02-Jul-10 Hop Farm Festival Kent, England Concert Review

Nosey's Review: Van came on ON time as usual, sat down at the piano and played Northern Muse (Solid Ground), then got up and moved to mic centre stage for Brown Eyed Girl which went down a storm with the "Festival" crowd, who finally stopped talking and starting singing along. This was not going to be a transcendental performance, the crowd wouldn't let Van take the music anywhere else (Down to the silky lower levels or any of those long drawn out places that we love to go). When he tried, the crowd (where I was standing) just got bored and continued to chatter amongst themselves.
We did, however get an "Entrainment", and (to me) and extraordinary introduction to "Into The Mystic" (I say that because I have heard any shows apart from Hampton Court this year). We got (not in any order) "Keep It Simple", Moondance" "The Mystery" "Help Me" and the show ended with "In The Garden", fitting in with the surroundings. No encore although the audience did try to get him back, but by the time they'd realised he wasn't, Van was probably on the motorway home.

Tony's review:Van Morrison and his band were sensational. The music was beautiful, it touched my soul. Why should he have to connect with the audience by speaking with them? It is so not necessary when he connects through the beauty of his music. He received a rapturous response. My only criticism is that it wasn't loud enough and I'd question having him on the same bill as Blondie. There were a lot of people in the audience who had no appreciation of an artist like Van Morrison - mainly rowdy young intoxicated males who thankfully, after two or three songs became bored and retreated to the bar. as for Brown Eyed Girl, by Van's own admission it is far from being one of his best songs and was probably performed for the benefit of the masses.

Irish Independent
Reclusive singer Van Morrison emerged from the Dalkey mansion he shares with his wife Michelle to headline his friend Vince Power's Hop Farm Festival on Friday night.

It seemed that Van had gone to ground since that ridiculous baby story broke last December. So it was good to see him back on the road.

He flew in from Dublin on a private jet on Friday afternoon to a private airport with his long-time personal manager John Rogers. He went to a hotel and rehearsed with his band for the afternoon.

I had travelled to Kent on a hopeless mission: maybe I might get to talk to Van for a few words about life or Yeats -- or, maybe, why his wife is suing Dun Laoghaire Rathdown County Council over the trees and shrubbery between their home and neighbours.

The backstage area was sealed when Van arrived. No one in. No one out. It would have been easier to get President Obama on the phone for a chat.


From about 70 metres away I saw him arriving backstage, dressed in a white suit and a hat to match. Van, who is not exactly snake-hipped, looked like a West Belfast butcher on a stage weekend in his suit.

Spread out in front of him was a devoted and rustling horde of 25,000 fans. They all started to dance in unison as he burst into a soulful version of Brown-Eyed Girl. He played Have I Told You Lately That I Love You and the whole south east of England seemed to be dancing in ecstasy.


Van is Ireland's greatest ever singer -- and it showed amid the lush landscape and rolling fields. He played the sax and he moved about a little on the stage. Van doesn't do dance. Movement embarrasses him. Just as well. He then played a soft, serenely perfect version of And the Healing Has Begun. "I want you to put on your pretty summer dress,'' he sang, "You can wear your Easter bonnet and all the rest ... and I wanna make love to you, yes, yes, yes when the healing has begun."

I kept expecting to see a breathless Michelle prancing about the sunset-dappled hill in a billowing summer dress, silk ribbons in her hair, and her decolletage showing off bosoms as smooth as freshly plumped pillows.

Then the Belfast bard flung himself with great gusto and dash into Moondance. And yes, the moon deigned us with her presence as Van sang those beautiful words. And there were tens of thousands who agreed with Van that it was a marvellous night for a moondance, a fantabulous night to make romance.
- BARRY EGAN in Kent

Uncut:
He’s sitting at a piano, resplendent in a white suit that probably fit when he bought it and a matching hat. He looks positively regal, soul royalty with the imposing heft of Solomon Burke and a voice that remains a thing of time-defying wonder.

He’s feeling his way into a magnificent version of “Northern Muse (Solid Ground), a sweet meandering through many familiar aspects of his music. And now, here’s a surprise: a funky, sultry take on “Brown Eyed Girl”, ungrudgingly played, as if this beautiful summer night has taken the edge of even his legendary truculence. The audience accept it as the rare gift it might actually be.

And here’s something else I wouldn’t have expected, a long, mesmerising version of “Fair Play”, the opening track from Veedon Fleece that drifts and circles, falls back upon itself, any given moment from the original script likely to inspire some digressive extrapolation, gusts of extemporised brilliance, no telling where any of this will go. His voice glides breathlessly through changing stratospheres as effortlessly graceful as something with wings riding currents of air.

It ends when he decides it’s over, with the clipped instruction to someone called Chrissie to say goodnight.

Van’s surlier side, whatever the weather and even on a might as magical as this, is never, I guess, that far away. And after a beguiling “The Mystery”, from Poetic Champions Compose, we get an angry “Keep It Simple” and the bitter rant of “Talk Is Cheap”. Then there’s a gorgeous “Have I Told You Lately?” which gives way to a seething “Tear Your Playhouse Down”. The extended joyful vamp of “Moondance” is perfect, of course, in this setting, a cool swinging celebration that carries over into “That’s Entertainment”, which in turn is followed by the questing beauty of “Philosopher’s Stone”.


A stalking bass line introduces “Baby, Please Don’t Go”, with Van on electric guitar, the song segueing into a jumping “Parchman Farm”, which is followed by a long and unbelievable version of “Into the Music” that unfolds slowly, revealing itself incrementally, the few brief minutes of its original incarnation extended in the manner of something like “Almost Independence Day”.

As the song drifts into silence, I can’t imagine for the moment he could do anything better. But he does, with the sublime “When The Healing Has Begun”, from 1979’s Into The Music, and then a sublime “In The Garden”, from No Teacher, No Guru, No Method.

It’s his also his last number, so there’s no encore either. When he walks off stage, the band still playing, he stays there. But there’s nothing as there sometimes might be that’s churlish about his departure. He came to do what he does, did it wonderfully and then it was time to go.
-Allan Jones

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Keep It Simple
Talk Is Cheap
Have I Told You Lately
Playhouse
Moondance
Entrainment
Philosopher's Stone
Baby, Please Don't Go
Into The Mystic
Healing Has Begun
In The Garden

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

{Thanks to Maurice for photos}

Van Photo Of The Day

Phil Lynott, Marie Osmond & Van Morrison. London 1979.

12-Jun-10 Norwegian Wood, Oslo, Norway Concert Review

Correspondent Michael C. sent this review:

Mellow musical magic
A crowd of around 6,000 had gathered on Saturday evening to welcome Van back to the Norwegian Wood festival, scene of some of his memorable concerts during the late 1990s.

