer in sync with - and then he has selected a collection of songs that are closer to his current state of mind, regardless a long public hit-list of material to choose from.
Anyway, the album is definitely worth more than a listen, although, I never found it as intriguing as his first.
[ allmusic.com 4,5 / 5 stars ]

Van Morrison "Hymns to the Silence" (1991)

Hymns to the Silence
release date: Sep. 1, 1991
format: 2 lp vinyl (849 026-1) / cd
[album rate: 4,5 / 5] [4,58]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Tracklist: A) 1. "Professional Jealousy" (5 / 5) - 2. "I'm Not Feeling It Anymore" (5 / 5) - 3. "Ordinary Life" (4 / 5) - 4. "Some Peace of Mind" (4 / 5) - 5. "So Complicated" - - B) 1. "I Can't Stop Loving You" (4 / 5) - 2. "Why Must I Always Explain?" (5 / 5) - 3. "Village Idiot" (5 / 5) - 4. "See Me Through, part 2 (Just a Closer Walk With Thee)" - 5. "Take Me Back" (5 / 5) - - C) 1. "By His Grace" - 2. "All Saints Day" - 3. "Hymns to the Silence" (5 / 5) - 4. "On Hyndford Street" (4 / 5) - 5. "Be Thou My Vision" - - D) 1. "Carrying a Torch" - 2. "Green Mansions" (4 / 5) - 3. "Pagan Streams" (4 / 5) - 4. "Quality Street" (5 / 5) - 5. "It Must Be You" (5 / 5) - 6. "I Need Your Kind of Loving" (4 / 5)

21st studio album by Van Morrison following one year after his great 20th album Enlightenment is a double album containing 21 new compositions. I'm a big fan of 'Van the Man', which comes through in the following, mind you. Although, I "only" own about 3/4 from his what... 40-45 studio albums (?), my musical taste includes all sorts of musical genres, styles and sub-genres. However, this album is one of my favourite albums of all styles and of all albums, and it will most likely always be that. It's beyond my recognition that e.g. Allmusic only direct 3,5 stars to this masterpiece. Avalon Sunset (1989) may be seen as his most pure and polished pop album but it receives a bit too much recognition, in my mind. I find that this even surpasses Enlightenment (1990), which by many is considered one of his best. I know that Avalon is extremely popular - many like it and not that many hold anything against it - and still not that many would be as bold to call it a masterpiece - this release is just that [period].
What I find works so well on this is the combination of several forces: it contains compositions that seem much in family with tracks that you'll find on his acclaimed No Guru, No Method, No Teacher (1986) and his more pop-minded Enlightenment (1990), and then you'll also find songs where he drifts into a musical dimension of sub-consciousness that reminds me of the strengths you'll find on Beautiful Vision (1982), Veedon Fleece (1974), and on Astral Weeks (1968). It's not an album that copies former successes, but here he dwells on compositional lines and arrangements of his past like a musical exploration.
In my view, this is not only his best studio release but also one of the most successful double albums and best 'pop / rock' albums in the history of modern music - that's how I feel about this album. I know it's a lot of roses and a completely subjective opinion but sometimes it may be right even so. The only reason I won't call it a 5 star release is because of a few songs that simply goes too far in the praising of (a) god. Yes, I'm aware of the title, and it's no real surprise that Van (especially during the 80s) could be a bit (over-)religious - but hey, that's Okay! I'm not judgemental. And it does seem that he has found a new faith after having released a couple of albums paying tribute to - if not exactly atheist conviction - non-religious spiritual philosophy. No, in fact, it's perfectly all right, I'm a very tolerant but non-religious person and I don't preach. I just don't adore a few of the songs... which explains that I cannot put it ahead of Talk Talk's best album and call it the best album of '91, but forced to pick just one album from that year (and the 90s overall) for a desert island trip - this would certainly be one of my top-3 albums.

