Van Morrison -

Van Morrison (born Aug. 31, 1945) is an Irish singer–songwriter, best known for the hits “Brown Eyed Girl,” “Mooondance,” “Domino,” “Wild Night,” and “Jackie Wilson Said.”

He first gained prominence as the frontman of Them, a mid-1960s R&B/beat band that rode the British Invasion with tracks like “Gloria” and “Here Comes the Night.” In 1967, he reached international attention with the solo hit “Brown Eyed Girl.” Between 1968 and 1978, he recorded ten studio albums for Warner Bros., including Astral Weeks, Moondance, Saint Dominic’s Preview, and Veedon Fleece.

His work blended folk, soul, jazz, and blues, often incorporating stream-of-consciousness lyrics and orchestral arrangements. From 1980 to 1999, he released nine albums each on Mercury and Polydor, maintaining a balance of intimate acoustic work and full-band recordings. Morrison’s live performances, captured most notably on It’s Too Late to Stop Now (1974), earned him a reputation as one of rock’s most dynamic stage performers. Across his six-decade career, he has influenced generations of musicians while consistently exploring Irish identity, spirituality, and American roots music.

Early Life

He was born George Ivan Morrison on August 31, 1945, in Bloomfield, Belfast, Northern Ireland, the only child of one-time tap dancer Violet (née Stitt) and shipyard electrician George Morrison. He acquired the name Van as a youth at Elmgrove Primary School during the early 1950s.

His father acquired one of the nation’s largest record collections, exposing young Van to the icons of soul (Ray Charles, Solomon Burke), blues (Lead Belly, Muddy Waters), jazz (Charlie Parker), folk (Woody Guthrie), country (Hank Williams, Jimmie Rodgers), and gospel (Mahalia Jackson).

Early Bands

Inspired by Lonnie Donegan, Morrison got his first guitar at age 11 and joined a skiffle group, The Sputniks (named after the Soviet satellite Sputnik 1), in 1957. He filtered through other skiffle groups in his early teens, including Midnight Special. After hearing saxophonist Jimmy Giuffre, Morrison learned the instrument and joined another local band, Deanie Sands and the Javelins. Later, the Javelins broke off from Sands and became The Monarchs.

The Monarchs

At age 17, Morrison toured the UK and Europe with The Monarchs, playing saxophone, guitar, harmonica, and occasional bass and drums. In November 1963, they entered Ariola Studios in Cologne and cut the single “Boozoo Hully Gully” (b/w “Twingy Baby”), which hit the German charts. It was Morrison’s first recorded appearance (on saxophone). Upon their return to Belfast, The Monarchs split.

Them

Morrison did brief stints in the Manhattan Showband and local beatsters The Wheels. He eventually joined the R&B/beat combo The Gamblers on sax, harmonica, and co-vocals. They soon adopted the name Them after the 1954 sci-fi monster movie Them!

Between 1964 and 1966, Them released eight singles and two albums, scoring hits with “Here Comes the Night,” “Baby Please Don’t Go,” “Mystic Eyes,” and “Gloria.” After a triumphant tour of the US West Coast, the band returned to Ireland and discovered managerial money mishandlings that prompted their disbandment.

Eyeing a solo career, Morrison wrote songs for his first album while remnants of Them reformed as the Belfast Gypsies. Both parties returned for different pursuits in the US, where Morrison arrived in New York and signed a deal with Bang Records.

Blowin’ Your Mind

In September 1967, Bang Records issued Blowin’ Your Mind as Van Morrison’s debut solo album.

Morrison recorded the album over two days in March 1967 at A & R Studios in New York City with producer Bert Berns. The sessions assembled a small group of studio musicians: Van Morrison on vocals, guitar, and harmonica; Hugh McCracken and Al Gorgoni on guitars; Russ Savakus on bass; Garry Sherman on organ; Paul Griffin on piano; and Gary Chester on drums. The Sweet Inspirations provided backing vocals on “Brown Eyed Girl” and “Midnight Special.”

Morrison wrote six of the eight tracks, with the remaining songs credited to Wes Farrell and Bert Russell (“Goodbye Baby (Baby Goodbye)”) and arranged traditional material by Bert Berns (“Midnight Special”).

The album opens with the up-tempo “Brown Eyed Girl,” a nostalgic recounting of youthful romance, followed by the graveyard-paced, organ-strewn “He Ain’t Give You None,” which details lust and jealousy in a London setting. “T.B. Sheets” contrasts with a slow, tension-filled build, while “Ro Ro Rosey” features Latin-flavored rhythms and fuzz guitar. “Spanish Rose” combines flamenco-style guitar with marimbas and two-step Latin rhythms. The remaining tracks vary between brisk, pop-oriented arrangements and moody, storytelling ballads.

A1. “Brown Eyed Girl” (3:03) — nostalgic lyrics about former love, set near The Hollow in East Belfast
A2. “He Ain’t Give You None” (5:13) — urban tale of lust, jealousy, and sexual disgust
A3. “T.B. Sheets” (9:44) — slow, tension-filled narrative about illness and rejection

B1. “Spanish Rose” (3:06) — flamenco-style guitar and marimbas, remembrance of past romance
B2. “Goodbye Baby (Baby Goodbye)” (2:57) — written by Wes Farrell and Bert Russell
B3. “Ro Ro Rosey” (3:03) — Latin-flavored three-chord structure, fuzz guitar, harmonica
B4. “Who Drove the Red Sports Car?” (5:35) — pop-rock with storytelling lyrics
B5. “Midnight Special” (2:51) — traditional, arranged by Bert Berns

Sessions occurred on 28–29 March 1967 at A & R Studios in New York City with Bert Berns producing and Brooks Arthur engineering. Vic Anesini mastered the recordings.