The persistent rain of the previous 24 hours had mercifully stopped by nine when the gig commenced. The stage is located at the base of a gentle sloping field and the concert area forms a natural amphitheatre. A perfect setting for Van and his fantastic band, aptly compared by one Norwegian reviewer to a jazz/folk/blues chamber orchestra

Highlights this year were a beautifully lilting “Fair Play”, another marvellous rendition of “Moondance” – how many times have I heard this song live, and yet always with a new arrangement – plus a fresh take on “Baby Please Don’t Go” that merged into “Parchman Farm”. There was in fact a nice blend between the crowd pleasers and the surprises.

On a personal note, there is one number I would love to hear this particular band perform: “Autumn Song” from “Hard Nose The Highway”. Has it ever been played live, I wonder? It certainly stems from that same mellow period as the “Veedon Fleece” repertoire, which has been a notable feature of this and recent concerts.

Throughout the performance Van’s voice was powerful and evocative, his phrasing and inventiveness as compelling as ever. The ninety minutes were over all too soon, but we were treated to a tremendous finale with one of my, and many other fans’ all-time favourites, the exquisite “In The Garden”. Van slowly left the stage, leaving his superb, hard-working band to play on for a little while longer to the accompaniment of some rapturous applause.
-Michael C.

Jens sent in his review:
Had been raining all day. Dark clouds covering the sky. Looked like an evening one could not expect much from. Suitable for staying in doors with a bottle of wine and a mystery story. Raymond Chandler's "The Killer In The Rain". There are two artist capable of catching magic. One by words, Chandler, the other by music, Van Morrison.

Last time Van played in Oslo, the magic was wearing thin. One could have been better off listening to muzak in an elevator. Now, some years later, with the rain pouring down, attending an outdoor concert by the very same Van was not tempting. But tickets had been bought, other engagements canceled and being a student at the school of hard knocks, there was no talk off turning back.

Right before the concert started, the rain stopped. The clouds did not lift, but the darkness kind of drifted away. One by one the musicians entered the stage. Jay Berliner sat quietly down on his stool. David Hayes picked up his bass. It all happened so casually the audience did not pay much attention. Then Van entered the stage and the evening became full of magic. It was poetry, rythm and blues, jazz, rock and more poetry; in the voice, the words and all the time in each and every note.

The music carried us from the etheric dreams of Astral Weeks to the confinement of Parchman Farm. From up above Bukka White tipped his hat. Sonny Boy appeared in Help Me, and walked with us through a short visit to Lonely Avenue, before we were transcended in the garden, wet with rain. A phenomenal concert. If you don't know what a 'killer in the rain' looks like, then watch out for a guy with hat, sunglasses, a long scarf around his neck, playing a white guitar.
-Jens D.

Setlist (Thanks Michael C.)
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Astral Weeks->Purple Heather
Moondance
Have I Told You Lately
Into The Mystic
Talk Is Cheap
Keep It Simple
School of Hard Knocks
Baby Please Don't Go->Parchman Farm
Playhouse->Lonely Avenue
Help Me
Ballerina
In The Garden

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

10-Jun-10 Hampton Court Palace, London, England Concert Review

Daniel R. sent in this review:
Although it was a bit disappointing to be at a beautiful venue like Hampton Court Palace and to have fairly miserable weather, the mood at Hampton Court was good and the crowd were clearly looking forward to the Van show. This was borne out by the fact that the majority of people dotted around the picnic area had brought rather impressive arrays of picnic food with them and were making the most of the elegant surroundings. The rain and drizzle was clearly not going to dampen everybody’s spirits.

Before the show started, the crowd who seemed to be comprised of varying ages, made their way into the beautiful palace courtyard area. The stage and the seating area was nicely laid out and gave a nice feel of intimacy to the show.

As ever, Van rocked up on stage almost dead on time, surprisingly not in his usual resplendent black outfit, but actually sporting a combination of green coloured trousers, leather jacket and of course the ubiquitous fedora and shades.

Anyone who has ever seen Van before will be aware that he likes to get straight on with things and isn’t really one for engaging with the crowd or for that matter, acknowledging them.

As was expected, he manned the piano for the first number, Northern Muse (Solid ground), which felt a little bit bumpy and he seemed to show signs of weariness as would be expected in consideration that it is has been his standard opener for at least the last year . In fairness, the mood wasn’t really settled as latecomers were still streaming in trying to locate their seats. It was a bit distracting from where I sat, but it didn’t seem to phase Van and he marched on.

Without pausing for reflection, the evening moved swiftly into ‘Brown Eyed Girl’, which was very well received. It did occur however that over the course of the evening, the well known hits like ‘BEG’ and ‘Moondance’ seemed a bit patchy and strained. There seems to be an irony with these types of tunes because performers like Van no doubt receive a lot of pressure to play the old favourites rather than trying to educate the crowd with some of the more obscure and forgotten songs, yet the billionth rendition of the classics is bound to be somewhat stagnating for performers of Van’s lengthy experience and obvious need to reinvent and stretch himself.

It did seem that Van hit his stride though when he went into numbers like ‘The Mystery’, which felt far more coherent and got things on track and there was definitely some very magical moments. ‘Slim Slow Slider’ stuck out as a high point as did the rendition of ‘And The Healing Has Begun’, which was beautifully augmented by a slower, darker version of ‘Burning Ground’. The lyrics came across very well and definitely added a very haunting feel to that part of the evening, particularly in the regal surroundings.

Like the beginning, the end was familiar and before we knew it, Van was rattling through ‘Help Me’ and as normal, the proceedings were brought to a conclusion with ‘Gloria’. As ever, there was no bidding of farewell from Van who ducked out several bars before the conclusion of ‘Gloria’. The likelihood of an encore was never really in doubt.

Great news that Van has announced a further UK date at the Royal Albert Hall, I now feel less envious that the US had so many dates this year and look forward, as ever to witnessing more of the magic of Van Morrison.
-Daniel R.

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
Mystery
Moondance
School of Hard Knocks
Keep it Simple
Astral Weeks->Purple Heather
Slim Slo Slider
Ballerina
Healing Has Begun->Burning Ground
Help Me
In The Garden
On Hyndfrod Street
Gloria

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

Hymns to the Silence: Inside The Words and Music of Van Morrison

"It's a critical study, not a biography."says Peter Mills who teaches at the School of Cultural Studies at Leeds Metropolitan University of his latest book, Hymns To The Silence: Inside The Words and Music of Van Morrison. While books on Van have never been discussed on this blog, I feel this book deserves recognition for focusing strictly on Van's incredible body of work.