1991 Favourite releases: 1. Talk Talk Laughing Stock - 2. Van Morrison Hymns to the Silence - 3. Kitchens of Distinction Strange Free World

Van Morrison "Enlightenment" (1990)

Enlightenment
release date: Oct. 1990
format: cd (2008 remaster)
[album rate: 4 / 5] [4,22]
producer: Van Morrison
label: Polydor / Exile - nationality: Northern Ireland, UK

Track highlights: 1. "Real Real Gone" (4,5 / 5) - 2. "Enlightenment" - 3. "So Quiet in Here" - 4. "Avalon of the Heart" - 5. "See Me Through" - 6. "Youth of 1,000 Summers" - 7. "In the Days Before Rock 'n' Roll" (4,5 / 5) - 8. "Start All Over Again" - 9. "She's My Baby" - 10. "Memories"

20th studio album by Van Morrison originally released on Polydor comes in a year of celebration it seems. In January he released The Best of Van Morrison (later identified as Best of Van Morrison - Volume 1) - his first ever best of compilation album compiling some of his best known songs of his first 25 years' recording career spanning back to when he was part of Them, and then this, his 20th studio album.
Compared to his most recent album, the sales-wise successful Avalon Sunset (1989) he withdraws somewhat from digging further into mainstream territory with a clever combination of forces. The album continues a path laid out on some of the lesser known songs from the '89 album - songs that blends rhythm & blues, soul and singer / songwriter folk, and he does that so skilfully with the assistance of a few stable musicians: bassist Steve Pearce, drummer Dave Early, and keyboardist Georgie Fame with whom he has played with on many albums as well as live performances.
The reception of the album wasn't quite as positive as that of his former album, although, the album peaked at #5 on the UK albums chart list, and the only single release "Real Real Gone" made it to number #18. However, imho, this is Van Morrison at his best and picking the highlights of this album is a hard one 'cause it's such an incorporated whole with one song after the other that just shines of star quality. It simply doesn't contain one filler and the level here is impressive. When I first listened to this, I thought it was a compilations album of his best songs. Avalon Sunset is a fine album with songs that reminds of the material on this but the '89 album doesn't share the same coherency as this one. There may not be another "Have I Told You Lately" here but nearly all tracks have a lasting quality of classic memorable compositions. Today, it still contains more than a handful of great compositions and it's a mere wonder why this hasn't found its way to higher fame.
Highly recommendable.
[ allmusic.com, MusicHound 3,5 / 5, Rolling Stone, Select 4 / 5 stars ]

1990 Favourite releases: 1. Neil Young Ragged Glory - 2. Van Morrison Enlightenment - 3. Sinéad O'Connor I Do Not Want What I Haven't Got

Van Morrison "The Best Of" (1990)

The Best Of (compilation)
release date: Feb. 5, 1990
format: cassette / cd (1998 remaster)
[album rate: 5 / 5]
producer: Van Morrison; various
label: Exile / Polydor - nationality: Northern Ireland, UK

Compilation album and first 'real' best of album by Van Morrison. 'Real' because a number of earlier releases exist such as several issued by Bang Records, but also releases on Bellaphon, London, Nova, DGR, Castle Communications, and Deram mostly just featuring songs from his first recordings while being signed with Bert Berns' label Bang and all released without Morrison's consent except for those released on Decca while playing with Them.
Apparently, Morrison had been reluctant wanting nothing to do in releasing a best of album in the first place, and only long discussions with his record label paved way for a release comprising some 25 years - from his first releases with "Baby Please Don't Go" and "Gloria" with Them from 1964 to "Have I Told You Lately" and "Whenever God Shines His Light" from his most recent album, Avalon Sunset (1989). Nearly all 20 songs (from 13 albums) are written entirely by Van himself, which really is an amazing collection of songs.
The album became and immediate commercial as well as critical success relaunching his musical career and it has also become his best-selling album to date. It peaked at number #4 in the UK and as number #1 in Australia. Since then, he has released another two best of albums: Best of - Volume 2 (1993), and the double album Best of - Volume 3 (2007).
I purchased the album on cassette upon its release in 1990, and it's definitely my most played cassette. My only complaint about this, is the record label's decision not to enlist the songs in chronological order; however, thanks to Morrison's varied stylistic moves and influences over nearly three decades, it's quite remarkable how coherent an album it is. Quite usually, best of albums are just not as good as the individual quality of songs but here's really an album only featuring top material that despite different styles and arrangements make up the finest whole.
Highly recommendable.