Bang Records promoted the album with the lead single “Brown Eyed Girl” (b/w “Goodbye Baby”), which reached No. 10 on the Billboard Hot 100, followed by “Ro Ro Rosey” (b/w “Chick-A-Boom”) and “Spanish Rose” (b/w “Midnight Special”), the latter reaching No. 18 in the Netherlands.

Later cover versions include El Chicano (1972) and Iain Matthews (1976), both recording “Brown Eyed Girl.”

Astral Weeks

Van Morrison released his second solo album, Astral Weeks, on November 28, 1968, on Warner Bros.

Astral Weeks presents Morrison in a fluid, improvisatory setting built on open-form structures where his acoustic guitar and voice move over upright bass patterns, brushed drums, vibraphone accents, and occasional flute. The album marks his first collaboration with veteran jazz players, whose loose interplay shapes the record’s pacing and phrasing.

Morrison sings and plays acoustic guitar with backing by bassist Richard Davis, guitarist Jay Berliner, drummer Connie Kay, percussionist Warren Smith Jr., and flautist John Payne.

The music unfolds in long arcs where Davis pushes forward with nimble, winding bass figures and Berliner threads soft counterlines behind Morrison’s shifting vocal phrasing. The title track opens in a slow, suspended pulse that expands into wide dynamic rises; “Sweet Thing” moves through quickened rhythmic lifts and light guitar flurries; “Cyprus Avenue” relies on gradual tension-building as Morrison’s lines climb in sharp emotional turns; and “Madame George” stretches on cycling bass motion with spare accents from vibes and guitar. “The Way Young Lovers Do” stands out for its brisk meter and clustered instrumental surges, giving the album one of its few tightly punctuated passages.

Side A: In the Beginning

A1. “Astral Weeks” (7:08) – Van Morrison navigates a spiritual rebirth, tracing a journey from disorientation to illumination. The arrangement shifts between acoustic guitar, flute, and double bass, with strings punctuating the evolving textures.

A2. “Beside You” (5:18) – Morrison addresses his adopted son, conveying a quiet presence alongside a loved one. The song flows over hushed acoustic guitar and subdued percussion, with subtle flute interjections that underscore the intimacy of the moment.

A3. “Sweet Thing” (4:27) – Written during Morrison’s New York sessions, this track contemplates romantic longing and the renewal of life. Guitar arpeggios and light string overlays follow the angular contour of Morrison’s vocal lines, building a sense of forward motion.

A4. “Cyprus Avenue” (7:02) – A reflection on adolescent memory, set against Belfast streets, the song alternates between blues patterns and chamber-influenced instrumentation. Flute, harpsichord, and strings weave around Morrison’s vocal shifts from restrained murmurs to exultant peaks.

Side B: Afterwards

B1. “The Way Young Lovers Do” (3:19) – Morrison employs triple metre with a jazz-informed rhythm section, blending double bass phrasing and piano lines. The lyrics sketch early romantic encounters with a rhythmic fluidity that mirrors the phrasing of his voice.

B2. “Madame George” (9:47) – A stream-of-consciousness narrative unfolds over acoustic guitar, strings, and subtle percussion. Morrison sketches multiple characters, combining recollections of Belfast with a sense of spiritual searching and temporal dislocation.

B3. “Ballerina” (7:05) – Inspired by a fleeting encounter with his future wife, the track traces an intimate narrative across a seven-minute arc. Dynamics shift continuously, and Morrison’s voice modulates to match the song’s rising and falling intensity, supported by piano and restrained orchestration.

B4. “Slim Slow Slider” (3:19) – Closing the album, Morrison depicts an urban figure caught in dislocation and decay. The piece features sparse acoustic accompaniment with abrupt silences and truncated instrumental passages, ending with a sudden guitar strike that punctuates the narrative.

Sessions occurred in September and October 1968 at Century Sound in New York City with producer Lewis Merenstein and engineer Brooks Arthur.

Moondance

Van Morrison released his third solo album, Moondance, on January 27, 1970, on Warner Bros.

Morrison shifts from the drifting forms of Astral Weeks to concise, rhythm-forward songs with prominent brass, close-miked vocals, and mid-tempo arrangements rooted in piano, acoustic guitar, reeds, and a steady pulse. This becomes the template for his early-70s output, shaped by a small backing group from the Woodstock scene: guitarist John Platania, saxophonist Jack Schroer, keyboardist Jef Labes (piano, organ), flautist/saxophonist Collin Tilton, bassist John Klingberg, and drummer Dahaud Shaar, supported on select tracks by a compact chorus of three backing vocalists.

He balances reflective slow-builders with lightly stepping rhythmic pieces and tighter mid-tempo numbers. “And It Stoned Me” opens with drifting acoustic phrases and measured horn responses under lyrics that recount a childhood moment of quiet suspension. The title track sits on a brushed rhythmic sway with piano figures, curt sax placements, and brief vocal asides that mimic a horn line. “Crazy Love” pares the arrangement to electric piano pulses and soft backing vocals around falsetto phrases broken by subtle pauses. “Caravan” rides a quicker pace with clipped guitar strokes and reed accents that underline his lines about radio and motion. “Into the Mystic” moves at a patient, rising pace, carrying sustained organ tones and softly cresting horn lines as the vocal widens toward the final refrain.

