Van Morrison Astral Weeks (1968){2015

Astral Weeks is generally considered one of the best albums in pop music history, but for all that renown, it is anything but an archetypal rock & roll album. It isn’t a rock & roll album at all. Van Morrison plays acoustic guitar and sings in his elastic, bluesy, soulful voice, accompanied by crack group of jazz studio players: guitarist Jay Berliner, upright bassist Richard Davis, Modern Jazz Quartet drummer Connie Kay, vibraphonist Warren Smith and soprano saxophonist John Payne (also credited on flute, though that’s debatable—some claim an anonymous flutist provided those parts).

Van Morrison - Astral Weeks (1968). Astral Weeks is generally considered one of the best albums in pop music history, but for all that renown, it is anything but an archetypal rock & roll album. It it isn't a rock & roll album at all. Van Morrison plays acoustic guitar and sings in his elastic, bluesy, soulful voice, accompanied by crack group of jazz studio players: guitarist Jay Berliner, upright bassist Richard Davis, Modern Jazz Quartet drummer Connie Kay, vibraphonist Warren Smith and soprano saxophonist John Payne (also credited on flute, though that's debatable - some claim an anonymous flutist provided those parts). Producer Lewis Merenstein added chamber orchestrations later and divided the album into halves: "In The Beginning" and "Afterwards" with four tunes under each heading. Morrison's songs are an instinctive, organic mixture of Celtic folk, blues, and jazz…

Released in 1970, Van Morrison's Moondance was a hit commercially and critically. Encouraged by his manager, Morrison and a sextet – including three players from the Moondance sessions – hit the studio and delivered His Band & the Street Choir in time for that year's holiday season. Morrison responded to the pressure by relaxing into it. The feel here is loose, often celebratory. He digs deep into his long-held fascination with the New Orleans R&B tradition for inspiration. "Domino" is his highest charting single.

The final album of Van Morrison's remarkably prolific and innovative 1968-1974 period (followed by three years of silence), Veedon Fleece brings the singer full circle, returning him to the introspection and poignancy of Astral Weeks. Composed following his sudden divorce from wife Janet Planet and subsequent retreat from the U.S., the songs are subtle and Spartan, the performances deeply felt; though less tortured and cathartic than Astral Weeks, it's a record fraught with emotional upheaval, as evidenced by such superior moments as "Linden Arden Stole the Highlights," "Who Was That Masked Man," and "You Don't Pull No Punches, But You Don't Push the River." That said, this is one of those - and there are several - forgotten classics in the Morrison catalog…

While Van Morrison is, to be kind, an erratic and temperamental live performer, he's in stellar form throughout the double album It's Too Late to Stop Now, a superb concert set that neatly summarizes his career from his days with Them…