Van Morrison "Avalon Sunset" (1989)

Avalon Sunset
release date: May 19, 1989
format: vinyl (839 262-1) / cd (2008 remaster)
[album rate: 3,5 / 5] [3,72]
producer: Ivan Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Whenever God Shines His Light" -  2. "Contacting My Angel" - 3. "I'd Love to Write Another Song" - 4. "Have I Told You Lately?" (5 / 5) - 5. "Coney Island" - 7. "When Will I Ever Learn to Live in God?" - 8. "Orangefield" - 10. "These Are the Days"

19th studio album by Van Morrison released 11 months following Irish Heartbeat, which was an album of Celtic and Irish folk music, and in that regard this may appear as a big turnover. Stylistically, this is perhaps one of Morrison's most evident attempts within a mainstream pop / rock musical sphere, although, also the successor Enlightenment (1990) is a contender with appeal to a broader crowd.
Avalon Sunset also shows strong influences of chamber pop with bold use of string and brass arrangements, and then it's undeservedly best known for the collaboration work with one Mr. Cliff Richard, who takes part of "Whenever God Shines His Light". Well, 'collaboration' may be an exaggerated expression as Morrison wrote the song and Richard only features as duet vocalist. The rest of the album isn't really all that mainstream, but somehow that sticking label hangs on to an album, which is more than just fine. The beautiful love song "Have I Told You Lately?" may also be a resulting factor why it has been looked upon as his pure pop / rock album more than any other, but if you detract these two songs from the rest of the album, the end result is really an album with strong inner perspective and classic songwriting on the basis of rhythm & blues, soul, in combination with an ever-present celtic tone, and in that regard the album doesn't fall far from his modern classic: Into the Music (1979).
Fine and enjoyable.
[ allmusic.com 3,5 / 5, Rolling Stone 4 / 5 stars ]

Van Morrison & The Chieftains "Irish Heartbeat" (1988)

Irish Heartbeat
release date: Jun. 1988
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,28]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Star of the County Down" - 2. "Irish Heartbeat" - 3. "Tá Mo Chleamhnas Déanta" - 6. "I'll Tell Me Ma" - 7. "Carrickfergus" - 8. "Celtic Ray" - 10. "Marie's Wedding"

18th studio album by Van Morrison is released as a collaboration album with the sextet, The Chieftains and it follows his fine Poetic Champions Compose by only 9 months.
On this, he is only credited as composer of two tracks (#2 and #8) - "Celtic Ray" was originally released with the album Beautiful Vision (1982) and appears here in a re-arranged version - and the remaining songs are Irish traditional folk songs, but these have been arranged by Morrison together with Paddy Maloney (band leader) of the Irish folk band The Chieftains. Maloney is also credited for playing uilleann pipes and tin whistle. Aside from Maloney, The Cheiftains constitute of Martin Fay, Derek Bell, Kevin Coneff, Matt Molloy and Seán Kean. Apart from these also bassist Ciarán Brennan of Clannad play on an album where Van Morrison really embraces his Irish roots.
The album was met by positive reviews and critical acclaim and it peaked at number #18 on the UK albums chart list.
Irish Heartbeat is not a favourite of mine, but there's no doubt that they all play well together and the originality of the songs is handed with great admiration and devotion - that is if you're a fan of traditional celtic folk songs.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Van Morrison "Poetic Champions Compose" (1987)

Poetic Champions Compose
release date: Sep. 1987
format: cd (1998 remaster)
[album rate: 4 / 5] [3,86]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Spanish Steps" - 2. "The Mystery" (4 / 5) - 3. "Queen of the Slipstream" - 4. "I Forgot That Love Existed" - 5. "Sometimes I Feel Like a Motherless Child" - 7. "Someone Like You" - 8. "Alan Watts Blues" - 10. "Did Ye Get Healed?" (5 / 5)

17th studio album by Van Morrison following 14 months after No Guru, No Method, No Teacher originally released on Mercury follows closely the same stylistic formula as found on the predecessor, although, with Van Morrison nothing is exactly as before. The album is unique in more than one sense. For a start, it contains three instrumentals (tracks #1, #6, and #11), and then there's a stronger tone of jazz all over the album. One more thing is that Morrison is normally credited vocals, at times guitar, more seldom piano parts, but here, he also plays the saxophone much more than, probably, on any other of his many studio albums, which is shame 'cause he does that with the same touch and elegance as when playing his most renowned instrument.
The album is one of his warmest and most sentimental studio albums, and he performs with mature finesse. The album is yet another fine release from Van the Man.
[ allmusic.com 4 / 5 ]

Van Morrison "No Guru, No Method, No Teacher" (1986)

No Guru, No Method, No Teacher
release date: Jul. 1986
format: vinyl / cd (2008 remaster)
[album rate: 4,5 / 5] [4,28]
producer: Van Morrison
label: Mercury / Exile, Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Got to Go Back" (4 / 5) - 2. "Oh the Warm Feeling" - 3. "Foreign Window" (4 / 5) - 4. "A Town Called Paradise" - 5. "In the Garden" (5 / 5) (live - live 2017) - 7. "Here Comes the Knight" - 8. "Thanks for the Information" (4 / 5) - 9. "One Irish Rover" (4,5 / 5) - 10. "Ivory Tower" - *12. "Lonely at the Top"

* Bonus track on CD remaster

16th studio album by Van Morrison following 1½ years after A Sense of Wonder (1984).