A1. “And It Stoned Me” (4:33) – Van Morrison recounts a childhood experience of sudden, transcendent stillness in a rural village. Acoustic guitar and light percussion accompany his vocals, while the lyric references jazz pioneer Jelly Roll Morton.
A2. “Moondance” (4:36) – Morrison constructs a nocturnal dialogue over walking electric bass, piano, and saxophones, evoking autumnal rhythms. The vocal lines trace contoured turns that mirror the instrumental phrasing, ending with a soft flute trill.
A3. “Crazy Love” (2:36) – A compact declaration of affection, with Morrison’s voice rising and falling against gentle piano and bass. The lyrics convey devotion through repeated invocations of constancy and presence.
A4. “Caravan” (5:02) – Inspired by rural life and radio transmissions, Morrison intertwines guitar, piano, and horns. The song moves through angular passages that suggest motion and wandering.
A5. “Into the Mystic” (3:30) – Morrison pursues a spiritual voyage, using bass and flowing instrumentation to evoke water and motion. Lyrics alternate between homophones to imply cosmic and earthly dimensions simultaneously.

B1. “Come Running” (2:32) – A brisk, optimistic track with alternating chord progressions in 4/4 time. Morrison’s lyrics depict the temporary nature of pleasure and intimacy against natural imagery.
B2. “These Dreams of You” (3:53) – Morrison translates a dream about Ray Charles into a series of surreal images, supported by coherent instrumental pacing. The song blends tension and release as the vocals tighten and relax.
B3. “Brand New Day” (5:10) – Morrison channels hope and renewal over slow 4/4 time, with saxophone improvisation and female backing vocals accenting the narrative. The song’s structure emphasizes spacious, rising harmonic arcs.
B4. “Everyone” (3:34) – Set in 12/8, the track drives forward with acoustic guitar and clavinet, while flute lines punctuate the vocal phrases. The lyrics express universal optimism and human connection.
B5. “Glad Tidings” (3:42) – Morrison responds to news from afar, blending rhythmic bass, horn accents, and steady percussion. The vocals navigate tight contours, reflecting interaction with the city and its communications.

Sessions occurred in August–September 1969 at A&R Studio A in New York City with Morrison producing and Shelly Yakus engineering.

Warner promoted Moondance with “Come Running” in March 1970 (b/w “Who Was That Masked Man”), followed in April by “Crazy Love” (b/w “Come Running”).

In November 1977, almost eight years after the album’s release, Morrison lifted its title track as a single, backed with “Cold Wind in August” from his then-current album A Period of Transition. With its jazzy verses, romantic lyrics, and striking chorus, “Moondance” became one of Morrison’s most recognized evergreens.

His Band and the Street Choir

Van Morrison released his fourth album, His Band and the Street Choir, in November 1970 Warner Bros.

Morrison assembled a bright, brassy set built around relaxed mid-tempo pieces and compact acoustic numbers, carried by his core touring band with clustered vocal lines from the Street Choir singers. The album balances buoyant, rhythm-forward arrangements with spare passages where Morrison uses open space and short instrumental figures to frame his phrasing.

Morrison wrote all twelve songs on the album. Vocalists Emily Houston, Judy Clay, and Jackie Verdell appear on one track, and Morrison’s Woodstock circle contributes the additional Street Choir parts.

Select pieces move between brisk horn-led passages and lightly strummed acoustic patterns. “Domino” opens with a clipped guitar figure that launches the track into a forward pace where the horns answer Morrison’s phrases in short bursts. “Crazy Face” shifts between piano-led lines and abrupt accents, creating uneven pulses around its narrative turns. “I’ll Be Your Lover, Too” narrows to subdued acoustic guitars with a slow-building vocal line that rises in measured arcs. “Call Me Up in Dreamland” features extended choir parts that thicken the cadence during the refrain, while “I’ve Been Working” relies on tight rhythmic repetition and terse exchanges between voice and brass.

A1. “Domino” (3:06) – Morrison honors New Orleans R&B pianist Fats Domino through syncopated rhythms and punctuated vocal exclamations. The lyrics reflect renewal and change, underscored by horns and tight backing instrumentation.
A2. “Crazy Face” (2:55) – Angular vocal lines interact with brisk piano and guitar, framing a narrative of playful emotional tension. Morrison traces shifting moods across a steady 4/4 pulse.
A3. “Give Me a Kiss” (2:30) – A concise track of intimate invitation, propelled by dynamic bass and restrained percussion. Vocal phrasing emphasizes rhythmic timing over linear melody.
A4. “I’ve Been Working” (3:25) – Originally an outtake from Astral Weeks, the song carries a driving rhythm with layered saxophones and guitar. Lyrics depict labor and persistence in daily life.
A5. “Call Me Up in Dreamland” (3:52) – Morrison combines gospel-inflected backing vocals with tenor sax passages to convey the itinerant life on tour. The lyrics transform radio into an active presence within the narrative.
A6. “I’ll Be Your Lover, Too” (3:57) – A moderate-tempo acoustic ballad in G major, featuring alternating 4/4 and 5/8 phrasing. Morrison articulates devotion through contoured vocal lines over sparse guitar and subtle percussion.

B1. “Blue Money” (3:40) – Morrison promises shared adventures through rhythmic phrasing and horn accents. Lyrics translate financial imagery into relational action, supported by tight ensemble interplay.
B2. “Virgo Clowns” (4:10) – Shifting tempos and saxophone interjections trace the song’s abstract narrative. Morrison’s vocals pivot through angular contours to reflect lyrical eccentricities.
B3. “Gypsy Queen” (3:16) – A traveling theme emerges over steady piano and layered guitar, with vocal lines moving in sharp turns. The lyrics evoke freedom and motion through nomadic imagery.
B4. “Sweet Jannie” (2:11) – Morrison delivers a succinct, rhythm-driven portrait, combining guitar riffs with percussive accents. The vocal phrasing emphasizes concise storytelling.
B5. “If I Ever Needed Someone” (3:45) – Vocal lines rise and fall over persistent bass and rhythmic percussion, expressing reliance and emotional appeal. Lyrics articulate trust and need in a relational context.
B6. “Street Choir” (4:53) – The title track integrates gospel-style backing vocals and layered instrumentation. Morrison channels communal energy while conveying urban observation and social presence.