The book takes several intriguing angles. It looks at Morrison as a writer: specifically as an Irish writer, who has recorded musical settings of Yeats poems, collaborated with Seamus Heaney, Paul Durcan and Gerald Dawe, and who regularly drops quotes from James Joyce and Samuel Beckett into his live performances. It looks at him as a singer, at how he uses his voice as an interpretive instrument. And there are in-depth chapters on his use of mythology, on his stage performances, and on his continuing fascination with America and its musical forms.

Hymns to the Silence is a detailed investigative study of Van Morrison’s remarkable career. Mills engages with his subject in a fresh and accessible style – often challenging the received wisdom. He looks at Morrison as a songwriter and specifically as an Irish writer, yet one who has worked primarily with American musical forms. Key themes and motifs are examined, as well as the ideas of place, home and exile and Morrison’s periodic use of through-composition in major case studies of four of his best-regarded albums. Each section is full of detailed scrutiny and illuminating examples drawn from right across his recording and stage career, including his 2009 return to Astral Weeks. The book is also studded with fresh and original quotes from people who know about the music, including Maria McKee, Kevin Rowland, Kate Rusby, Ben Sidran, and Fiachra Trench.

If you love Van's music, then you will treasure this great book.

Available at Amazon.com

Van & Solomon Burke To Collaborate Later This Year

Japan Times
Burke continues to embrace new projects and challenges. Next up is a collaboration with Celtic soul legend Van Morrison.

"Van has been one of my angels," Burke enthuses. "We've done several things with him. We're getting ready to do 'The Lord's Will,' a live album later this year. I'm keeping my fingers crossed on that. A lot of good things we're doing. We're also doing something with Joss Stone. It's gonna be an exciting year and we're starting it off in Japan. That's what makes it more exciting."

07-May-10 Verizon Wireless Amphitheatre, Atlanta, USA Concert Review

Here's Mary's review:
It was the first concert of the year at the Verizon Amphitheatre and the locals were ready to party. Since Van wouldn't have the bars open during his show a lot of people were loading up beforehand some were even carrying whole cases of beer into the show! I feared the worse.

As soon as we took our seats well before start time we knew we were in for trouble. There were groups of people all around us who were talking loudly, most already drunk, some on their cells, and others already standing up dancing! Just my luck the guy with a case of beer was in front of me.

People were still dragging in well into the 4th song and most were going to the bathroom all during the concert. I kept looking at the lines and it never slowed from start till finish. An usher got onto a guy sitting behind me in the middle of the show for taking pictures and another had to get onto the people on Donnie's left for using their cell phones for pix.

A couple on our right who were around our age had come from AL and it was their first Van show. They were so excited to finally see Van but left in the middle of the show disgusted because of the bad crowd around us. I told her to zone it out and watch the monitor since we couldn't see over the heads of those standing but I guess she thought they paid for better than that. I did too.

I knew from the start that due the crowd and venue we would get a festival type show and we did. Yes, the set list was great and held a lot of promise and after Van got the crowd pleasers over with early I hoped he would get on into some of the gems. But it was not to be. The music was incredible as usual and Tony and Jay really stood out to me. Van was in good voice but didn't put any heart into the songs. I actually think he let everyone in the band take a solo on each song. They certainly carried the show! There was no workshop or stretching out of any song and if there was I missed it due the uproar around us.

I've said before that a bad or average Van show is still better than most anything else and I guess that's still true for me because of the quality of the music. But it's getting pretty old wading thru the mediocre shows hoping for one where he actually shows up.

After the outdoor Festival in Toronto in '05 we swore off those types of shows. Now we're done with seeing Van at large Amphitheatres! I just don't think these types of venue suit him or showcase his style of music. Maybe we're just getting old but I don't think so.

I sure hope the next time Van plays the states, and we can make it, that it will be in a nice theater. I want the shivers up and down my spine...at least once in awhile.
-Mary B.

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Moondance
Fair Play
The Mystery
Talk is Cheap
Keep it Simple
School of Hard Knocks
Have I Told You Lately
In the Garden
Playhouse
Georgia
Help Me
That's Entrainment
Slim Slow
Ballerina
Healing Has Begun

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

05-May-10 Hard Rock, Hollywood, Florida Concert Review

Miami News Times
Preceded by a reputation as one of contemporary music's most distinctive voices - as well as one of its most curmudgeonly characters -- Van Morrison's first visit to South Florida in recent memory promised to be an auspicious event. After all, with a repertoire forever etched in the pop canon, Mr. Morrison had ample reason to indulge the audience -- many of whom knew him only on the basis of songs like "Brown Eyed Girl," "Moondance" and "Wild Night," as well as classic collections like Astral Weeks and Tupelo Honey.

On the other hand, he had the option to delve deeper into the rambling trajectory that's guided him ever since those initial efforts, much of which took him out of the commercial mainstream and splintered his following. Knowing his penchant for the unpredictable -- this is the same guy who opted out of participation in the Rock 'n' Roll Hall of Fame 25th anniversary gala for reasons still unknown -- there was no way to predict what he would provide the audience, or for that matter, if he'd only opt to go through the motions.

What ultimately transpired was a bit of all the above via a highly articulate display of musicianship that drew fairly equally from his vast catalogue. While those hoping to hear the hits got only a hint of his better-known repertoire -- "Brown Eyed Girl" early on and then the one-two punch of a swinging rendition of "Moondance" and a surprisingly vibrant take on "Have I Told You Lately" -- most of the set avoided his chart fare entirely.

Still, Morrison and his crack six piece band -- Jay Berliner (guitar
), David Hayes (acoustic and electric bass
), Bobby Ruggiero (drums), Tony Fitzgibbon (violin), Richie Buckley (flute, saxophone)
 and Paul Moran (piano, trumpet, organ) -- were exceptional throughout, conveying the sweep of even his most celestial material with a passion and dexterity that was dazzling in its designs. "In the Garden" and "Foreign Window" received rousing receptions, the audience leaping to their feet in response to stirring performances that brought the material to a rousing conclusion by virtue of sheer virtuosity and an innate connection between the instrumentalists themselves.

Even so, there was something missing, that being any attempt by Morrison to engage or, it seemed, to even acknowledge his audience. From the moment he appeared at 8:03, even as the audience was still settling in its seats, until he abruptly exited, leaving the band to finish the final selection and the lights to go up without an encore an hour and 45 minutes later, he only addressed the crowd once... and that was to briefly introduce "Keep It Simple" by simply announcing the song title.

