VAN MORRISON
''LIVE AT THE GRAND OPERA HOUSE BELFAST''
FEBRUARY 1984
51:57
1 /Introduction: Into the Mystic/Inarticulate Speech of the Heart
Van Morrison/1:06
2 /Dweller on the Threshold
Van Morrison / Hugh Murphy/3:38
3 /It's All in the Game/You Know What They're Writing About
Charles Dawes / Van Morrison / Carl Sigman/7:08
4 /She Gives Me Religion
Van Morrison/4:35
5 /Haunts of Ancient Peace
Van Morrison/6:24
6 /Full Force Gale
Van Morrison/2:23
7 /Beautiful Vision
Van Morrison/3:33
8 /Vanlose Stairway
Van Morrison/5:29
9 /Rave on John Donne/Rave On, Pt. 2
Van Morrison/9:08
10 /Northern Muse (Solid Ground)
Van Morrison/3:45
11 /Cleaning Windows
Van Morrison/4:48
John Allair /Organ, Piano
Tom Donlinger /Drums
Pee Wee Ellis /Flute, Guest Artist, Saxophone, Vocals (Background)
David Hayes /Bass
Mark Isham /Guest Artist, Synthesizer, Trumpet
Carol Kenyon /Vocals (Background)
Katie Kissoon /Vocals (Background)
Chris Michie /Guitar
Van Morrison /Guitar, Keyboards, Piano, Saxophone, Vocals
Bianca Thornton /Vocals (Background)
Peter Van Hooke /Drums
REVIEW
By Thom Jurek
This is as curious a live album as exists in Van Morrison's voluminous catalog. It's a homecoming record in many ways, since Morrison went back home to live in Ireland shortly after this was released, after many years in the United States. Recorded in 1983 and released on Mercury in 1984, this is, in reality, a solid presentation of his "spiritual Celtic soul" period that began with 1979's Into the Music and would continue into the early '90s. Only the very beginning of the introduction contains anything from his much-celebrated early-'70s period. "Into the Mystic" is used as a calling card for what is to come in this recording, because it lasts just over 45 seconds -- the rest of that intro is the title track of 1983's Inarticulate Speech of the Heart, an album he was touring to support (it was his final offering for Warner Bros.). The Grand Opera House set is compiled form two nights of performances. The band here is stellar and includes Pee Wee Ellis on saxophones, Mark Isham on trumpet and synthesizers, and drummers Peter Van Hooke and Tom Donlinger, just to mention a few. Five of these cuts -- "She Gives Me Religion," "Beautiful Vision," "Vanlose Stairway," "Northern Muse," and set closer "Cleaning Windows" -- come from the vastly underrated Beautiful Vision album, and the rest from Common One, Into the Music, and Inarticulate Speech of the Heart. The performance is perfect. And if there's a problem with this set, that's it. Many bootlegs from the period exist, and there is a certain nearly off-the-rails feeling in them that Morrison -- as the perfectionist producer he is -- couldn't resist getting rid of here. It's a bit maddening, really, simply because while this flows seamlessly from top to bottom just as Morrison's studio albums do, there is none of the spontaneity of his earlier gigs or even his later recordings with Georgie Fame, Lonnie Donegan, the Chieftains, or Linda Lewis. The only places one hears Morrison as a soul shouter here is on "Vanlose Stairway," where he lets out a scream and plays off the trio of female backing vocalists, and on the final tracks where the bandmembers loosen up and allow the dirt to get under their fingernails a bit -- especially on "Vanlose Stairway" and "Cleaning Windows." Would that there were more. Still, for those who can't get enough of Morrison from the period, this will be a welcome addition to the shelf.
BIOGRAPHY
By Jason Ankeny
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning. 
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material. 
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic." 
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition. 
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs. 
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years. 
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again). 
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012.
''LIVE AT THE GRAND OPERA HOUSE BELFAST''
FEBRUARY 1984
51:57
1 /Introduction: Into the Mystic/Inarticulate Speech of the Heart
Van Morrison/1:06
2 /Dweller on the Threshold
Van Morrison / Hugh Murphy/3:38
3 /It's All in the Game/You Know What They're Writing About
Charles Dawes / Van Morrison / Carl Sigman/7:08
4 /She Gives Me Religion
Van Morrison/4:35
5 /Haunts of Ancient Peace
Van Morrison/6:24
6 /Full Force Gale
Van Morrison/2:23
7 /Beautiful Vision
Van Morrison/3:33
8 /Vanlose Stairway
Van Morrison/5:29
9 /Rave on John Donne/Rave On, Pt. 2
Van Morrison/9:08
10 /Northern Muse (Solid Ground)
Van Morrison/3:45
11 /Cleaning Windows
Van Morrison/4:48
John Allair /Organ, Piano
Tom Donlinger /Drums
Pee Wee Ellis /Flute, Guest Artist, Saxophone, Vocals (Background)
David Hayes /Bass
Mark Isham /Guest Artist, Synthesizer, Trumpet
Carol Kenyon /Vocals (Background)
Katie Kissoon /Vocals (Background)
Chris Michie /Guitar
Van Morrison /Guitar, Keyboards, Piano, Saxophone, Vocals
Bianca Thornton /Vocals (Background)
Peter Van Hooke /Drums
REVIEW
By Thom Jurek
This is as curious a live album as exists in Van Morrison's voluminous catalog. It's a homecoming record in many ways, since Morrison went back home to live in Ireland shortly after this was released, after many years in the United States. Recorded in 1983 and released on Mercury in 1984, this is, in reality, a solid presentation of his "spiritual Celtic soul" period that began with 1979's Into the Music and would continue into the early '90s. Only the very beginning of the introduction contains anything from his much-celebrated early-'70s period. "Into the Mystic" is used as a calling card for what is to come in this recording, because it lasts just over 45 seconds -- the rest of that intro is the title track of 1983's Inarticulate Speech of the Heart, an album he was touring to support (it was his final offering for Warner Bros.). The Grand Opera House set is compiled form two nights of performances. The band here is stellar and includes Pee Wee Ellis on saxophones, Mark Isham on trumpet and synthesizers, and drummers Peter Van Hooke and Tom Donlinger, just to mention a few. Five of these cuts -- "She Gives Me Religion," "Beautiful Vision," "Vanlose Stairway," "Northern Muse," and set closer "Cleaning Windows" -- come from the vastly underrated Beautiful Vision album, and the rest from Common One, Into the Music, and Inarticulate Speech of the Heart. The performance is perfect. And if there's a problem with this set, that's it. Many bootlegs from the period exist, and there is a certain nearly off-the-rails feeling in them that Morrison -- as the perfectionist producer he is -- couldn't resist getting rid of here. It's a bit maddening, really, simply because while this flows seamlessly from top to bottom just as Morrison's studio albums do, there is none of the spontaneity of his earlier gigs or even his later recordings with Georgie Fame, Lonnie Donegan, the Chieftains, or Linda Lewis. The only places one hears Morrison as a soul shouter here is on "Vanlose Stairway," where he lets out a scream and plays off the trio of female backing vocalists, and on the final tracks where the bandmembers loosen up and allow the dirt to get under their fingernails a bit -- especially on "Vanlose Stairway" and "Cleaning Windows." Would that there were more. Still, for those who can't get enough of Morrison from the period, this will be a welcome addition to the shelf.
BIOGRAPHY
By Jason Ankeny
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012.
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