Sessions occurred between March and July 1970 at A&R Studios in New York City with Morrison producing and Elliot Scheiner and Dahaud Shaar engineering across separate blocks of work.

Warner Bros. promoted His Band and the Street Choir with “Domino,” released in October 1970, which reached the US Top 10. “Blue Money” followed in January 1971 and reached the Hot 100. “Call Me Up in Dreamland” appeared in April 1971 as the third single and charted modestly.

Tupelo Honey

Van Morrison released his fifth album, Tupelo Honey, on October 15, 1971, on Warner Bros.

Morrison shapes the album around easy-paced arrangements with warm interplays of guitar, organ, reeds and rhythm, framed by domestic themes he wrote before and after his move from Woodstock to Marin County.

His band features guitarist Ronnie Montrose, guitarist John Platania, steel guitarist John McFee, saxophonist Jack Schroer, flutists Bruce Royston and Boots Houston, trumpeter Luis Gasca, drummer Connie Kay, drummer Rick Shlosser, and percussionist Gary Mallaber, with backing vocals by Ellen Schroer. Producer Ted Templeman appears on organ in select passages.

Select songs shift between reflective ballads and midtempo pieces with steady rhythmic pulses: “Wild Night” opens with clipped guitar figures that carry into a brisk, forward-moving pace, while “Old Old Woodstock” settles into a lighter contour with soft horn accents. “When That Evening Sun Goes Down” moves with hammered piano patterns that lift the vocal lines. “Moonshine Whiskey” alternates between slow, stretched phrases and sudden accelerations that build into a tightened closing run.

A1. “Wild Night” (3:33) – Van Morrison opens with a layered R&B pulse, driven by Ronnie Montrose’s electric guitar. The lyrics invite release and movement, establishing a lively encounter with the evening. The track was first recorded in 1968 and finalized at Wally Heider Studios in early 1971 with Ted Templeman co-producing.
A2. “(Straight to Your Heart) Like a Cannonball” (3:43) – Morrison’s acoustic strumming supports a triple-meter rhythm while flutes and punctuated guitar fill the spaces between his vocal lines. The lyrics portray finding clarity and relief in the natural world, framing desire for a specific person.
A3. “Old Old Woodstock” (4:18)
A4. “Starting a New Life” (2:11)
A5. “You’re My Woman” (6:44)

B1. “Tupelo Honey” (6:55) – The song begins with a delicate flute refrain and builds through piano and percussion, shaping contours that highlight Morrison’s vocal phrasing. Lyrically it expresses devotion and admiration, likening a loved one’s presence to the richness of tupelo honey.
B2. “I Wanna Roo You (Scottish Derivative)” (3:27)
B3. “When That Evening Sun Goes Down” (3:02)
B4. “Moonshine Whiskey” (6:50) – The track moves through distinct rhythmic sections, alternating fast 4/4 passages with a slow 6/8 waltz feel before erupting into a gospel-like finale. Lyrics reference trains, countryside, and themes common in country blues, presenting a narrative of love’s continuity and life’s movement.

Sessions occurred in spring–summer 1971 at Wally Heider Studios and Columbia Studios in San Francisco with Morrison and Ted Templeman producing and Stephen Barncard engineering.

Warner Bros. promoted Tupelo Honey with “Wild Night” (b/w “When That Evening Sun Goes Down”), which reached No. 28 on the Billboard Hot 100. “Tupelo Honey” followed as the second single (b/w “Starting a New Life”) and reached No. 47. “(Straight to Your Heart) Like a Cannonball” appeared as the third single (b/w “Old Old Woodstock”).

Saint Dominic’s Preview

Van Morrison released his sixth album, Saint Dominic’s Preview, in July 1972 on Warner Bros.

Morrison frames the album around loosely structured pieces with stretched vocal passages, extended codas, and midtempo songs built on steady rhythm patterns and layered guitars, reeds, and keyboards.

His pool of players spans multiple sessions with rotating personnel: five guitarists (including Doug Messenger, Ronnie Montrose, and Beau Brummels founder Ron Elliott), eight keyboardists (including Mark Naftalin and Tom Salisbury), six reedists (including Pat O’Hara and Jules Broussard), bassist Bill Church, double bassist Leroy Vinnegar, drummer Connie Kay, drummer Rick Shlosser, drummer Gary Mallaber, and Moog synthesist Bernie Krause.

Select pieces contrast compact, verse-structured numbers with long-form performances built on repeating figures. “Jackie Wilson Said (I’m in Heaven When You Smile)” moves at a brisk pace with clipped brass accents and short turns in the vocal line. “Gypsy” changes pulse between quickened runs and spaced passages with sustained chord patterns. “I Will Be There” rides a steady, lightly swung rhythm under a conversational vocal. “Listen to the Lion” builds from calm phrasing into extended vocal exclamations over a slow, anchored foundation.

“Saint Dominic’s Preview” moves with relaxed forward motion while shifting between reflective verses. “Redwood Tree” rises from gentle openings into more insistent lines. “Almost Independence Day” stretches over a two-chord cycle with Moog filigree that threads through its slow, continuous pace.

A1. “Jackie Wilson Said (I’m in Heaven When You Smile)” (2:57) – Van Morrison opens with a cappella scat over handclaps before the band enters, layering walking bass, harmonized saxophones, and syncopated guitar. The lyrics celebrate admiration for Jackie Wilson and the joy his music inspires, with Morrison’s vocal phrasing echoing Wilson’s R&B style.