Dressed in a white suit, white fedora and shades (looking part Colonel Sanders, part Pillsbury Doughboy, part Vegas entertainer), he fastidiously immersed himself in his performance, deftly shifting from piano to sax to guitar and harp, literally without missing a beat. His vocals were as pliable as ever, still the molasses-soaked mesh of a bluesy howl, an emotional plea, and on "Have I Told You Lately," a guttural rumble that added a momentary hint of amusement. Yet, while he generously shared the spotlight with the band, giving each musician ample opportunity to solo, he never introduced the individual players, leaving them all but anonymous despite their exceptional contributions.

Ultimately, Morrison proved he's still the master of his craft, a man who fluidly ambles between genres, from rock and pop to jazz and Celtic to basic R&B, all with the skill of a seasoned survivor. Yet, he steadfastly retains his aura of absolute aloofness and deliberate mystique, never revealing himself in anything more than his music. "Going down to Florida, going down to Florida," he rambled on the bluesy "Playhouse," briefly offering the crowd a connection worthy of a cheer. And yet, for all the exceptional effort it took to get there, he never quite made it all the way to their collective embrace.

Personal bias: "In the Garden was an unexpected highlight with its rousing refrain of "no guru, no method, no teacher," and yet, the absence of songs like "Domino," Saint Dominic's Preview," Caravan." "Into the Mystic" left diehard fans feeling less than satiated.

Random detail: Morrison's strict regimen extended far from the stage. Signs littered the foyer alerting the audience to the fact that no camera or smart phones were permitted, by the artist's own request. Odder still, liquor sales were ceased as soon as he hit the stage. And even the light of a cell phone was enough cause to summon the security personnel.

By the way: Bassist David Hayes has been with Morrison practically since the beginning, but clearly each of these players were capable of recreating any of the songs Morrison might have mustered.
-Lee Zimmerman

Setlist (Thanks Mike)
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk is Cheap
Keep It Simple
School of Hard Knocks
Moondance
Have I Told You Lately
In The Garden
Foreign Window
Playhouse
Help Me
Healing Has Begun
Slim Slow Slider
Ballerina

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

03-May-10 BJCC Concert Hall Birmingham, Alabama Concert Review
The Birmingham News
He looked short, doughy and fairly impassive on stage.

He wore sunglasses, so you couldn’t see his eyes, and a black fedora clamped down on his round head.

He turned his back to the audience several times, tucked into the snug pocket of his six-member band.

He didn’t chat, introduce songs, tell stories or even try to be ingratiating.

Somehow, though, Van Morrison worked magic, and the spell he cast was mesmerizing Monday night at the BJCC Concert Hall.

The Irish singer-songwriter, 64, is a unique talent, with a voice like no other and a vibrant songbook that spans blues, R&B, rock, soul, jazz, folk and country.

His grumpy and irascible temperament — almost as legendary as his music — might lead casual fans to believe Morrison is aloof and uncaring in performance, but he’s extremely passionate in his own way.

Morrison’s 90-minute show here, which started precisely at 8 p.m., proved that fact in abundance.

Each song the frontman and his band presented was rendered with strong emotion and impressive skill, from "In the Garden" to "Help Me" to "Keep It Simple" to "Playhouse" to "School of Hard Knocks" to "And the Healing Has Begun."

One tune flowed into another, just about seamlessly, and the highly connected ensemble played a plethora of instruments: saxophone, violin, mandolin, harmonica, flute, piano, clarinet, bass, drums and guitar.

Yes, Morrison offered a sampling of his most popular hits — "Moondance," "Brown Eyed Girl," "Gloria," "Have I Told You Lately" — and his slurred honey vocals were placed front and center in the sound mix, just as they should have been.

He’s never performed in Alabama before, so this Birmingham concert was an occasion with a capitol O, freighted with high expectations and ticket prices to match. (Premium spots in the 3,000-seat venue cost $373 each.)

Was Morrison worth it? That depends on your perspective, and of course, your pocketbook.

One thing is certain, however: This was an evening of jaw-dropping musicianship, and it eclipsed Aretha Franklin’s Sunday performance in the same venue, absolutely and completely.

-Mary Colruso

Kristy sent in this review:

On Monday night in Birmingham, Alabama, sixth row dead center in front of the gold VM on his microphone stand, I saw an artist who cared so deeply about the performance as to [attempt to] make it perfect, accompanied by six of the most talented musicians I've ever had the privilege to hear. Van, in his own right, is an incredible musician. I cried, I laughed, I was moved...it was the most magical musical experience I have ever had. I don't know what Van sounded like live thirty or forty years ago, but I can't imagine him any better than he was in Birmingham. Monday night his voice was clear, his mood was good, and he delivered like only he can. He even smiled once! And to the accusations that he NEVER does an encore, well, Van came back with GLORIA for an encore!!! The entire crowd was on their feet, singing and shouting along and the joy of it was overwhelming. He had us all in the palm of his hand, his spell cast over us. I truly thought seeing him once would satiate my desire to see and hear him live. Little did I realize that Monday night's show would create a bigger desire to see him live again...and again. It far exceeded any expectations and touched me deep down in my soul. Thank you, Van Morrison and thank you to the band. Fantabulous, beginning to end!!

-Kristy H.

Setlist (Thanks Jeff)
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk Is Cheap
Moondance
Keep It Simple
School of Hard Knocks
Have I Told You Lately
In the Garden
Foreign Window
Playhouse
Help Me
And the Healing Has Begun
Ballerina
Gloria

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

02-May-10 New Orleans Jazz Fest Concert Review
NOLA.com
Van Morrison holds New Orleans Jazz Fest in the palm of his hand
Van Morrison obviously believed what he was saying when he jumped into "Talk is Cheap" on Sunday afternoon at the New Orleans Jazz Fest presented by Shell..

Dressed in a black suit, black hat and dark sunglasses, Morrison rarely acknowledged the audience, evening turning his back while playing and singing, but he and his tight seven-piece band -- also all in solid black -- were completely invested in giving the Jazz Fest crowd a beautifully paced set of Morrison songs -- a mixture of 60s favorites and work from his later albums.

The famously moody musician opened his one-hour set a few minutes early to a large crowd standing in a light, but persistent rain, with a lilting "Northern Muse" from his 1980s "Beautiful Vision." But, he grabbed longtime fans by making his next tune the cover-band staple 1960s' hit "Brown Eyed Girl."

Morrison's voice sounds remarkably unchanged and he reminded the crowd of his skill as a musician: Seven minutes in he had already moved from piano, to guitar and to alto sax.

With no new material to promote, it was difficult to know what to expect from the Belfast, Ireland-born Morrison, who grabbed the spotlight in pop music when he fronted his Irish band Them, producing the 1964's hit "Gloria" -- covered by everyone from The Doors to Bruce Springteen to AC/DC.