The front cover is a photo collage with Van on the left and what appears to be the photograph of a sculpture of Chinese philosopher Confucius on the right. The title of the album is with reference to Indian philosopher Jiddu Krishnamurti, who said "[It all] depends on you, and not someone else, because in this there is no teacher, no pupil; there is no leader; there is no guru; there is no Master, no Saviour. You yourself are the teacher and the pupil; you are the Master; you are the guru; you are the leader; you are everything" (1966). With this, Van continues his open spiritual search, but with that new statement that he is not part of the Jehovas Witnesses, the Scientology movement or any other specific belief - only underlining that he has come to an understanding of the importance of the individual's own choices.

In retrospect, the album has come to be regarded as a bit of a cornerstone in his long career. From this, he really produces a series of some of his most acclaimed works. During the 80s, he is said to have suffered from writers' block, which had him rethink his artistic role and to even consider a complete retirement from the music business.

As Nick Coleman of the Independent puts it (here): "The four great Van albums are ‘Astral Weeks’, ‘Moondance’, ‘Veedon Fleece’ and … this one." - I do understand what he means, though I would add at least another two or three studio albums, but there's a strong common link to the potency of Van Morrison to all these (quite) different albums but they all share the powers of one man's songwriting and especially the unique force of his soulful vocal. He didn't participate in the gospel choirs growing up in Northern Ireland but he sings as if he was raised on nothing but Northern soul. On the fabulous "In the Garden" he sings "No Guru, No Method, No Teacher - Just you and I and nature - And the Father and the son and the holy ghost - In the garden". Does this reveal that Van is hanging on to an idea of the almighty Christian father figure, despite references to Krishnamurti? 'Cause the Indian philosopher also said: "I maintain that Truth is a pathless land, and you cannot approach it by any path whatsoever, by any religion, by any sect" (jiddu-krishnamurti.net), which doesn't coincide with a belief in the holy ghost, Van. [If you really are a true believer, you will find reason in all statements by Newton and Darwin to our current times of Victor Stenger and Richard Dawkins]. And it seems Van has landed a new understanding of the meaning of... everything. In some songs you'll find references to a belief in higher spirits, and then in others he claims to have come to realise it was all a hoax, as in "Thanks for the Information" when he sings: "Thanks for the invitation - I know I must be on to something big - Every time, I take two steps forward - I end up having to take three back [...] Thanks for the information - Thanks for the memory." Meaning: he's now over searching new truths about a higher understanding? And in that regard you can take almost any song on the album and find words and bits about a disbelief and what seems like a new confirmation that it's Okay not be in search of the light of truth, or a new water hole to drink from together with other believers but in fact be on your own in your understanding - regardless what that is.

And regardless belief, truth and 'truth' this very album contains some truly fine soulful compositions with a solid backing band and a balanced maturity in his vocal performance, which is the beautiful narration and the finest instrument.

Highly recommendable.

[ allmusic.com 4 / 5, Hot Press 11 / 12 stars ]

Van Morrison "A Sense of Wonder" (1984)

A Sense of Wonder
release date: Dec. 1984
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,66]
producer: Van Morrison
label: Exile / Polydor - nationality: Northern Ireland, UK

Track highlights: 1. "Tore Down a la Rimbaud" - 2. "Ancient of Days" - 3. "Evening Meditation" - 5. "What Would I Do" - 6. "Sense of Wonder" - 8. "If You Only Knew" - 10. "A New Kind of Man"

15th studio album by Van Morrison originally released by Mercury is released 1½ years following Inarticulate Speech of the Heart. Here he returns to his formula of combining soul, rhythm & blues, celtic folk in a singer / songwriter fusion arranged using a traditional backing band and incorporating Hammond organ and brass.
It may contain the 'usual' spiritual song titles like "The Master's Eye", "Evening Meditation", as well as the title track itself, but the overall impression here is not with a search of religious belief in mind as much as a selection of nicely arranged and well-orchestrated songs. Van is well-known for writing everything on his own, but here he has made room for a song by Ray Charles, one by Mose Allison and a song credited William Blake, Adrian Mitchell, and Mike Westbrook.
The album is definitely a step up compared to the new age style of the predecessor, and without being a classic top-album from The Man, it's a rather well-arranged album with several fine compositions and he his vocal performance shines as always.
[ allmusic.com 3,5 / 5 stars ]

