Dez's Top Rock/Pop Artists, #14: Van Morrison

The Live Experience

Van Morrison has released four official live records so far (although he has appeared on more as a partner with some other artists), each one in a separate decade. 1974’s It’s Too Late To Stop Now is rightly regarded as one of the greatest live records ever released. 1984’s Live at the Grand Opera House Belfast, 1994’s A Night in San Francisco and 2009’s Astral Weeks Live at the Hollywood Bowl all followed. Coming at these different milestones in his long career, I think they are instructive as to his evolution as an artist.

Van’s peak as a performer and artist was approximately 1965 (starting with his brief stint leading the raucous R&B band Them) through to the beginning of his brief self-imposed hiatus in 1974. The great Them singles and the nine solo records that he released during that ten year period stand up against anyone’s body of work over the same amount of time. Van followed his unique vision of Celtic soul music, taking that majestic voice to places few artists dared to go. It’s Too Late To Stop Now is the culmination of that journey, and over the course of two records it explores all facets of his music up to that point. While a few of the blues and R&B covers are run of the mill (“I Just Want To Make Love To You,” for instance), the others are as great as the originals, if not better. That is a bold statement, considering that he covers Ray Charles, Sam Cooke and Sonny Boy Williamson. His version of “Bring It On Home To Me” is a brilliant slowburn soul number that brings new depth to the Cooke original. The real showstoppers are the extended explorations “Listen To the Lion” and “Cyprus Avenue.” It is remarkable how personal and brave these versions of these songs are, with Morrison going deeper into himself than I’ve heard any rock artist do on record. And this was in front of an arena full of people, not in some smoky, safe studio cocoon. It’s Too Late To Stop Now is one of our greatest artists at the peak of his powers. Not to be missed.

1980’s Van Morrison is challenging, no doubt. This was the height of his spiritual quest, and he went on that quest through his music, not really caring whether we (the fans) liked the music or not. It was actually during the 80’s that Van really got his reputation as a “difficult” artist. He felt outside the music that had made him famous, and gave a series of rather condescending interviews about his music being beyond rock and roll and something more. But he was kinda right. Live at the Grand Opera House Belfast is not the easiest record to get into. It does not grab you with its obvious brilliance like It’s Too Late To Stop Now does. He performs none of his hits (save the minor single “Full Force Gale”), instead focusing on his most recent three or four records. I have grown to really love this record, it is intimate and warm if you are willing to go with Van on his spiritual trip. Much of it is subtle and quiet, you have to be willing to give it its due attention, but it rewards if you do.

1994’s A Night In San Francisco gives us Van in full entertainer mode. It is probably his most joyous live record, a sprawling two disc set that unfolds like a R&B/soul revue, with many soul medleys and with Van generously giving his band space to shine. (He plays “Tupelo Honey,” but lets one of his band members sing it while he takes a breather!) Van has never sounded happier or more relaxed on record, hence this is by far his least consequential live album. He’s having fun, but he’s also going through the motions and putting on a show vs. taking his audience with him on a journey that is risky and revealing, as he had done on his previous two live records. I guess that feeds into the old cliché that happy and content people don’t often make great art.

Finally, 2009’s Astral Weeks Live at the Hollywood Bowl is in interesting ride. It is not quite like other live records, because it revisits just one of his albums. Music fans know that 1968’s Astral Weeks remains one of the most gorgeous, impenetrable and mysterious records ever released. So it is interesting to see how he chooses to revisit it 40 years later. Thank God he doesn’t view it as a holy relic not to be changed. Van plays with Astral Weeks here like a great jazz musician might revisit some of his own standards onstage. He explores and tinkers and it is wonderful. He reorders the track order, slows down the fast songs, speeds up the slow ones, and uses some songs for platforms for exciting improvisations (“Slim Slow Slider”). While this record cannot replace the brilliant original (it is not meant to), fans of the original have to appreciate and enjoy what Van does with Astral Weeks here.

Interesting note: my absolute favorite live Van Morrison song does not even appear on one of his own albums. Van’s joyous rendition of “Caravan” with The Band on The Last Waltz is Van at his live best. It is fun to watch too, with his purple, glitter leisure suit.


ABOVE: "Caravan" with The Band from The Last Waltz

What To Listen To:
Man, this is tough. Van Morrison has released 40 records (not including compilations) so far, and most of them have at least a few tunes that are great. Most of them also have some filler. Which is why Van Morrison, more than anyone I can think of, really deserves the deluxe boxed set treatment. It hasn’t happened yet. Anyway, 1965-74 is essential Van. Any Them compilation will include the essentials, such as garage classic “Gloria,” “Here Comes the Night,” “Mystic Eyes,” “Baby Please Don’t Go,” and their gorgeous take on Dylan’s “It’s All Over Now, Baby Blue.” Hard to get better than Morrison singing Dylan. Astral Weeks is discussed above and stands alone in rock music, Moondance is probably his most popular record and is a tour de force of prime Van. After that, His Band and Street Choir is probably his most joyous R&B-influenced album. St. Dominic’s Preview is a personal favorite of mine, quite eclectic but excellent from start to finish, with some moments of transcendence. The mostly acoustic Veedon Fleece is a favorite amongst the Morrison faithful, but it is often forgotten by the general public. It comes the closest to Astral Weeks in feel. Things get more spotty after 1974. Into the Music is a great, great later period Van Morrison album, by turns joyful and contemplative. From the 80’s, I think that Beautiful Vision best captures his spiritual quest, and also captures some of that Celtic soul. It is a quiet record, but quite beautiful in parts. None of the available compilations do Van justice, almost all of them are randomly sequenced. I guess the two disc Still on Top – The Greatest Hits does the best job, but it just scratches the surface, really. With Morrison, some of his most compelling moments are not found in the hits. Of the live records, obviously It’s Too Late To Stop Now is a must. I would recommend Live at the Grand Opera House Belfast if you are interested in what Van was about during the 1980’s, and Astral Weeks Live at the Hollywood Bowl is fun for fans of Astral Weeks.