On Sunday, he treated the crowd to a few of his '60s tunes, including the always-sexy "Moondance," giving it a jazz treatment that had the crowd moving and grooving in the mud.

The singer-songwriter's poetic slow tunes feel as though they were written to be heard while standing in the rain. When he and the band picked up the pace, the crowd responded by switching from swaying to jumping and bopping along.

Mid-set, he said leaned into his shiny gold microphone on a gold stand emblazoned with a gold VM and said his one comment to the crowd and it was something like: "We'd like to do an old New Orleans tune... We're here, why not." The band moved into a slow, sad "St. James Infirmary," with Morrison playing sax and mournfully singing the famous tune.
.
He drew heavily from his latest albums including the bluesy "School of Hard Knocks" and "Keep it Simple" from the 2008 album of the same name. If any fans were disappointed by missing hits such as ''Into the Mystic," ''Domino" or "And It Stoned Me"... it didn't show.

He wrapped the one-hour show with "Ballerina" from his iconic album "Astral Weeks," picking up the microphone and singing the lyrics as he strolled off stage as the crowd clapped and hooted for more.

No last bow. No last words -- just his music.
-Ann Maloney

[Thanks to Art for the photos!]

Setlist:
Nothern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk is Cheap
St James Infirmary
Moondance
Have I Told You Lately
Keep it Simple
School of Hard Knocks
Help Me
Healing Has Begun
Ballerina

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano

01-May-10 Woodlands Pavilion, Houston Concert Review
Culture Map
Brief but beautiful: Inscrutable Van Morrison lets his music do the talking

Houston fans of the musical icon Van Morrison have waited decades for his return to the Bayou City. On Saturday night, Morrison rewarded their patience with a performance showcasing popular favorites, deep album cuts, and even a nod to The Houston Kid, Rodney Crowell. Some may grumble because Morrison sang only 16 songs and hardly acknowledged the audience, but for singer's diehard fans, it was worth every minute he was onstage.Anticipation was high for Morrison’s show at the Cynthia Woods Mitchell Pavilion. Motivated by advance warning from promoters that there would be no opening act and that no alcohol would be sold after the performance had begun, fans began filing in to the outdoor arena early on the balmy Houston evening.The first arrivers appeared mainly of a vintage that might have embraced Morrison’s early albums when they were initially released in the Sixties. But by the time the show began, the crowd had taken on much more of an all-ages feel – testament to the lasting appeal of Morrison’s work. The Belfast Cowboy took the stage promptly at 8:02 p.m., attired nattily in a bespoke black suit with pocket square, fedora, and aviator sunglasses. Perhaps surprised by such punctuality, many fans were still streaming into their seats throughout the opening song, “Northern Muse (Solid Ground).” The seats were all filled and the hill was packed when Morrison followed with a crowd-pleasing “Brown-Eyed Girl.”During a show in which stage patter was virtually nonexistent and the only visible décor appeared to be a prominent intertwined “VM” on his mic stand, the inscrutable Morrison let his music do the talking. Songs from his early works included “Fair Play” (from the critically acclaimed 1974 album Veedon Fleece), “Help Me” (from the 1974 live album It’s Too Late To Stop Now) and the 1970 classic “Moondance.” He also drew from more recent albums, including two songs from the 2008 release Keep It Simple (the title track and “School of Hard Knocks”).Morrison was in fine voice, especially on highlights such as “The Philosopher’s Stone” and “All Work and No Play.” The latter was followed by a pleasant but inexplicably aborted version of “Choppin’ Wood.” The lone song from Morrison’s masterpiece Astral Weeks (reprised on a 2009 live concert recording from the Hollywood Bowl) was “Ballerina,” performed with gusto toward the end of the set.Minutes later, after a quick check with his band— “Does everybody know this song?” he asked — Morrison uttered essentially his only comment to the audience all evening. “This is a country song by Rodney Crowell,” he said, launching into a beautiful version of “Till I Gain Control Again,” which he covered on his 2006 album Pay the Devil. Adding this popular favorite from a native son was a nice touch for the Houston audience.Backed by a crack six-piece ensemble, Morrison switched from piano to saxophone to guitar to harmonica with ease Saturday. But as always, his rich, expressive voice created the magic. In his new book, When That Rough God Goes Riding: Listening to Van Morrison, cultural critic Greil Marcus describes how Morrison uses words within his songs as opportunities for performance.
“The only time I pay attention to words is when I’m writing a song, and after that, I let the words loose,” Marcus quotes Morrison as saying in 1978. “I’m not singing words, I’m singing syllables.” Marcus notes, “He’s trying to find the moment in a song when words and rhythm and melody and orchestration come together and you can set yourself free from the words.”For 96 minutes, it all came together for Van the Man on Saturday night. Sure, it would have been nice to hear more songs. When Morrison and the band left the stage, the audience, clearly eager for the show to continue, stood and applauded long after house lights came up and the technical crew began to break down the set. Even the shuttle drivers seemed surprised things had wrapped up so quickly. “I’ve never seen a show here end so early! And no encore?” one driver was heard to remark as the crowds filed out.Nope, no encore. But after all this time, it was a welcome return by one of the most significant figures in the history of popular music.
-Susan Darrow

Houst Chronicle
Does a legend owe his fans an encore? Or even a hello?
Van the Mumblin' Man Morrison apparently doesn't think so. Nor was he compelled to let his audience -- which might have been the world's largest 40th high school reunion -- wallow in nostalgia Saturday night at the Cynthia Woods Mitchell Pavilion in the Woodlands.
With a tight six-man band behind him and often featured in solos, Morrison conceded just a few chestnuts in a concert that was heavy on blues and jazz compositions. It all sounded very Van Morrison-y (a good thing), but they became repetitious, with few tunes you could lock onto.
Or lyrics, for that matter. Morrison's singing is pretty much consonant-free these days. If you didn't know his songs already, you weren't going to learn the words here. Age has put some gravel in his voice, although he hasn't lost anything in the soul department. And when he scats, well, you don't mind so much that you paid $50 to sit on the hill, or that you couldn't buy a beer ($11!) after 7:50 p.m., or that he didn't take off his Ray Bans.
Among the nods to memory lane: Brown Eyed Girl got the audience giddy early, then not too long afterward came a jazzy rendition of Moodance. Later came Ballerina, wafting between moodiness and hard-driving rhythms. Then there was the long, bluesy-jazzy The Healing Has Begun -- which turned out to the be finale. A great song, but ironically it didn't leave the audience feeling very healed, since Morrison decided he'd had a night and left the band to finish things off.
The Philosopher's Stone had great energy, and the cover of Rodney Crowell's Til I Gain Control Again was one of the night's most soulful songs. "This is country song by Rodney Crowell I recorded a couple of years ago," he said beforehand.
Which was the only full sentence he uttered all night. He may have said "thank you" after one or two songs -- and he mumbled something at one point that sounded like "are we having a good time." Otherwise, he let his music do the talking -- with just a few minutes on the piano to start, then turns on sax, harmonica and guitar. The harmonica said plenty.
Oh, yeah. He said, "Give a hand to the band" as he left the stage. But he didn't introduce them, so we'll do that here: Jay Berliner, electric guitar; David Hayes, double bass; Bobby Ruggiero, drums; Tony Fitzgibbon (the youngster of the bunch), violin, viola; Richie Buckley, flute, saxophone; and Paul Moran, grand piano.
You've gotta respect Morrison's drive to keep moving forward rather than looking back. But would it kill him to be grateful?
-Molly Glentzer