Van Morrison "Inarticulate Speech of the Heart" (1983)

Inarticulate Speech of the Heart
release date: Mar. 1983
format: cd (2008 remaster)
[album rate: 3 / 5] [3,06]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Higher Than the World" - 5. "Rave on John Donne" - 7. "The Street Only Knew Your Name" - 10. "Inarticulate Speech of the Heart No. 2"

14th studio album by Van Morrison originally released on Mercury Records follows one year after Beautiful Vision, and it takes him further down the road in search of spirituality. Where the predecessor had many songs focusing on narratives this one comes with four instrumentals, and the album seems like an outlet for his belief that music have healing powers regardless the lyrical matter. Stylistically, he makes strong use of synths, keyboards and saxophones to create a sensation of new age style on top it all.
In the credit list Morrison explicitly thanks Scientology founder L. Ron Hubbard, a gesture, which in many ways points to his long-lasting spiritual search but also places this very release on a shelf among few others by Morrison that so openly speaks of his strong religious foundation. From Wavelength (1978) to Beautiful Vision (1982) he often sang about childhood memories with a mother devoted to Jehovas Witnesses, and this theme has continued with a more undefinable presence of spiritual divinity, although, an explicit addressing to the founder of Scientology says something about his viewpoint at this stage of his constant search. There are no evident proclamations to be found here, but the lasting impression sort of lifts the music here to serve as a foundation to a state of meditation. The album is almost without really great songs - just an echoing of other characteristic songs of his and much blow of hot air. The album was met by lukewarm to positive reviews, and peaked at number #24 on the UK albums chart list. The highlighted tracks doesn't really represent the nature of the album as they are... better and all more uptempo compositions than the remainders. Just listen to "Connswater", "Celtic Swing", or "Inarticulate Speech of the Heart No. 1", which help define the nature of the album. To me, it's one of the contenders to his least interesting albums.
The 2008 remaster contains two bonus tracks which are alternate takes of songs #9 and #10.
[ allmusic.com, Rooling Stone 4 / 5 stars ]

Van Morrison "Beautiful Vision" (1982)

Beautiful Vision
release date: Feb. 16, 1982
format: cd (1998 remaster)
[album rate: 4 / 5] [3,86]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Celtic Ray" - 3. "Dweller on the Threshold" (live) - 6. "Cleaning Windows" (live) - 7. "Vanlose Stairway" (live) - 8. "Aryan Mist" - 9. "Across the Bridge Where Angels Dwell" (live)

13th studio album by Van Morrison originally released by Mercury and as usual produced by Van himself is almost the exception to the rule that Van never releases an album in the same style as his previous album. Beautiful Vision takes off and continue his journey into a country-side of new age-inspired surroundings where Common One (1980) had left many critics and fans somewhat pondering as to what he was up to, perhaps thinking he had given up on his rhythm & blues ground.
It seems critics were more positive about this than the predecessor - many claiming that this is more coherent and melodic.
I recall the time of its release - I wasn't yet a fan but remember how Al Jones on the national radio show kept circling around the fact that Morrison had a Danish girlfriend and that the album had a Danish theme and Scandinavian touch running through it. Of course he had tracks like "Northern Muse (Solid Ground)", "Vanlose Stairway" and "Scandinavia" as obvious evidence, though perhaps the track "Across the Bridge Where Angels Dwell" is one of his most direct love songs. I didn't listen to the album in its entirety until the late 80s thinking of it as one of his lesser releases, but that impression has changed since then. I have always returned to this album, and every time it has given me something new. And that's the obvious strength about it 'cause it has the same universal greatness about it as its predecessor. It's not so much the single tracks that makes you listen but the stories and the sensations it stirs. Earlier, I always felt that "Cleaning Windows" was the only true hit on the album. Nowadays, I still enjoy that, although, I find it a bit out of tune with the other songs, as it has a simpler construct, like a song that would fit better on Into the Music (1979). The other songs here are deeper, soothing of either mysticism or a search of something... love or beliefs. Undoubtedly, the album is produced during a time where Morrison was in search of spiritual faith. Whether he was a strong believer or not, the music and lyrics he delivers don't link him to any specific belief, and the overall theme of love may be interpreted in many ways, which I think is a fine strength of the album. There's a fine element of (free) jazz that stirs the tone of 'new age' and makes it all much more digestible.
It's not an album full of great hit songs, but it's far from weak or a low point in Van's long career. I basically consider it essential to the Van Morrison collection.
Highly recommendable.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Van Morrison "Common One" (1980)