A2. “Gypsy” (4:36) – Morrison sketches a wandering figure whose freedom contrasts with the absence of a fixed home. The rhythm alternates between duple and triple time, and piano and saxophone lines move with subtle tension against the shifting tempo.

A3. “I Will Be There” (3:01) – A piano-led jazz arrangement underpins rapid-fire imagery of daily routine, with layered saxophones weaving around Morrison’s voice. Doug Messenger expands simple triads into extended jazz chords, creating contoured harmonic motion.

A4. “Listen to the Lion” (11:07) – An extended, improvisatory piece with vocals functioning as instrumentation, Morrison alternates incantation and shouts, evoking inner and outer soundscapes. Guitar, vibes, and saxophones build a slowly rising and subsiding texture, emphasizing rhythm and timbre over conventional structure.

B1. “Saint Dominic’s Preview” (6:23) – A stream-of-consciousness narrative traverses France, San Francisco, Belfast, and New York, noting landmarks and cultural references. Pedal steel, organ, and layered saxophones punctuate the text, with Morrison’s phrasing drawing out syllables to create rhythmic tension.

B2. “Redwood Tree” (3:03) – Nostalgic reflection on Marin County, fusing past and present imagery. The arrangement moves steadily, with piano, saxophones, and backing vocals creating counterpoint against the singer’s lines.

B3. “Almost Independence Day” (10:05) – Morrison and Ron Elliott trade twelve- and six-string guitar lines over a sustained Moog drone and double bass foundation. The lyrics evoke a contemplative waterfront scene, and the piece unfolds through shifting dynamics and instrumental layering, emphasizing gradual ascent and subsidence.

Sessions occurred between mid-1971 and spring 1972 at Columbia Studios, Wally Heider Studios, and Pacific High Recording in San Francisco with Morrison and Ted Templeman producing and Donn Landee engineering.

Record label Warner Bros. promoted Saint Dominic’s Preview with “Jackie Wilson Said (I’m in Heaven When You Smile)” (b/w “You’ve Got the Power”). “Redwood Tree” followed in September 1972 as the second single (b/w “Saint Dominic’s Preview”). “Gypsy” appeared in early 1973 as the third single (b/w “Saint Dominic’s Preview”).

Dexys Midnight Runners covered “Jackie Wilson Said” for their 1982 second album Too-Rye-Ay. Released as the followup single to their transatlantic smash “Come on Eileen,” their version reached No. 5 on the UK Singles Chart.

Hard Nose the Highway

Van Morrison released his seventh album, Hard Nose the Highway, in August 1973 on Warner Bros.

The album places Morrison’s acoustic guitar and vocals against a bright mixture of reeds, brass, strings, and light piano textures, alternating between expansive mid-tempo pieces and shorter passages with tighter instrumental framing. He blends reflective moods with stretched ensemble codas, marking a shift toward fuller arrangements shaped by his own production.

Morrison sings and plays acoustic guitar with saxophonists Jack Schroer (alto, tenor, baritone, soprano) and Jules Broussard (tenor, flute), trumpeters Joseph Ellis and Bill Atwood, keyboardist Jef Labes (piano), guitarist John Platania, bassists David Hayes and Marty David, and drummers Gary Mallaber and Rick Shlosser. Additional parts come from a five-player string unit led by violinist Nathan Rubin, backing vocalist Jackie DeShannon, and the Oakland Symphony Chamber Chorus.

Morrison wrote six songs and included two outside pieces: a version of Joe Raposo’s “Bein’ Green” and an arrangement of the traditional “Purple Heather.”

The album opens with the wide, rising figures of “Snow in San Anselmo,” where chorus layers break across steady piano movement. “Warm Love” moves in soft, clipped rhythms with light reed accents; “Hard Nose the Highway” stretches its phrases across elongated vocal peaks; and “Wild Children” narrows into a measured pace with small instrumental shifts between verses. “The Great Deception” tightens into brisk, repeated patterns with sharper ensemble punches. “Autumn Song” extends for more than ten minutes on slow-building refrains with long instrumental spans, while “Purple Heather” closes with steady chord cycles under Morrison’s open phrasing.

A1. “Snow in San Anselmo” (4:34)
A2. “Warm Love” (3:22)
A3. “Hard Nose the Highway” (5:12)
A4. “Wild Children” (4:20)
A5. “The Great Deception” (4:51)

B1. “Bein’ Green” (4:20)
B2. “Autumn Song” (10:37)
B3. “Purple Heather” (5:42)

Sessions occurred between August and October 1972 at Caledonia Studio in Fairfax, California, with Morrison producing and Neil Schwartz and Jim Stern engineering.

Warner Bros. promoted Hard Nose the Highway with “Warm Love” (b/w “I Will Be There”), issued in April 1973. “Bein’ Green” followed in September (b/w “Wild Children”).

It’s Too Late to Stop Now

On February 1, 1974, Van Morrison released the live double-album It’s Too Late to Stop Now on Warner Bros. It captures performances from Morrison’s three-month 1973 tour with the eleven-piece Caledonia Soul Orchestra at the Troubadour in Los Angeles, the Santa Monica Civic Auditorium, and the Rainbow in London.

Morrison blends originals and covers with the orchestra, featuring string and horn arrangements alongside piano, organ, guitar, bass, and drums. The album moves between reflective ballads, extended improvisations, and high-energy renditions of earlier material, illustrating the flexibility and range of his live performances.