A reader sent in this review:
I attended the show in Houston last night--section 106 row D. This was a tough show to assess by the end, and I'm still debating it a bit this morning.

The first two-thirds was enjoyable enough. The show had a solid start with Muse. Van was active and sounded good while supplying some nice "Van" moments along the way. If I was to complain, the flow of the songs was a bit monotonous (slow, fast, slow, fast, etc.). Also, the band was not always as tight as it could have been and some bugs still need to be smoothed out.

Then we came to Chopping Wood, according to the published set list anyways--I was not familiar with this song. I really liked the song but Van seemed fidgety throughout. It appeared to end normally, but then the band started up again (strange) only to end suddenly (and not too cleanly) after less than a minute of the reprise. Not sure what was going on.

But, what followed was Philosopher's Stone and you could feel Van kick into a higher gear right away. The band and audience fed off the energy boost. A great Ballerina was next. In fact, the back-to-back Stone and Ballerina earned Mr. Morrison his pay last night. Then came Help Me, the best blues cover of the night, as it should have been after all these years, with an almost overly-heavy Green Onions-like beat. I thought his nod to Houston native Rodney Crowell, with Till I Gain Control Again, was a poignant moment. A wonderful And The Healing Has Begun followed and turned out to be a fitting end to the show.

The most disappointing part of the show was how it ended. Healing was going great. He wandered over near the piano while a technician fiddled with a monitor or something (none of this disrupted the song from my perspective) and then suddenly he waves to the crowd, says something like "how about the band" and shuffles off the stage still singing. The band closes strong and the show abruptly ends.

Are you kidding me? We needed one more great performance. Following Healing with Cypress Avenue to close would have made this a great show rather than an okay show with a fantastic five-song stretch.

I rate the show C+ or B-, but it would have been a solid "A" with just one more great performance. Could we please go back and get Cypress Avenue?!?!?

Also, while there were enough in the crowd who enjoyed the show, many, like with Dylan, were expecting a greatest hits show that sounded like their CDs. Oh well.

Thanks for the web site and to the set list contributors.
-EDC

Setlist:
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
Talk is Cheap
Waiting Game
Moondance
Keep it Simple
School of Hard Knocks
Little Village
All Work. No Play
Choppin' Wood (abort)
Philosopher's Stone
Ballerina
Help Me
Till I Gain Control Again
And The Healing Has Begun

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano

30-Apr-10 Bass Concert Hall, Austin Concert Review

Austin360:
Van the Jazzman Band Director showed up at Bass Concert Hall, apparently in a good mood and rested from six months off the road. His planned January restart in Texas was delayed until Friday night, with exhaustion cited, but the wait paid musical dividends.

In strong, mostly clear voice, the always unpredictable Van Morrison pleased the crowd right away with his “Brown Eyed Girl” hit at the piano, followed by “Moondance” on a saxophone. Then he stepped into his conductor role for the rest of the evening, pointing to each band member for repeated solos and often turning his back to the audience.

The jazzy renditions of not-so-well-known songs sounded well rehearsed. Improvisation must have been banned on this tour, but Morrison’s scatting provided just enough free flow to the songs that honored reflective quietude.

With a lesser band, that might have been disappointing. But these crackerjack players, particularly on weeping violin and soulful horns, worked wonders with the many slow songs. Van the Man would not be shouting G-L-O-R-I-A this night.

Nor did he name the musicians. Nor did he say a word to the audience, not a thank you for the standing applause after his harmonica-driven “The Philosopher’s Stone” or even just for buying $85-$350 tickets. He makes Dylan look chatty on stage by comparison.

Some of the players Morrison held over from his 2008 experiment at the Hollywood Bowl when he performed all of 1968’s “Astral Weeks” in front of a larger band with strings and chorus. That album produced no hits but set the meditative, chanting jazz style that Morrison employed so well at Bass without playing a single “Astral Weeks” song. He saved his bluesy, R&B self for another time.

Austin fans have proved their loyalty to Morrison over and over, from 1974’s appearance at the Armadillo World Headquarters to 2006’s Austin City Limits Music Festival. But after his Austin Music Hall show in 2008 some fans muttered about high tickets prices, few classic songs and no encore. They wondered what his next stop here might be like.

Near the end of Friday’s 16th song — the who-knows-this-one “On Hyndford Street” — Morrison exited the stage blowing his harmonica. The hall lights came on. No complaints heard. Van, still The Man after more than four decades of performing, and a band of serious pros had delivered satisfying goods.

-Ed Crowell

Tom checks in with his review (Thanks for setlist!):
Van put on a great performance last night at Bass Concert Hall in Austin, TX, his first show in 6 months. The 7 piece band was all dressed in black suits and Van was in an all white suit and hat. He started a few minutes after 8pm and went straight to the piano for the 1st two songs. Not quite knowing what show to expect after such a long break, it turned out to be quite a show for the hard core aficionados. Casual fans got a few hits such as Brown Eyed Girl, Moondance and Have I Told You Lately? However, the bulk of the show was reserved for deep album cuts.

It was hard to hard to make out the words to Fair Play for quite a while as he wasn't enunciating them very well. It turned out to be a lovely version that stretched out with an extended coda. Three more deep cuts followed that threw me for a loop even though I have about 25 of his CDs. I'm not familiar with Higher Than the World or The Mystery and I'm sure they stumped the majority of the crowd. I was surprised to hear Keep it Simple and Playhouse as he's not really promoting those two records anymore. In the Garden was a major highlight with its No Guru No Method No Teacher refrain repeated to great effect. Philosopher's Stone was another major highlight of the show, with a full band sound that elevated the show once more.