Common One
release date: Aug. 1980
format: cd (1998 remaster)
[album rate: 3,5 / 5] [3,52]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Tracklist: 1. "Haunts of Ancient Peace" - 2. "Summertime in England" (live) - 3. "Satisfied" - 4. "Wild Honey" - 5. "Spirit" - 6. "When Heart Is Open"

12th studio album by Van Morrison originally released on Mercury in the UK and on Warner in the US is not stylistically shaped like its great predecessor. The cover hints at its focus on sensations and a freer style, which in places comes close to new age. Morrison has always found back to a free form of composing, by some described as streams of consciousness, or: impressionistic, and here he may challenge this form further with tunes soothing of mysticism. There are elements of jazz and folk, and the result is clearly less strict compositions than one has met before on any of his albums. Also, the album contains two songs (tracks #2 & #6) of more than 15 mins playing time.
The album was generally met by negative reviews and poor sales numbers and it's his first album not to be followed by any single releases. In retrospect the album has gained much more acclaim with reviewers acknowledging its potential outside a traditional mainstream pop / rock sphere and that it contains other qualities of beauty than those normally attributed popular music albums.
Common One is really something else, even from Morrison's hands, but it's by no means a mediocre or poor album. Yes, you probably have to appreciate vocal jazz and longer more freer compositions that touch on new age in order to enjoy Common One. It doesn't contain any obvious memorable tracks and in that way it resembles the strengths of Hard Nose the Highway from 1973 where it's much about the sum of songs that is the album's real power; however, Common One is in that respect arguably a warmer and better album, imho.
Among his own albums, Morrison is said to hold this as a personal favourite.
[ allmusic.com, Q Magazine 3 / 5 stars ]

Van Morrison "Into the Music" (1979)

Into the Music
release date: Aug. 1979
format: cd (2008 remaster)
[album rate: 4 / 5] [4,16]
producer: Van Morrison, Mick Glossop (ass. producer)
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Bright Side of the Road" (4 / 5) - 2. "Full Force Gale" (4,5 / 5) (live) - 3. "Stepping Out Queen" (4 / 5) - 4. "Troubadours" - 6. "You Make Me Feel So Free" (4 / 5) - 7. "Angeliou" - 8. "And the Healing Has Begun" - 9. "It's All in the Game"

11th studio album by Van Morrison originally released on Mercury Records is almost as the Morrison tradition prescribes: something else as he has hardly ever released two consecutive albums in the same genre and style. It's always build on a singer / songwriter formula, and quite often, as is the case here, he incorporates rhythm & blues and soul. Compared to his previous and rather successful album Wavelength from '78 he has sort of summed up things on this one. Although, he had just produced his so far most mainstream pop / rock album ever, and to much success, he has abandoned that style with Into the Music, which is a way of saying: "that wasn't me - now, let's dig into the music."
At this point of his musical journey Morrison had left America and returned to the UK, settling in a London-neighbourhood. The songs are both filled with religious / mystic content, which has been central motifs throughout his long career and then celtic folk also plays a strong part on an album that seems to contain both ends of his musical strengths: the strong self-reflections on emotional grounds and the uptempo soulful compositions that recall Ray Charles and Fats Domino as inspirational sources.
The album is rightfully considered one of Morrison's very best and it contains several compositions that have found their way to best of albums, which I initially wrongly thought the album was - all because of the strong songs it contains. Just the first three tracks: "Bright Side of the Road", "Full Force Gale" and "Stepping Out Queen" are top-notch compositions, and the quality of the remaining songs is so high that it's no wonder it received critical acclaim and is regarded a musical cornerstone. Village Voice music critic Robert Christgau argued that the album was his best since 1970's Moondance. Van Morrison has never been a singles hit artist, and the best fairing single from the album was "Bright Side of the Road" reaching number #63 in the UK and number #110 in the US, which seems almost ridiculous. That song also featured as the B-side on "Full Force Gale", which didn't make noteworthy sales, which again proves how singles weren't Morrison's nor the label's concern, but both tracks are natural ingredients on any compilation album encompassing his long career.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

Van Morrison "Wavelength" (1978)

Wavelength
release date: Sep. 1978
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,42]
producer: Van Morrison
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "Kingdom Hall" - 2. "Checking It Out" - 3. "Natalia" - 6. "Wavelength" - 8. "Hungry for Your Love"

10th studio album by Van Morrison originally released on Warner Bros. and with himself as producer sees Van take on a more contemporary pop / rock-styled mix of pop soul and rhythm & blues.
Critics were split when reviewing the album, although, they agreed that it was his clearly most pop-styled album so far, but it turned out as the success he had been looking for as it was his fastest selling album to date reaching 'Gold' status in the US within only three months. The album success made him assemble a backing band and launch on a promotion tour.
It's not one of my favourite Morrison albums. I have always found that it wasn't among his best performances nor displaying his best material. Some compositions are too slick cut and the result is a strange mix of intentional direction. There are some truly heartfelt and strong soul-elements that I really like - even in his most pop-styled songs like on "Natalia" and "Hungry for Your Love", and there are the more r&b-fused energetic bursts like "Kingdom Hall" and "Checking It Out", but then the remainders don't quite fit in with that but are singer / songwriter material that sums it up as a more uneven yet also more mainstream album than eg. A Period of Transition, which in comparison seems more honest. These two albums are very different but I still find it hard to pick which one I prefer, though, they are solid albums.
Now, I really like most of the single tracks on this, but it's not an immediate favourite of mine.
[ allmusic.com 4 / 5, Rolling Stone Album Guide 2,5 / 5 stars ]

Van Morrison "A Period of Transition" (1977)

A Period of Transition
release date: Apr. 1977
format: cd (1997 remaster)
[album rate: 3,5 / 5] [3,44]
producer: Van Morrison & Mac Rebennack (Dr. John)
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: 1. "You Gotta Make It Through the World" - 3. "The Eternal Kansas City" - 4. "Joyous Sound" - 6. "Heavy Connection" (live)
[ full album ]

9th studio album by Van Morrison originally released on Warner Bros. and for the first time in many years an album with a co-producer, which may be a sign of Van's uncertainty concerning musical direction. Anyway, Mac Rebennack, or: Dr. John, who had also featured at The Band's The Last Waltz farewell concert with Morrison in '76. Stylistically, the title suggest what it basically is: an album revealing other influences and something else rather than what you had come to expect from Van the Man. It's like reasoning on his labour with the predecessor, Veedon Fleece - released nearly three years ago, an album that not many of the time really understood, and which have him debating how people have their own expectations. So, in order to make something different, with success, you have to prepare the listener not to expect what is connected with tradition.
The album presents vocal jazz and traditional rhythm & blues in a spiritual shape, which is something different from his previous albums. There's a rock roots sensation to all compositions that you could associate with that of The Band and Dr. John - effectively a strict American tradition.
The album failed as a strong return, and critics found it unfocused and unexciting.
Strong identifying songs may be absent on this album, but it has a warm feel and sincerity, and it's like his most jazz-oriented album to date. I don't find it among his best, but it's an album not to dismiss.
[ allmsuic.com 3 / 5, Rolling Stone 2 / 5 stars ]

Van Morrison "Veedon Fleece" (1974)

Veedon Fleece
release date: Oct. 1974
format: cd (2008 remaster)
[album rate: 4 / 5] [4,08]
producer: Van Morrison
label: Polydor Japan - nationality: Northern Ireland, UK

Track highlights: 1. "Fair Play" (4 / 5) - 2. "Linden Arden Stole the Highlights" (4 / 5) - 3. "Who Was That Masked Man" - 4. "Streets of Arklow" - 5. "You Don't Pull No Punches, But You Don't Push the River" - 7. "Cul de Sac" - 8. "Comfort You" - 10. "Country Fair"