Van Morrison wrote the majority of the material performed, while the album includes covers of Bobby “Blue” Bland (“Ain’t Nothin’ You Can Do”), Ray Charles (“I Believe to My Soul”), Sonny Boy Williamson II (“Help Me” and “Take Your Hand Out of My Pocket”), Sam Cooke (“Bring It On Home to Me”), and Willie Dixon (“I Just Want to Make Love to You”).

Morrison’s backing band for these shows featured guitarist John Platania, bassist David Hayes, keyboardist Jef Labes (piano, organ), drummer Dahaud Shaar, trumpeter Bill Atwood, reedist Jack Schroer (alto, tenor, and baritone saxophones, tambourine), and a five-piece string section.

The performances fall into categories of reflective originals, celebratory reinterpretations, and blues-infused covers. Tracks like “Into the Mystic” and “Caravan” build through piano and horn passages with shifting tempos, while “Listen to the Lion” stretches with vocal improvisation over sustained string and rhythm textures. Early Them songs like “Gloria” and “Here Comes the Night” receive driving, expansive arrangements, contrasting with the contemplative cadence of “Saint Dominic’s Preview.”

A1. “Ain’t Nothin’ You Can Do” (3:36) — originated as a 1964 single by Bobby “Blue” Bland, written by Joseph Scott and Bland; Morrison emphasizes phrasing with horn and rhythm interplay.
A2. “Warm Love” (3:03) — from Hard Nose the Highway (1973); vocals float over piano and string textures while lyrics express affection and personal warmth.
A3. “Into the Mystic” (4:28) — from Moondance (1970); acoustic guitar, organ, and light percussion contour the song’s spiritual imagery and seafaring motifs.
A4. “These Dreams of You” (3:31) — from Moondance (1970); shifting vocal lines articulate romantic reflection over piano-led chords and subtle horn accents.
A5. “I Believe to My Soul” (4:00) — originated as a 1961 single by Ray Charles; Morrison interprets the song with measured tempo, emphasizing phrasing and sustained piano chords.

B1. “I’ve Been Working” (3:50) — from His Band and the Street Choir (1970); percussion and organ drive rhythmic propulsion, framing lyrics of effort and persistence.
B2. “Help Me” (3:00) — originated as a 1963 single by Sonny Boy Williamson II, written by Williamson, Ralph Bass, and Willie Dixon; harmonica and vocal urgency convey a plea for aid.
B3. “Wild Children” (4:54) — from Hard Nose the Highway (1973); guitar and piano dialogue accompanies reflections on youthful freedom.
B4. “Domino” (4:28) — from His Band and the Street Choir (1970); piano and horn punctuate lines celebrating personal triumphs and musical continuity.
B5. “I Just Want to Make Love to You” (4:45) — originated as a 1954 single by Muddy Waters, written by Willie Dixon; Morrison stretches phrasing across horn swells and rhythmic shifts.

C1. “Bring It On Home to Me” (4:26) — originated as a 1962 single by Sam Cooke; vocals entwine with piano and string counterpoints, emphasizing the song’s plea and return.
C2. “Saint Dominic’s Preview” (6:13) — from Saint Dominic’s Preview (1972); organ and horn lines underpin lyric sequences that move from personal reflection to storytelling.
C3. “Take Your Hand Out of My Pocket” (3:58) — originated as a 1969 recording by Sonny Boy Williamson II; Morrison accentuates phrasing over organ and bass variations.
C4. “Listen to the Lion” (8:25) — from Saint Dominic’s Preview (1972); extended vocal improvisations ride atop shifting piano, horn, and string textures, exploring intensity and restraint.

D1. “Here Comes the Night” (3:12) — originated as a 1965 Them single, written by Bert Berns; horns and piano intensify lyrical anticipation.
D2. “Gloria” (3:53) — originated as a 1965 Them single, written by Van Morrison; driving guitar and rhythmic persistence highlight the song’s chant-like refrain.
D3. “Caravan” (8:45) — from Moondance (1970); organ and horn interplay contour the narrative journey with shifting rhythmic tension.
D4. “Cyprus Avenue” (9:25) — from Astral Weeks (1968); Morrison navigates lyrical imagery over extended instrumental sections with violin, horn, and piano weaving continuous threads.

Van Morrison and Ted Templeman produced the album, with Van Morrison arranging strings alongside Jef Labes and horns with Jack Schroer. Engineers included Donn Landee, Myles Wiener, Biff Dawes, Jack Crymes, Gabby Garcia, Chris Chigaridas, Bill Broms, and Bob Harper. Morrison and his band performed the shows in May–July 1973 at The Troubadour (Los Angeles), the Santa Monica Civic Auditorium (Santa Monica), and the Rainbow Theatre (London), capturing performances without studio overdubs.

Warner Bros. promoted the album with the single “Ain’t Nothin’ You Can Do” b/w “Wild Children” on 3 April 1974, followed by “Gloria” b/w “Warm Love” later in 1974.

Veedon Fleece

Van Morrison released his eighth album, Veedon Fleece, in October 1974 on Warner Bros.

Morrison centers the album on airy ballads, midtempo pieces with suspended chords, and longer tracks that stretch over repeating guitar–piano figures with flute and strings placed in soft, upper-register voicings. The arrangements emphasize quiet pulse, open space, and lightly contoured vocal lines shaped by his return to Ireland.

The sessions involve a compact lineup with guitarist Ralph Walsh, pianist James Trumbo, bassist David Hayes, drummer Dahaud Shaar, reedist James Rothermel, violinist Nathan Rubin, and cellist Terry Adams. Later New York dates add guitarist John Tropea, bassist Joe Macho, keyboardist Jef Labes, and drummer Allan Schwartzberg.