Van didn't speak to the crowd all night or introduce the band, which was primarily the same band as on the Astral Weeks Live DVD, the bonus tracks at least. Before one song he barked out "Let's Go!" to the band. During most songs the individual members were given room to shine with solos of their own. Van played sax on several songs and harp on a few as well. He walked off stage without saying goodbye and left the band to finish with the drummer saying "Vaaan Morrrsion" a time or two. The show lasted about 90-95 minutes. All in all, a very strong performance for fans looking for more than a greatest hits show.
-Tom Friedrich
Austin, TX

Jack's review:
Show started late at 8:05,solid ground kicked off the festivities followed by beg,nice version of moondance,then a real highlight fair play( not heard live before)after that my memory is blurred but other songs in the set list were:it's all in the game,higher than the world,in the garden,keep it simple,new song (lonely with a gun(?),healing has begun,philosophers stone,help me,hityl,playhouse,maybe a song or two that i cant remember and ended with hyndford street, show ended at 9.45,lights went on and no encore, sound was real nice,bass concert hall sits about 3000 and was sold out, 7 piece band that was never introduced,drummer,keyboards,bass,violinist,horns,guitarist and van who played piano,guitars,sax and harp on every song,few miscues early on as this was 1st show of year and current tour,all this should be worked out as tour progresses and in my opinion all will be well by new orleans and beyond,van in white slacks,white jacket and white hat with sunglasses, only got mad at guitarist and keyboard player twice during the show,no interaction with the audience as usual, not the best show ever but certainly worthwhile and enjoyable in my humble opinion, tshirts were available in the lobby
-Jack

Here's Wally's take:
I was there. My 3rd Van show ever. Long time fan. Thought it was fantastic. A few slight moments seemed like a rehearsal but overall - amazing. Van was in great form. Started with Solid Ground then BEG. Didn't write a full set list but he played Fair Play, Moondance, Have I Told You Lately, And the Healing Has Begun, Playhouse, In the Garden, Who Was That Masked Man?, and a few others.

Bass is a great place to see a show. $125 seats were great - nice few, great sound. Only marred by the couple that showed up 50 minutes into the show, drunk, loud, making out, and yelling 'wooohooo' during and after every song.

Van played a hair over 90 minutes and promptly left. Great band - would love to know who they all were.....-Wally

Setlist
1. Northern Muse (Solid Ground)
2. Brown Eyed Girl
3. Moondance
4. Fair Play
5. Who Was That Masked Man
6. Higher Than The World
7. The Mystery
8. Keep It Simple
9. In The Garden
10. Have I Told You Lately?
11. Philosopher's Stone
12. It's All In The Game
13. Playhouse
14. Help Me
15. And The Healing Has Begun
16. On Hyndford Street

Big Hand For The Band!
Jay Berliner-electric guitar

David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano

Shana Morrison's New Album, Joyride, Out Now
Shana Morrison has a new album out called Joyride.

Album Song List:
1. Joyride
2. Gone for Good
3. I Am a Rose
4. Tomorrow's Eve
5. Blue Angel
6. He Won't Send Roses
7. Means to Me
8. Heart Shaped Tattoo
9. No More Mrs Nice Girl
10. Ten Thousand Things
11. One Less Monkey
12. Makin Love
11. Good Enough for God

Ordering Information:
Send $18 check or money order to
(includes shipping and handling):

Shana Morrison
P.O. Box 302
Mill Valley, Ca 94942 USA

Add $3 postage per CD for
addresses outside the U.S.

Make payment payable to:
Shana Morrison

40th Anniversary of Moondance
Van Morrison's legendary album, Moondance, was release today, February 28, 1970. 40 years ago. It was a follow up to his classic Astral Weeks. Unlike Astral Weeks, however, Moondance was a commercial success and established Van as a major artist. It peaked at #29 on Billboard's Pop Albums chart.

The single released was Come Running with Crazy Love as the B-side, which peaked at #39 on the Pop Singles chart. Crazy Love was only released as a single in Holland and did not chart. Moondance, as a single was not released until 1977 and peaked at #92.


Your Favorite Songs On Moondance
Into The Mystic (54%)
Caravan (35%)
And It Stoned Me (26%)
Crazy Love (21%)
Moondance (20%)
Brand New Day (12%)
These Dreams Of You (10%)
Glad Tidings (9%)
Come Running (7%)
Everyone (5%)

Your Thoughts:

The difficult second album!!! Considering this album followed Astral Weeks is incredible....the album as a whole is masterly,but I cant think of a better opening side of music than side one...He should do a sequence of albums live like Steely Dan....10 nights in Dublin or Belfast anyone!!!!
-Anonymous

The entire side one of the original vinyl record was just the perfect slab of rock music I'd ever heard when it was played to me in, I think, 1975.
-Bern

Whenever Moondance is played on the radio or over a sound system somwhere. I can recognise the song in two or three notes...I have heard the song more times than any other and yet where ever I am and no matter what I am doing..

I will listen to it until to the end each time...

It's the album that brought me to this 'obsession' and feel quite fortunate 40 years later we still can still hear him perform it live..
-Bob C.

Moondance was the first album I bought with my first adult pay packet that left me any disposable income. Not until September 1971, though. I was a skint school pupil before that, spending all my money on beer and scrounging cigarettes off all and sundry. I'd liked Van from 'Them' days and I used to hear the title song from 'Moondance' on the radio and always loved it so much. I couldn't persuade my brother to buy it. I was knocked out when I eventually got the album and heard the rest. None of my friends liked Van then, so I'd not heard it all. Converted a couple afterwards. (Also bought 'Abraxas' and 'Buffalo Springfield Again' that day. Wonderful music). For loads of reasons, Moondance remains my favourite album by anybody.

I mentioned a while back that Moondance was the highest selling performer/sole producer abum of the 1970s. Jimmy Page had co-produced a couple of Led Zep efforts and Mike Nesmith and a cast of thousands (well, several) produced some Monkees' discs, but Moondance outsold all others where the performer produced it on his own.

Thanks for raking up the memories. Sweet.

Cheers

-Jez

Reviews

Rolling Stone
Long ago, Van Morrison reached that point where the influences on his music no longer mattered. It is as pointless to attempt to detect those influences as it would be for any musician to try to imitate him.

Van Morrison's music cannot really be imitated, because, as with Dylan's music, what one hears is not style, but personality. With each record -- Them Again, Astral Weeks, or Moondance -- one gets a sense that Van has achieved some ancient familiarity with his band and with his songs; no matter how the music changes, the long inventions of Van's singing, his full command of the musicians that play with him, and the striking imagination of a consciousness that is visionary in the strongest sense of the word, creat an atmosphere that instantly sets its own terms. Morrison's powers are clear: his strong gift for melody, his ability to move freely within virtually any sort of contemporary instrumentation, his verbal magic as inventive and literate as Dylan's, and most of all, the authenticity of his spirit.