8th studio album by Van Morrison originally released on Warner Bros. is a side-step to his more introvert compositions as heard on Astral Weeks, though the music here seems more bound to his Celtic background. Already, Morrison has been engaged in and has worked with many musical styles. Sometimes he turns to blues, soul, rhythm & blues, folk, celtic folk, but he always has his singer / songwriter profile whatever style he embraces and on Veedon Fleece he dwells more than ever before on ancient roots of his homeland without making it entirely celtic folk as on his later collaboration work Irish Heartbeat with The Chieftains. There's often acoustic guitar or piano up front combined with flute and string arrangements making it his most chamber or in those days: baroque-styled album.
Since his move to America in the late 1960s Morrison hadn't been back in Ireland, but a divorce and a physically exhausting tour in '73, which had produced his great live album It's too Late to Stop Now!, made him withdraw from the limelight and during a vacation in Northern Ireland, he found peace and room to write the majority of the tracks for this album.
Veedon Fleece wasn't met by critical acclaim or huge sales numbers but over time it has grown to be mentioned as a 'forgotten' masterpiece. As a contemporary rising solo artist, Van was expected to deliver strong and short soul-based songs, which could be linked with Them, but this as Astral Weeks weren't seen as the great albums that time would later have them positioned as.
After the album release and after luke-warm to negative reviews and poor sales of his most recent and emotional album Van Morrison withdrew from the music industry. He didn't launch on any new tours; in fact, the only live performance he made in a three year period was his appearance in The Band's acclaimed The Last Waltz concert in 1976.
Although, I have only come across the album in recent years, and after having settled with the greatness of Van the Man through many of his other albums, this is just another of his truly great albums that I shall never tire off. Listening to it, is like opening a window and feel how a delicate breeze change the air without a lot of turmoil, and it's easy to imagine open green fields and a desolate country-side, which may / may not have inspired him on his three weeks return to Northern Ireland back then. It's an album full of sentiments - a bombardement to your senses. In retrospect, I kind of understand how music critics and fans were disillusioned wanting to have him at 'full force gale' - but they were only in need of time to understand his true nature and vast repertoire.
It's hard just to pin out the very best tracks on this 'cause it's really like going through a novel - it takes you to places and the journey is just the way it is. There are no jumps or U-turns or mistakes along the road, but it's there, laid out for you, and the journey is so damn fine.
Highly recommended.
[ allmusic.com 4,5 / 5, Record Collector, Rolling Stone 4 / 5 stars ]

Van Morrison "It's Too Late to Stop Now" (1974) (live)

It's Too Late to Stop Now (live)
release date: Jan. 1974
format: 2 cd (2008 remaster)
[album rate: 4 / 5] [4,12]
producer: Van Morrison, Ted Templeman
label: Polydor Records - nationality: Northern Ireland, UK

Track highlights: Disc 1: 1. "Ain't Nothin' You Can Do" - 2. "Warm Love" - 4. "These Dreams of You" - 9. "Domino" - 10. "I Just Want to Make Love to You"
Disc 2: 2. "Saint Dominic's Preview" - 4. "Listen to the Lion" - 5. "Here Comes the Night" - 6. "Gloria" - 7. "Caravan" - 8. "Cypress Avenue"

1st live album by Van Morrison originally released by Warner Bros. as a double vinyl album with a playing time above 90 mins. The album is not taken from one specific concert but is a compilation of 4 live recordings from May to Jul. 1973 held at three different locations: The Troubadour, LA., California (May 23rd); Santa Monica Civic Auditorium, SM., California (May 29th); and Rainbow Theatre, London, England (Jul. 23rd & 24th). The title comes from the 10:20 mins long version of "Cypress Hill", a fan shouts "Turn it on!", Van positively replies "It's already turned on," and seconds later shouts: "It's Too Late to Stop Now!"
The album is said to have been recorded at the time of Morison's peak and it's one of the most acclaimed live albums of popular music and it's featured on many best of lists. It's the third Van Morrison album to be enlisted in "1001 Albums You Must Hear Before You Die".
I only came across this album in recent years and up until then only knew his fine 2-disc live album A Night in San Francisco from 1994, which is truly great, but this is really not an album to miss out on. I understand the critics point to the sensation that he was at the heights of his performance strengths in the early 70s, although, with Van the Man it seems he just didn't dive after that. I saw him at a concert in Denmark back on Sep. 9, 2000 where he completely blew everyone away, and from listening to his albums after the new millennium it's only amazing how he has been able to keep such standards to his ever-expanding repertoire.
I can't really tell which album I prefer of the two great live albums 'cause they both document his skills in different ways. This one serves to document his singing strengths and it showcases one great song after the other  - and so does his '94 album, only that one is with emphasis on his later material.
This album is a must. Buy it, get it, put it on and put it on repeat!
[ allmusic.com 4,5 / 5, Q Magazine, Record Collector, Rolling Stone 5 / 5 stars ]