Several pieces take shape as calm, closely arranged sketches while others unwind across longer cycles with gradual dynamic rise. “Fair Play” moves in a slow 3/4 sway with verse lines built on small melodic pivots. “Linden Arden Stole the Highlights” tightens around short phrases that lead into “Who Was That Masked Man,” which lifts into falsetto over a thinner instrumental bed. “Streets of Arklow” keeps a steady, even pace under flute and piano color. “You Don’t Pull No Punches, but You Don’t Push the River” expands across shifting rhythmic undercurrents with extended vocal phrasing. “Bulbs” sharpens into a faster, clipped rhythm with electric accents, and “Cul de Sac” follows with a more forward push. “Comfort You,” “Come Here My Love,” and “Country Fair” settle into slow, hushed patterns built around light acoustic figures.

A1. “Fair Play” (6:12) – Morrison sets a reflective 3/4 pace, with acoustic guitar and upright bass weaving around piano lines. The lyrics traverse Irish landscapes, literary references, and streams of consciousness, evoking thoughts of Killarney, Oscar Wilde, Edgar Allan Poe, and Henry David Thoreau.
A2. “Linden Arden Stole the Highlights” (2:36)
A3. “Who Was That Masked Man” (2:42)
A4. “Streets of Arklow” (4:32) – Cello/recorder interplay frames Morrison’s narrative of a day in County Wicklow. The song moves steadily, highlighting natural rhythms and scenic imagery while celebrating the town of Arklow.
A5. “You Don’t Pull No Punches, but You Don’t Push the River” (8:48) – The track develops through blocked chords for woodwinds and strings, shifting between piano-led passages and airy flute interludes. Lyrics begin as a personal reflection and expand into a mythological quest for the Veedon Fleece, integrating references to William Blake and The Sisters of Mercy.

B1. “Bulbs” (4:15) – Morrison accelerates from an acoustic introduction into a robust, rump-heavy rhythm accented by piano and bass rolls. Lyrics touch on departure and movement, portraying a figure poised between shadow and light.
B2. “Cul de Sac” (5:42) – Set in 3/4 time, the song moves with deliberate pacing, using sparse lyrics to accent the melodic contour. It narrates travel, emigration, and homecoming, with guitar, piano, and bass supporting the song’s reflective arc.
B3. “Comfort You” (4:21)
B4. “Come Here My Love” (2:18)
B5. “Country Fair” (5:35)

Sessions occurred in November 1973 at Caledonia Studios in California and in spring 1974 at Mercury Studios in New York with Morrison producing and Jim Stern and Dahaud Shaar engineering. Jef Labes arranged strings and woodwinds in New York.

Record label Warner Bros. promoted Veedon Fleece with “Bulbs” (b/w “Cul de Sac”) in November 1974.

“Fair Play” and “Linden Arden Stole the Highlights” were later covered by Robyn Hitchcock; This Mortal Coil covered “Come Here My Love” on their 1986 album Filigree & Shadow.

A Period of Transition

Van Morrison released his ninth album, A Period of Transition, in April 1977 on Warner Bros.

Morrison centers the album on steady midtempo pacing, layered brass lines, and compact arrangements that move between calm, reflective passages and more forceful rhythmic turns. The set marks his shift back into ensemble interplay after a multi-year break from studio work.

His band features drummer Ollie E. Brown, bassist Reggie McBride, guitarist Marlo Henderson, trumpeter Mark Underwood, saxophonists Jerry Jumonville (alto, tenor) and Joel Peskin (baritone), with Mac Rebennack (Dr. John) on piano and electric piano and a nine-voice backing choir (Carlena Williams, Paulette Parker, Candy Nash, Toni McVey, Gary Garrett, Robbie Montgomery, Roger Kennerly-Saint, Gregory Wright, Joe Powell). Morrison sings and plays acoustic and electric guitars and harmonica.

Morrison wrote the album’s seven songs. “Flamingos Fly” dates from earlier sessions in 1973 and 1975 and previously appeared in alternate form on Jackie DeShannon’s 2003 reissue Jackie… Plus. “Joyous Sound” and “Flamingos Fly” also appear in earlier takes on Morrison’s 1998 archival set The Philosopher’s Stone.

The material moves in two patterns: taut, midtempo pieces built on clipped brass figures and electric-piano patterns, and slower, voice-centered tracks shaped by long chord sustains. “You Gotta Make It Through the World” opens with a firm, forward pace under steady piano and short horn phrases. “It Fills You Up” lengthens around repeated funky keyboard patterns that rise under Morrison’s broad vocal lines. “The Eternal Kansas City” begins with a brief choral invocation before shifting into a faster, weightier rhythmic push. “Joyous Sound” moves at a brisk, lightly driven pace with tightened backing-vocal responses. “Flamingos Fly” sits in a midtempo contour with quick rhythmic pivots. “Heavy Connection” stretches over slow, open intervals and recurring vocal refrains. “Cold Wind in August” moves in a slow arc with extended piano chords and a restrained horn presence.

A1. “You Gotta Make It Through the World” (5:10)
A2. “It Fills You Up” (4:34)
A3. “The Eternal Kansas City” (5:26)

B1. “Joyous Sound” (2:48)
B2. “Flamingos Fly” (4:41)
B3. “Heavy Connection” (5:23)
B4. “Cold Wind in August” (5:48)

Sessions occurred in autumn 1976 and early winter 1977 at the Record Plant in Los Angeles with Morrison and Mac Rebennack producing and Gary Ladinsky engineering.

A Period of Transition features photography by Ken McGowan.

Record label Warner Bros. promoted the album with “The Eternal Kansas City” (b/w “Joyous Sound”) in April 1977. “Joyous Sound” followed in July 1977 (b/w “Mechanical Bliss”).

Wavelength

Van Morrison released his tenth album, Wavelength, in September 1978 on Warner Bros.