Moondance is his first album in over a year. Unlike Van's masterful Astral Weeks, this one will be immensely popular; Van's picture already fills the windows of record stores and his new music is getting more airplay on FM stations than anything in recent memory.


Van's new album might send one back to the bright enthusiasm of "Brown-Eyed Girl" and the magic blues of Them Again; Van now sings with a magnetically full electric band, complete with piano, organ, vibes, and intricately controlled saxophones and flute. The band's performance has a stately brilliance; and if it recaptures some of the feeling of the earlier music, the past is serving as a rite of passage toward the celebrations of Moondance.

Van opens with "And It Stoned Me," a tale of boys out for a day's freedom, standing in the rain with eyes and mouths open, heads bent back: "Oh, the water, let it run all over me..." The sensuality of this song is overpowering, communicated with a classical sort of grace. "And it stoned me/To my soul/Stoned me just like jelly roll..." There is no strain for meaning in Van's words or in his voice. "Let it run all over me..." -- you feel the exhilaration almost with a sense of astonishment. The band, playing subtle, gentle rock and roll, surrounds the singer; here, as everywhere on Moondance, the horn arrangements are absolutely exquisite, as eloquent as a sermon in a backwoods chapel.

With "Caravan" one might begin to remember the early Impressions: the instantaneous aura of fantasy and desire that Curtis Mayfield created for "Gypsy Woman" tumbles down again as a fanfare on piano and the roll of drums and guitar open a composition of seductive grandeur. "Caravan" is a strange song; the images are easily real and the music is profoundly comforting, yet there's the edge of a story here that fades without ever revealing all it has to tell. "Now the caravan has all friends/Yes, they'll stay with me until the end...Gypsies...tell me all I need to know..." Woven between the fragments and framed by the textures of the horn with blazing imagination: "Turn up your radio/And let me/Hear the song/Turn on your electric light/So we can get down/To what is really wrong." The singer moves from the gypsy campfire to his lover and back again, with a lovely sort of affection. Van's singing is pure expression, pure sound; the band moves off and then forward again. A graceful soprano saxophone holds notes behind Van's words: "Now, the caravan is painted red and white/That means everyone is staying overnight..."

"It's a good thing he doesn't have much stage presence," said a friend after watching Van perform this song. "Otherwise it'd be too much to take."

"Into the Mystic" is the heart of Moondance; the music unfolds with a classic sense of timing, guitar strums fading into watery notes on a piano, the bass counting off the pace. The lines of the song and Morrison's delivery of them are gorgeous: "I want to rock your gypsy soul/Just like in the days of old/And magnificently we will fold/Into the mystic." The transcendent purity of the imagery seems to turn endlessly, giving back one's own reflection. Van's more abstract songs are mosaics of brilliantly chosen metaphors -- ambiguous and instantly recognizable. Morrison communicates directly even when he is most obscure; his visions have power, and the ambiguity of those visions is always unified by the sympathy of the music -- there is no "backup band" on Moondance any more than there is an "Lay Lady Lay." Something's been made; it stands, it won't be broken down.

Perhaps "Glad Tidings," which ends Moondance, is the song that most makes one want to come back to this album without even thinking about it. "Glad Tidings" is a vital, leaping promenade through the streets of the town; fast, clean rock and roll moves it along as striking horns guide the song, until they cue the chorus into an explosion of real joy: "Yeah, we'll send you glad tidings/From New York/DO DO DO DOOT DO DO/Open up your eyes that you may see/DO DO DO DOOT DO DO/Ask you not to read between the lines/Hoping that you come right in on time."

Moondance is an album of musical invention and lyrical confidence; the strong moods of "Into the Mystic" and the fine, epic brilliance of "Caravan" will carry it past many good records we'll forget in the next few years. Van Morrison plays on.
- Greil Marcus and Lester Bangs, Rolling Stone, 3/19/70.

Billboard
His Astral Weeks album was overlooked by the charts and praised as the aesthetic success of '69 throughout the underground. Morrison's new masterpiece should cure the public of its previous oversight with a more commercial entry, still rich with the soul/folk nuances of this sensitive lrish song surrealist. "Stoned Me," "Caravan" and "These Dreams of You" should bring this unique musical personality to rock and folk lovers.
- Billboard, 1970.

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

John Tobler
Van Morrison's 1968 LP Astral Weeks had made him a cult hero. But Moondance was his first U.S. Top 30 album, and also his first to go platinum.

Morrison was living in Woodstock's rural paradise when he wrote many of these songs, although he left the area following the influx of people after the celebrated festival. Some of the musicians he assembled for the album remained with him for several years, including guitarist John Platania, horn player Jack Schroer, and Jeff Labes on keyboards.

Moondance showcases Van Morrison as a masterly songwriter and charismatic vocalist. In contrast to the acoustic Astral Weeks, the sound is bigger, meatier, with a horn section to add punch; the songs are more tightly structured, less improvisatory. The first side of the LP is almost perfect. "And It Stoned Me" paints a vignette of adolescence with a storyteller's eye for detail, while the smoky, jazz-infused title track remains one of Morrison's best-loved songs. Ethereal sailor's ballad "Into The Mystic" is a moving meditation on the splendor of love; the shivering strings are a wonderfully appropriate complement to his vocals. Elsewhere, a celebratory air, bordering on spiritual joy, haunts many of the tracks -- witness the closing trio of "Brand New Day," "Everyone," and "Glad Tidings."

Helen Reddy had a 1971 U.S. hit with "Crazy Love," while Johnny Rivers' version of "Into The Mystic" charted in 1970. Van himself had a U.S. Top Forty hit with "Come Running." His solo career was on the rise.
- John Tobler, 1001 Albums You Must Hear Before You Die, 2005.

Music of Ireland: Welcome Home
Check your local PBS station schedule in U.S. for air-times

Grammy Award-winner Moya Brennan hosts, exclusive interviews and performances by The Chieftains, Riverdance’s Michael Flatley, U2, Pete Seeger, Sinéad O’Connor, the late Liam Clancy, and others

Never-before-seen performances by U2 and Friends, Clannad, The Dubliners’ John Sheahan, Paddy Moloney and Moya Brennan, the McPeake Family, and an authentic Dublin pub session combine with vintage clips of The Clancy Brothers and Tommy Makem and The Dubliners on The Ed Sullivan Show, Judy Collins playing music from the ‘old country,’ The Pogues and Van Morrison with The Chieftains on RTE’s Late, Late Show...