The album emphasizes steady midtempo pacing with prominent electric guitars, broad keyboard layers, and cleanly punctuated rhythm parts that frame Morrison in a more streamlined setting than his previous two records. He centers the sound on bright organ voicings, upper-register synthesizer figures, and clipped guitar phrases that steer the music toward compact structures.

Morrison sings and plays acoustic guitar, piano, Fender Rhodes, and alto saxophone with support from guitarist Bobby Tench, rhythm guitarist Herbie Armstrong, bassist Mickey Feat, and drummer Peter Van Hooke. Keyboard parts come from Peter Bardens (organ, synthesizer), Garth Hudson (Hammond organ, synthesizer, accordion), and backing vocals from Ginger Blake, Laura Creamer, and Linda Dillard. Mitch Dalton appears on Spanish guitar on the closing track, and Kuma Harada plays bass on two titles.

The set moves between brisk, lightly driven pieces and longer tracks shaped by repeating keyboard patterns and gradual vocal lift. “Kingdom Hall” opens with firm rhythm accents and layered keyboards under Morrison’s sharp vocal turns. “Checkin’ It Out” moves at a faster pulse with clipped guitar figures. “Natalia” and “Lifetimes” stay in slower, open patterns with piano and soft background harmonies. “Venice U.S.A.” lengthens into a broader arrangement built on steady forward motion and shifting keyboard color. “Wavelength” alternates between quiet, suspended passages and swelling synthesizer phrases that mimic signal drift. “Santa Fe/Beautiful Obsession” combines two earlier pieces in a gradual rise built on acoustic textures. Morrison closes with “Take It Where You Find It,” a slow, extended arc built on sparse guitar, long keyboard sustains, and incremental dynamic rise.

A1. “Kingdom Hall” (5:59)
A2. “Checkin’ It Out” (3:29)
A3. “Natalia” (4:04)
A4. “Venice U.S.A.” (6:32)
A5. “Lifetimes” (4:15)

B1. “Wavelength” (5:44)
B2. “Santa Fe/Beautiful Obsession” (7:04) — co-written by Jackie DeShannon with Morrison in 1973; “Beautiful Obsession” dates from 1971 concert performances without a prior studio version
B3. “Hungry for Your Love” (3:45)
B4. “Take It Where You Find It” (8:40)

Sessions occurred in spring 1978 at the Manor in Oxfordshire and later at Shangri-La in Malibu with Morrison producing and Mick Glossop engineering.

Record label Warner Bros. promoted Wavelength with the title track (b/w “Checkin’ It Out”) in October 1978, which reached No. 42 on the US Hot 100 and remained on the chart for eleven weeks. “Natalia” followed in February 1979 (b/w “Lifetimes”), and “Kingdom Hall” appeared in April 1979 (b/w “Checkin’ It Out”).

Into the Music

Van Morrison released his eleventh album, Into the Music, in August 1979 on Mercury.

Morrison frames the album around warm midtempo pacing, extended closing pieces, and arrangements that balance acoustic textures with brass, strings, and upper-register keyboard color. The set marks his return to longer, inward-leaning forms after the compact structures of Wavelength.

His core band features guitarist Herbie Armstrong, bassist David Hayes, drummer Peter Van Hooke, pianist Mark Jordan, keyboardist John Allair (Hammond organ), trumpeter Mark Isham, tenor saxophonist Pee Wee Ellis, string player Toni Marcus (mandolin, violin, viola, stroviola), and penny whistler Robin Williamson. Guest input comes from guitarist Ry Cooder on one track and tabla player Zakir Hussain on two titles.

Morrison wrote nine songs and covers a 1950s pop standard popularized by Tommy Edwards (“It’s All in the Game”).

The album alternates between brisk, lightly propelled pieces and expansive songs that move in slow, cumulative arcs. “Bright Side of the Road” opens with a firm, upbeat pace shaped by clipped brass lines and steady rhythm. “Full Force Gale” tightens around short vocal phrases and a forward pulse with Cooder’s clean slide accents. “Steppin’ Out Queen” rises from a moderate pace into denser instrumental interplay, and “Troubadours” places voice, brass, and penny whistle across calm, spacious patterns.

“Rolling Hills” moves at a quicker lilt with concise vocal turns. “You Make Me Feel So Free” centers on bright keyboard figures and a lifted pace. “Angeliou” unfolds across a slow, stretched sequence with incremental vocal expansions. “And the Healing Has Begun” deepens into elongated passages with organ sustains and repeated vocal refrains. Morrison’s reading of “It’s All in the Game” keeps a slow, elegiac motion, and the closer, “You Know What They’re Writing About,” extends over repeated phrasing that gradually thins toward the fade.

A1. “Bright Side of the Road” (3:47)
A2. “Full Force Gale” (3:14)
A3. “Steppin’ Out Queen” (5:28)
A4. “Troubadours” (4:41)
A5. “Rolling Hills” (2:53)
A6. “You Make Me Feel So Free” (4:09)

B1. “Angeliou” (6:48)
B2. “And the Healing Has Begun” (7:59)
B3. “It’s All in the Game” (5:09) — originated as a 1950s side by Tommy Edwards, written by Charles Dawes and Carl Sigman
B4. “You Know What They’re Writing About” (6:10)

Sessions occurred in early 1979 at the Record Plant in Sausalito with Morrison producing and Mick Glossop engineering.

Record label Mercury promoted Into the Music with “Bright Side of the Road” (b/w “Rolling Hills”) in September 1979. “Full Force Gale” followed in December 1979 (b/w “Bright Side of the Road”). “You Make Me Feel So Free” appeared in 1980 (b/w “Full Force Gale”).

Discography: