Tell Us How You Got Into Listening To Van's Music
We like to hear how and when you started listening to Van's music. Was it a particular song that did it or an album? Send us your story and we'll post it on the blog along with other stories. You can post your story in the comments section below & we'll then put it in post or you can email it to vanmorrisonnews[@}yahoo.com.

Thanks.
-John

Your Stories:
It was "Moondance" first and then, in quick succession, "Street Choir" and "Astral Weeks." I had been hearing Van on late-night FM radio and reading about him in Rolling Stone, and I was hooked immediately. Have been ever since. By the time Van appeared at the Troubador in L.A. in 1973, I had everything I could get my hands on from Them-time on. My girlfriend Laura Greenwood and I attended two of the Troubador shows, parts of which went into the "Too Late to Stop Now" LP. In fact, the second, slightly higher-pitched female scream that slips in there just after Van finishes "Domino" is Laura.

The Troub was tiny and every seat was great. Laura and I sat in the "last row," up on a small platform, maybe 30 to 40 feet from the stage and right next to a back door leading to the restrooms and the stair for the balcony. Shortly before the show was to begin a small, seemingly nondescript man stepped out of the doorway and stood next to me, his right shoulder almost brushing my left. He stood there looking straight ahead as though he might be waiting for something. It was as though I could feel heat or energy coming from him, but he was standing too close for it to be comfortable to look at him directly. Frankly, I didn't think much of it. A few moments later someone - probably Doug Weston - encouraged us to welcome Van Morrison and the man standing next to me in a cool stitched leather coat headed for the stage. By then the band was cooking and I never gave it another thought. That's how it was back then - before you knew what someone looked like ahead of time because of the internet or MTV. Plus Van was really a chameleon in those days. Although we were still in high school, Laura and I began following Van "up the highway, down the highway," because he began playing gigs all over Southern California - L.A., Santa Monica, San Diego, Irvine, Anaheim, Santa Barbara, Oxnard and more.

And I have to say this because I get really cranky about reviewers and "fans" talking about how temperamental Van is. It's his music, damn it, it's up to him to do with it what he wants! I twice saw what others might call temperamental shows and they are among my favorite musical memories. One was in San Diego when, in the middle of "I've Been Working," Van up and left the stage and didn't come back for ages. Finally one of the musicians left the stage, presumably to bring Van back on, which he did after awhile. And man, did Van pull out the stops after that! He blew the place down. The other time was in Anaheim when he got fed up with people shouting from the audience. At one point he walked away from the microphone and began singing with no amplification. And you could hear him beautifully - especially when everybody quit yelling so they could figure out what was going on. Later, Van decided to crawl up on the piano and lie there for awhile until he figured out what he wanted to do next - which was to leave. It took forever for the audience to bring him back, but - just as in San Diego - when he came back, he started in all over again, playing an extra long and extra hot encore of at least 4 songs, I think it was.

Laura was a beginning photographer then - this was an age when you could just bring your camera and shoot. She got some wonderful images, of which I still have a few copies. Laura never published them and she died in 1993. If the webmaster can put these up, I have attached 8 photos that have never been published or seen by anyone other than Laura Greenwood, my friends and I.

1 and 2 - Oxnard, CA, February 12, 1974
3 to 6 - Troubador, L.A., May 24 and/or 27, 1973.
7 and 8 - Shrine Auditorium, L.A., October 5, 1973

-John F.










I wasn't much of a Van fan growing up in the seventies. I gravitated more to Zeppelin, Paul Rodgers, Gregg Allman and so forth. Van seemed to belong to a different generation, and while I was a huge Jeff Beck fusion fan, I found what little I knew of Van Morrison to be too jazzy for my tastes. Or certainly too brass heavy and not nearly enough guitar.

Ironically, it took the Chieftains to get me to buy a Van record, and it was a great one. While I knew he could sing, I was enraptured by his performance on Carrickfergus. Such power and tone.

This was followed shortly by the release of Avalon Sunset, and that did it. I couldn't believe how naive I had been towards this reclusive artist. Hymns to the Silence solidified it for me.

Because I was late to the game, I have always held Van's nineties work in a higher stead than the earlier material, great as it was. I just love the resonance of his voice in the later songs.

In recent years, I have had the privilege to finally attend his shows. And I am thankful that when I finally did, I was up on just about his entire catalogue and thoroughly enjoyed whatever he chose to play.

Atlantic City 2005, Virginia 2006 and DC 2009 are nights I will not soon forget.

For Van Morrison on this Thanksgiving holiday, I quote Neil Young:

"Long may you run"
-Ed (Washington)

For me and my husband it started in 2007 after listening to the 'Astral Weeks' album for the very first time. Nothing was the same anymore after that ... Since then we got the entire Van cd / dvd back catalogue we could get hold of. And went to each Van gig within reach. The bug has hit us for good and will stay, I'm sure of that. Although we found out after some time that there is a lot more good music other than Van's to discover. The journey isn't over yet ...
-Petra S.

I got here in stages. Back in '78, Wavelength was the first song of Van's that captured my attention. I bought the album and listened to it frequently. I remained interested and listened attentively through the 80's, but the only other record of his I bought was Beautiful Vision. The next stage hit in the early 90's with the release of Hymms to the... See More Silence. I snapped it up after reading a rave review in Time Magazine, listened to it often, and followed it up with purchases of Moondance, Tupelo Honey, Too Long in Exile, Best Of Vol. 1, Enlightenment and Days Like This. By then I was an enthusiastic fan but not yet over the top. The final, serious-fan stage came with the release of The Healing Game and my discovery of the Van-L list, which occurred about a month apart in 1997. The good people of Van-L helped me develop a deeper appreciation of Van's contributions as well as a healthy wariness about Van, personally. The contrast seems to work. I don't look up to the guy but have tremendous respect for his music. He is a unique artist- true to his vision and immensely talented. My journey through his body of work helped me discover a lot of excellent music by other artists and also encouraged me to start playing several instruments. It changed a part of my life.
-Steve L.

Wavelength was my first introduction to Van .....I was hooked !!! 1978.....Then came Common One....a little bit different but was very interested.....when I could afford to buy records I started to buy it all I didn't even know Brown Eyed Girl was Van's until the 90's .......by then I was listening to everything.....without a doubt he is the best singer, songwriter , musician....performer.......OF ALL TIME!!!!!I don't even think the others would argue that!!!!!
-Shelley M.

For me and my wife (then girlfriend) it started with his Philadelphia Academy of Music concert in May of 1972. I was 17, and she was 15; one of the early defining BIG concerts of my life loving music and probably her first. That was the still memorable beginning of a life long (ever since) love of his music. He had his full brass complement of... See More players and a fantastic group of back up singers.To me it was the Van of his Band and the Street Choir. He never removed his dark shades at any point in the the show, but it didn't matter. We were smitten and that was that. Been that ever since!
-Sean O.

I always loved Into the Mystic and Brown Eyed Girl, and a while back my sweetheart introduced me to Avalon Sunset, then came Hymns to the Silence and A Night in San Francisco... powerful. I walked down the aisle to These Are The Days. 3 years later almost to the day, we find ourselves at the Hollywood Bowl, sharing in that transcendent experience.

I am grateful that Van has the courage to share his sublime poetry and music.
-Melanie H.

The first time I remember hearing Van was Moondance on the radio when I was in college. I loved the voice and styling (at the time I was into Kenny Rankin and Al Jarreau) and I immediately went out and started to buy his albums, Moondance first, followed quickly by His Band and Street Choir, Tupelo Honey, Hard Nose the Highway, Veedon Fleece, Into the Music, and Common One, all on vinyl. Eventually I got It's Too Late To Stop Now and that basically lived on my turntable for months.

I can still remember going to the local record store and looking at this huge selection of albums but only having enough money to buy one or two at a time.
So I didn't get into the albums strictly chronologically; I just picked one or two at a time that looked the most interesting. Which was kind of fascinating about Van; with his huge catalog, I could buy one album from the early 70's and another from the 80's. Each album was an eye-opener and amazing in its own way and I just couldn't hear that voice enough. Since this was the time of albums, the side one/side two aspect was central to the experience, as in side two of Into the Music. There was something special about flipping over the record knowing what was to come next.

My interest has waned here and there, but I always seem to come back to Van, always look forward to seeing him live and hearing his latest album.
-Michael F.

By turning up my Radio!
-Graham R.

I grew up in Northern Ireland, through all that Van Morrison grew up in. I knew all the old hits and liked them, but they had turned into overplayed pop songs.

Then, I went to a concert in Belfast in 1999 and saw Van play The Philosophers Stone. As they say in Belfast – that changed “the lot”. Even the old songs mean more now.

-Dave M. (Big Clem)

I bought two cheap "cut-out" vinyls spring 1982, since listening to Van Morrison was briefly mentioned in Swedish novelist Ulf Lundell's debut novel Jack (yes, title refers to Kerouac). Into the Music and Summertime in England. As I remember it, it took me several months before I was hooked, but by the end of 1982 I had the whole catalogue. And some bootleg vinyls -- and quite a few tapes... 1983 was a bit boring, the first 'new' record I bought was Inarticulate Speech, followed by seeing a very boring first concert in Stockholm.

1984 was exciting, going to several concerts in Belfast, Van doing Astral Weeks' stuff. An absolute highlight was getting No Guru in the mail some weeks before its release. I just cried that Saturday morning with my coffee. And played it very loud at night with my Jamesons. For me the most amazing albums are Astral Weeks, Veedon Fleece, Into the Music, Summertime in England and No Guru. I also like The Healing Game a lot. Keep it Simple is his best in years. But there are so many good songs over all these years... "The Story of Them" for example!!! Live-wise I will never forget Belfast 1984, perhaps even more remarkable were the shows in the Grand Opera House in 1989. The Georgie Fame injection around those years was an energy-booster!! I love the VHS Beacon Theatre video from around 1990 -- but could anybody send me a DVD with better sound and picture?!! Love the video from Waterfront 1997. Love the recording from Skeppsholmen, Stockholm, 2008. Love The Man.

"What's good is bad, what's bad is good, you' ll find out when you reach the top, you're on the bottom." Van quoting Bob at Rockpalazt 1982...

That’s it. From an unedited Wolf.
-Ulf C.

Van Interviewed On The Imus In The Morning Show
Listen to the interview here.

Watch a video of it here.

Van appeared on the Imus in The Morning show on Monday morning 26-Oct-09.

Imus In The Morning is broadcasted on US television on the Fox Business Channel weekdays 600-900 am.

Van appeared earlier this year on Don Imus' show for an interview.

The Imus-Morrison Love Affair, Part II
Fresh off last night's gig at Madison Square Garden, Van Morrison talked music, religion, and unauthorized biographies today with his Rupert Pumpkin Don Imus, who has listened to the live and recorded versions of Van's Astral Weeks album at least 50 times.

First, Van wanted to talk biographies, specifically those that have been written about him without his input. "They never want to talk to me, and I've offered," he said, the studio lights bouncing off his big black sunglasses. "If you want to talk to me, I'll give you my input, seeing as I'm the subject matter for the book. It's a con!"

To Imus's suggestion that people are afraid to speak to him, Van said, "I'm the horse's mouth, but instead of getting it from the horse's mouth they get it from the donkey's ass."

The above statement, while crass, sounded positively melodic spoken in Van's Irish lilt.

Imus has had plenty of unauthorized crap written about him, and could not care less. "I think I'm a pretty decent guy," he said. A pause. "Did you know I have cancer, by the way?"

Since Van resides on planet Earth, he knew Imus had cancer, and was glad to hear the holistic treatments seemed to be working, so far.

Growing up in Belfast, Ireland, Van told Imus he found out about artists like Lead Belly, Muddy Waters, and Howlin' Wolf by invading his father's music library.

"That was my bible," said Van, who doesn't listen to any current music, but confessed a track he heard on the radio a few weeks ago caught his ear: It's A New Day, by will.i.am of the Black Eyed Peas. Random, but we'll take it.

Van was also exposed to country artists like Hank Williams, which proved helpful when choosing tracks for his own country album Pay The Devil. "I just grew up with that, and blues, and jazz," he said.

Though he is clearly not country, Van said his style of songwriting is similar in that he writes his songs as one would write a play, using characters and storylines. "I think it's drama," he said. "It's theatre."

As Van struggled to remember a joke he'd heard about country music, Imus helped fill in the blanks, saying, "If you play country songs in reverse they have a happy ending."

Van praised country singers for their incredibly talent. "Almost everybody in the Country Music Hall of Fame can sing," said Van. "Compare that to the Rock and Roll Hall of Fame. How many singers can you find there?"

Imus observed that many of Van's songs are about mysticism and spirituality, though Van is not a particularly religious person. He said his belief in God depends on how God is defined.

"I think people are programmed already...they get it from society, the media," he said, adding that the important part is ridding oneself of this programming.

Besides religion, millions of people, including the I-Man, find meaning in music, specifically the timeless tunes of people like Van, Bob Dylan, and The Beatles. Today, for example, Imus read into Van's song Madame George, which was based on a composite of characters, including some of Van's family members and a history teacher he once had. Not, as Imus suspected, on Elton John.

"There's no big mystery," Van said, with as much as a laugh as he could muster.

Formerly a member of the band "Them," with whom he released the B-side-track-turned-hit Gloria in 1964, Van said in the end "Them" was just, well, him.

"There wasn't any money, so everybody jumped ship," Van explained. "But the manager wanted to keep me. He said, 'As long as I have you, I can get anybody.'"

Breaking news: Unexpected "Them" reunion on the Imus in the Morning program today!

-Julie Kanfer

28-Oct-09 MGM Grand Theatre, Mashantucket Concert Review
Mass Live Van Morrison Maintains the Mystery in Concert at MGM Grand Theater at Foxwoods

If you’re a high-roller shelling out $350 for a fine ticket, hoping to hear one of your favorite stars sing nothing but his hits, then Van Morrison might not be your guy.

If you like seeing performers who talk to the crowd, tell tales between songs and make plenty of eye contact during a show, again, “Van the Man” might not be quite right for you.

And based on his show before a full house at the MGM Grand Theater at Foxwoods Wednesday evening, the 64-year-old Irish troubadour isn’t about to change now.

Nevertheless, if you want to hear a guy who still has one of the most soulful voices on the planet, play solid, meticulously arranged versions of relatively obscure material, the MGM Grand was exactly the right place to be Wednesday.

Yes, the tickets were expensive, topping out at $350 for the best seats. But as long as you did your homework, you knew that Morrison for a year now has been focusing on his highly-influential 1968 breakthrough album “Astral Weeks.” It served as the focal point of this concert as well, which found Morrison sporting a fedora and sunglasses, backed by an exceptional nine-member troupe.

Given all the stars who take the stage extremely late at their concerts, kudos to Morrison who actually kicked into “Northern Muse (Solid Ground),” three minutes before the 8 p.m. time printed on the ticket. Of course, maybe he just wanted to get things moving so he could watch the World Series because he finished the show exactly 90 minutes later, with a somewhat perfunctory but no doubt crowd-pleasing finale of his early hit “Gloria.”

Morrison also did one of his other huge smashes from early in his career, “Brown Eyed Girl,” as the second song of the night, while seated behind the piano. But those were the only two songs in the entire concert that could actually be classified as hits, though the singer has had plenty through the years.

Early on, he focused on tracks such as “The Mystery,” before one of the night’s highlights “In the Garden,” which found the band and the frontman picking up the spiritual intensity considerably at the end, as he sang into his golden microphone the repeated refrain “no guru, no method, no teacher.”

From there it was on to “Astral Weeks” for the next 40 minutes or so. It was sparked early on by the hypnotic “Beside You;” the beautiful “Sweet Thing,” which was illuminated visually by streams of forest green light bathing the stage; and a sturdy combination of the harpsichord-traced textures of “Cyprus Avenue,” with the fluid jazz flavors of “The Way Young Lovers Do.”

Morrison’s voice, which was marvelous most of the night, did get a bit weary toward the end and he was noticeably raspier on a lackluster “Ballerina,” closing the “Astral Weeks” portion of the night with a stronger “Madame George.”

His band was in full bloom on one of the concert’s major highlights, a full electric version of “And the Healing Has Begun,” before the aforementioned “Gloria” paved the way for a swift departure.
Morrison remains a mystery man, ethereal, oblivious, aloof, enchanting, impenetrable, mystical and moody. And that just partly explains why he’s remained such a fascinating figure for all these decades.
-Kevin O'Hare

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
In the Garden
Astral Weeks
Beside You
Slim Slow Slider
Sweet Thing
Cyprus Avenue
Young Lovers Do
Ballerina
Madame George
Help Me
And the Healing Has Begun
Gloria

27-Oct-09 Meyerhoff Symphony Hall, Baltimore Concert Review
Baltimore Sun
JazzTimes managing editor Evan Haga saw Van Morrison last night at the Meyerhoff Symphony Hall. Here are his thoughts:

The Irish singer, songwriter and multi-instrumentalist Van Morrison is one of popular music's great contradictions, as he proved last night during a 90-minute set at the Meyerhoff Symphony Hall. The performance was, on several levels, bewildering.

Over the last four-plus decades, Morrison has written indelible melodies and delivered them in his singular blue-eyed-soul shout, a sort of half-croak, half-belt that feels at once homey and otherworldly. He has recorded songs, like "Brown Eyed Girl," that even children know to sing along to. People genuinely feel like they own his music, even when it's dressed in jazz and Celtic flourishes.

But what he offers, even as it's anchored in American roots and R&B, is so totally esoteric. A notoriously diffident and difficult personality, Morrison, like Bob Dylan, is now less interested in celebrating those terrific melodies than being a roots bandleader ...

Morrison spent most of the Meyerhoff gig directing his crack nine-piece ensemble (with strings) through simmering vamps and R&B shuffles, stoically cuing a keyboardist to lay out here, inviting a guitarist to bend a few more bluesy licks there. You heard stop-time percussion solos, long, true notes played on soprano sax and flute, corner-bar organ and muted, Miles Davis-esque trumpet. For many in the audience, it very well may have been the most they’d ever listened to improvised music.

Morrison himself holds musicianship dear, even if his chops on guitar and sax are middling (he fares better on harmonica). His voice is the thing, and he treats it like his horn, turning lyrics into syllabic scats, re-harmonizing songs whose melodies are set in stone (as he did on "Moondance"), and generally understanding that his inflection and phrasing is more important than annunciation.

There's a parlor game I play at shows like these, especially Dylan. Compare what you remember to what you’re hearing: Last night, "You wiped the teardrops from your eye in sorrow," a favorite line from "In the Garden," became "You'll ride the T. Rex tomorrow."

It's the voice that makes for moments of transcendence, no matter how much attention Morrison pays to his band. His generous croon over the striding "And the Healing Has Begun" and thrusting "Gloria" almost made up for how unaccommodating he is as a performer. In case you're wondering, "Brown Eyed Girl" was tossed off at the very top of the show.

The hour and a half flew by without Morrison acknowledging his audience, and there was no encore despite the crowd's floor-shaking request for one. There were also tech issues: Toward the beginning, a radio signal was continuously funneled into the sound system, providing a serious distraction during ballads, and the house lights seemed constantly in flux throughout.

You might chalk all or at least some of this up to Van the Man's legendarily defiant being. But with tickets running roughly $80 to $350, legend only goes so far.

-Sam Sessa

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
All in the Game
Moondance
Queen of the Slipstream
Help Me
Fame
I Can't Stop Loving You
Philosopher's Stone
Little Village
In the Garden
On Hynford Street
Gloria
And the Healing Has Begun

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser

Checking in with Van Morrison
Baltimore Sun
Few singer/songwriters have had a greater impact on music than Van Morrison.

Morrison has written some of the most important songs and albums of the 20th century. Ever the recluse, Morrison gives few interviews and rarely interacts with audiences at concerts. Instead, he lets the music speak for itself.

For Morrison, music isn't real unless it can be played live. He looks with disdain on some of his biggest hits, such as "Brown Eyed Girl," which he has called a "throwaway." Due to bad contracts, he didn't gain control of his career until the late '70s, he has said.

Tonight, the 64-year-old Irishman will perform at the Meyerhoff Symphony Hall (you can buy tickets here). Here is an e-mail interview with Morrison ...

Question: Van, You've said when you play live, everything hinges on your voice. The players follow your voice. Do you follow your voice too? Do you guide it? Does it guide you?

Answer: I GUIDE IT - THAT IS THE ONLY WAY IT CAN BE DONE

What's it like to be in the moment, when you're performing and nothing's on your mind, and it's just you and the music?

ITS ALL ABOUT FOCUS - NOT THINKING OR PRECONCEIVING -- BEING IN THE PRSENT TIME IS THE ONLY WAY TO DO WHAT I DO ...

With time, has it become easier for you to get your feelings and emotions across in your singing? Or does the challenge remain the same?

ITS NEVER THE SAME - ITS IMPOSSIBLE TO KNOW - EACH DELIVERY IS DIFFERENT DEPENDING ON THE AUDIENCE THE SCENE ---

You've said Leadbelly, Rory McEwan, Ray Charles and John Lee Hooker were a few musicians who you got into right off the bat. These guys had soul, which is almost impossible to describe. But when you think of these artists and some of your other favorite singers, what qualities in their voices and performances drew you to them?

EACH HAS TO HAVE A QUALITY OF TRANSCNDENCE TO GET MY ATTENTION - THOSE THAT DO CAN HOLD MY ATTENTION...

What goes through your mind when you hear one of your own albums, like "Into the Music?" Are you critical of yourself? Can you step back and enjoy it? Or do you ever go back into your own catalog at all, just to sit and listen?

BASICALLY I ONLY RE LISTEN IF I AM THINKING OF REWORKING MATERIAL FOR A LIVE SETI AM NOT PARTICULARLY CRITICAL OF IT BECAUSE I PUT OUT WHAT I WANT THE WAY I WANT IT - AT *THAT TIME* - I MAY LISTEN TO REWORK SOMETHING OR TRY SOMETHING ELSE LIVE BUT THERE IS NO NEED TO BE CRITICAL OF A WORK THAT WAS PUT OUT THE WAY I PROBABLY WANTED IT AT THE TIME FOR WHATEVER REASON...

Do the saxophone, guitar and piano appeal to you in different ways? Can you discover things on one that you wouldn't have found on another?

EACH INSTRUMENT IS ITS OWN PERSONALITY WITH ITS OWN VOICE SO OF COURSE YOU ARE GOING TO HAVE DIFFERENT APPEALS - ONE DOES THINGS THE OTHER DOESN'T ONE CONVEYS AN EMOTION OR A MOOD THE OTHER MAY NOT DO IN THE SAME WAY- DEPENDS ON WHAT THE COMPOSITION IS

I'm sure it can be hard to answer a question like this objectively, but how have you grown as a songwriter and a singer in the past couple decades?

THE ANSWER TO THAT IS WITH THE BEHOLDER - WHAT DO YOU THINK?
-Sam Sessa

25-Oct-09 Wamu Theater, New York Concert Review
Here's Dan's review:
If Van's Waterbury show was "loud, fast and out of control," as Art Siegel colorfully put it, then last night's show at the Wamu Theater at Madison Square Garden was silky, sensual and saturated with carnal and spiritual knowledge. I was too conquered in a theater seat to keep a formal setlist, but there were no major variations from his recent Denver and Las Vegas non-Astral Weeks gigs. Still, many of what are now becoming those same old songs left lasting impressions. All in the Game build in a slow, steady burn before exploding down by the pylons. Van let out an ecstatic scream during the finale, true squealin feelin. Philosopher's Stone continues to excel, the audience lifted into the song's upward spiral. The audience always roars when Van's vocal re-enters after the harmonica sunburst. Another devotional In the Garden, pure trancelike healing power, summoning down the holy guardian angel with a voice like soothing balm before hitting the chorus hard,
washing over the audience like a warm wave. A giddily lustful Help Me was one of my personal favs. Van at the start singing softly and cooing a creamy blues before bringing it up into harmonica heaven again. "I'm not tired,
but this old man feels like lying down!" Morrison declared.

The final 20 minutes of the gig saw Van reaching for the stars, the ones that shine in his eyes and the ones that glitter in his memories. On Hyndford Street was a tour de force last night, a masterpiece of contemplative solace,
winding on and on down through the decades of a singer's life. With the band providing another gorgeous backdrop, Van kept boring deeper and deeper until he was bent over humming, bleating, the emotion spilling over. Morrison did not recite the lyrics. He sang them with as much beauty and meaning as he knew how and created another time and place. A storming Gloria propelled the audience back into the world on 7th Avenue. Van seems as pleased as ever with the band, which just gets better and better. At one point in the show, as Jay Berliner spun his magic, Van just smiled and watched him: saying that's right, yeah, that's good.

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
All in the Game
Moondance
Philosopher's Stone
Little Village
Help Me>Early in the Morning
Have I Told You Lately
In the Garden
On Hynford Street
And the Healing Has Begun
Gloria

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser

24-Oct-09 Palace Theatre, Waterbury Concert Review
Hartford Courant
Van Morrison celebrated forty years since the release of his classic "Astral Weeks" last November with concerts that covered the album in its entirety, a carefully crafted rethinking of its nuanced nature that has been the backbone of his live schedule since. His stop Saturday night at Waterbury's Palace Theater, the first of his two Connecticut shows this week, was a glorious trek through that record, and showcased vitality that remain as undimmed as Morrison's own.

Sporting his trademark fedora and mirror sunglasses, the 64-year-old Northern Ireland native ambled forth without ceremony, settling in front of a piano to the left of the stage as he opened with a song of considerably more recent vintage, 1982's "Northern Muse (On Solid Ground)." Accompanied by a flexible eight-piece band, he made a soulful ascent of the tune, a musical pleasantry for which his voice, at once husky and melodic, served as a signature.

After ladling a flowing piano line across the organic rock of "Brown Eyed Girl," Morrison headed to center stage to spend the remainder of the show on acoustic guitar, a golden monogram of his initials attached to his microphone stand the showiest thing onstage in a program that made powerful use of subtlety. His tone was rough but his manner all fond caress as he forged entrancing atmosphere while building "In the Garden" from sparse to rousing and back again.

The "Astral Weeks" portion of the show diverged slightly from the original album's sequencing, which suited a performance that kept the original disc's songs recognizable while refreshing them along the way. Morrison's splendidly imprecise diction loaded character into every turn, a loose affiliation of growled syllables that danced with the flamenco guitar traces in "Beside You," and forged a hypnotic centerpiece as a tune from the original was expanded into the stunning meditation "Slim Slow Slider (I Start Breaking Down)."

With a flute and two cellos lining a breezy bound through "Sweet Thing," Morrison alternately blew and sang through his harmonica, in the latter case giving his voice enticing sizzle around its edges. His cadence came in broad strokes that nonetheless sported finesse as he navigated "Ballerina," and stood as a stout counterpoint to accompanying violin as he offered "Madame George" as a lengthy near-trance.

After completing the album, Morrison closed his set on electric guitar with his 1979 tune "And the Healing has Begun," luxuriating in its drama as he exhaled his way through its latter passages, and walked offstage while playing it to a close. The show snuck past the 90 minute mark when he returned for a single song encore, a throbbing offering of the old school garage rock number "Gloria" that came forth in more straightforward fashion than anything else on his dance card.

Van Morrison's show Saturday included the following songs: "Northern Muse (Solid Ground)," "Brown Eyed Girl," "Fair Play," "The Mystery," "In the Garden," "Astral Weeks," "Beside You," "Slim Slow Slider (I Start Breaking Down)," "Sweet Thing," "Cyprus Avenue," "The Way Young Lovers Do," "Ballerina," "Madame George," "And the Healing has Begun," (Encore) "Gloria."
-THOMAS KINTNER

Here's Dan's Review:
What an absolutely beautiful theater in the heart of downtown Waterbury. The stage lighting at The Palace last night was as inviting as I have ever seen for Van, and the sound system was clean and clear. It was another superior show with Morrison chomping at the bit from the start, imploring the band to "come on!" only seconds into Northern Muse. And the band responded. Another powerful excursion through the County Down as the Muse moved through the fair, she moved through the town. Van stayed at the piano for Brown Eyed Girl, very cool, pop song in classical mode. Van's still sticking with what has become the standard setlist when it comes to the Astral Weeks gigs. I thought he would mix it up more, but when the songs sound this good, it's hard to quibble. Van only did 5 songs tonight before going into Astral Weeks, instead of his usual 6 or sometimes 7. The In the Garden was filled with vocal leaps and was played powerfully straight through.

The Astral Weeks set continues to reveal how hardy these songs continue to be. The band was also digging in deep tonight, and the music had a rich fullness that filled the ornate dome. The songs continue to reveal new plot lines and emotions. Slim SLow Slider and railway carriage charms getting Van through the day. Lots of sweet thing champagne eyes and harmonica vibrations in perfect harmony. Set closer was a long, glistening version of And the Healing Has Begun. Multiple peaks scaled and sun-dappled valleys explored. A thunderous Gloria to close the gig, skittering violin and rock solid rhythm. A woman sitting two seats from me kept saying at regular intervals during the show: This is so good. This is so good. This is so good.


Newtown Bee
WATERBURY — Anyone who queued up to slap down the $350 single ticket cost to get up close to the quirky yet sublime Van Morrison at Waterbury's Palace Theater last Saturday thinking they would be singing along to his many radio-friendly tunes was probably venomous by the end of the show.

After all, he only performed two of his greatest hits, starting with what could only be described as a schmaltzy, throw-away take on "Brown Eyed Girl," which he quickly and unceremoniously dispensed in the first ten minutes of his 92-minute set.

But true fans, who know that Morrison likes to mine the depths of his amazingly prolific 30-plus album catalog, had to be transfixed by a man and a sound Morrison managed to evoke from a spectacularly tight ensemble featuring bass, guitar, drums, keyboards, flute, sax, trumpet, mandolin, violin and two cellos.

While "Van the Man" was on mission to showcase his critically acclaimed Astral Weeks, celebrating the 40th anniversary of its release, every note from the strains of the show's opening number, "Northern Muse (Solid Ground)," through the re-ordered sequence of material from the aforementioned groundbreaking 1968 effort and into the encore was delivered with such cleverly crafted nuance that the entire set could have been considered a rabid fan's musical gift from the heavens.

The sweet clarity of a young Van Morrison's tenor back in the late '60s and early '70s, like that bottle of fine wine, has mellowed, taking on the still tasty, yet world-weary growl of a veteran bluesman. And his presence, with dark suit, huge mirrored aviator sunglasses and dark fedora offsetting his brilliant white acoustic guitar, only enhanced his eccentric posturing.

It was fascinating to watch as Morrison occasionally backed well off the microphone and sing to the band, or maybe to himself, and the musicians surrounding him would ratchet down to almost a whisper so the audience could hear every throaty mumble of his jazzy scat. These interludes were amplified well in the vintage theater, where every tick of the drumstick on the high-hat, and every breathy draw of the bow across the cello's strings were clearly audible all the way to the balcony's last row.

Besides the re-ordered and invigorated treatment of the Astral Weeks, Morrison proved to the crowd early on that this would be a night to remember, pulling out "Fair Play," from his 1974 project Veedon Fleece, as he transitioned from grand piano to guitar.

The Astral Weeks portion of the show came with the band launching into the hypnotic title track. Following up with "Beside You," which included beautiful Spanish guitar underpinning from Jay Berliner, Morrison continued leading the crowd through this litany of stories, stopping only once ahead of "Slim Slow Slider (I Start Breaking Down)," to tell the audience, "Any reference to any living person is fiction..."

Morrison shed his guitar momentarily on "Sweet Thing," grabbing a harmonica and alternating between singing directly into the mic, and through the distorting reeds of the harp. A jangling harpsichord drove the band down "Cyprus Avenue," and the high notes of "Ballerina," failed to challenge Morrison's 64-year-old vocal chords.

Wrapping up this portion of the show, Morrison finally let the entire band bring on a joyful burst of sound at the end of "Madame George."

Switching to a vintage Les Paul guitar, the artist briefly returned to his catalog for "And the Healing Has Begun," before shuffling off stage into the wings trailing a jazzy solo as the house erupted in a standing ovation.

He closed the show with "greatest hit" number two, a rousing "Gloria," which served as a clever cover to bail out of the venue and get his limo on the road several minutes before the band wrapped up and the audience realized he had left the building.

As folks began filing out into the misty night a few minutes later, it was clear that few were disappointed by the musical magic they had just witnessed courtesy of one of the true masters of his craft.

Morrison didn't use this venue as a marketing showcase to trudge out the repackaging of an "anniversary" album in concert, but as a lyrical and tonal envelope in which to deliver an astral gift to satisfy the thirst of everyone willing to just sit back and drink it all in.
-John Voket

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
In the Garden
Astral Weeks
Beside You
Slim Slow Slider
Sweet Thing
Cyprus Avenue
Way Young Lovers Do
Ballerina
Madame George
And the Healing Has Begun
Gloria

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser

Exclusive New Interview With Van On CBC's Q Show

Jian Ghomeshi interviewed Van on CBC's Q show just before his Massey Hall gig.

You can listen to it here.

Jian Tweets: Just back from exclusive w/ Van Morrison at his hotel. Tis very provocative stuff. The man pulls no punches. Went 45 mins - Q tmrw morn.

'Vanatics' Arrive From Far & Wide For Van Morrison Concert

Montreal Gazette
His name is Fred Durette. He is a most affable locomotive engineer residing in Shediac, N.B. At the prompting of a buddy, he pulls back the shirt sleeve on his left arm to reveal a tattoo to end all tattoos. It is a magnificently colourful and flawless rendering of the cover of Van Morrison’s 1970 album His Band & Street Choir. It took the tattoo artiste more than 13 hours to recreate this – as well as the actual Van Morrison autograph on the cover – on Durette’s arm.

Such are the lengths some Van Morrison fans will go to express their feelings for the Belfast Cowboy. Durette is part of a group of nearly 30 fanatics who gathered at Hurley’s before and after Morrison’s concert at Place des Arts on Thursday night.

They call themselves the Vanatics. They are mostly fifty or sixtytsomethings and they come from all walks – from Durette the choo-choo dude to performance analysts to publishers and, in one case, “a forcibly retired journalist.” And they come from South Africa, the Netherlands, England, the United States and beautiful North Bay, Ont. to celebrate one of the most enduring, intriguing and mesmerizing singer/songwriters of them all. Some in this group have seen Morrison in concert hundreds of times.

Now that’s devotion. But, hey, if you’re going to pick a musical guru, better Van Morrison than, say, Marilyn Manson.


Nor can I be entirely objective about Morrison, either. To my often unsettled mind, he is one of the most brilliant and original performers in the biz. Astral Weeks, his classic album, which he has reincarnated on his current tour, is, simply put, a masterwork. Problem was that I had never lucked out catching Morrison in concert in an earlier life. If memory serves – and it often hasn’t – I first took in a Morrison concert about 40 years ago at the mercifully defunct Autostade, which had to be the world’s worst music venue, and underneath an expressway to boot. Morrison had a meltdown on stage, and stormed off, something to do with a broken relationship. Two years later, I took in another concert at the defunct Capitol Theatre downtown. Better acoustics, but another Morrison meltdown, and Van abandoned stage prematurely again.


But just when it appeared that my appreciation for Morrison would forever have to be limited to disc, he blew us all away at his 2007 jazz fest show at Place des Arts. (Which, as colleague Bernard Perusse reported, was his best yet here, an absolutely intoxicating experience – with no non-musical intoxicants required.)

Bob Croll is the Montreal head of the Vanatics. Like other chapter heads around the world, Croll – an equipment liquidator, a “sensitive repo-man” – felt it was incumbent upon him to show the other Vanatics a good time here. So he has arranged a pre-game nosh at Hurley’s with Schwartz’s smoked meat and St. Viateur bagels.

Croll, too, was at that ill-fated Autostade concert, but remembers nothing. “What I do know is that Van’s music has been with me for 40 years, through good times and bad times. It is so healing. The man is unique.”

Durette interjects. “If our partners didn’t like Van, they weren’t our partners for long. He is a biblical experience for us.”

Shannon Vale, an ex-Montrealer now living in New Hampshire, caught Morrison at the Capitol Theatre in 1971 for the first time. Clearly not dissuaded, she has since seen him 75 times in concert and is writing a book about him. “There was just something about his voice. I was instantly hooked. Honestly, I had no clue about the lyrics then, but the music touched me then and continues to do so now.”



Ken Dawe is the executive-director of Baseball Newfoundland/Labrador by day. By night, he is a Van stalker – in the concert sense. “I’ve always been captivated by his intensity.”

Dan Murray is the aforementioned journalist who had to be forcibly retired from his gig in upstate New York over “ a difference of opinion with a boss.” He has taken in Morrison over 200 times. “Only a bachelor like me could be doing something like this. I guess you could say I’m in pursuit of the lost chord.”

Sean Andrews, an accountant from North Bay, has only done 60 concerts, but he plans to make up for lost time. “I always feel I’m in the company of genius when I hear him. I like Bob Dylan, too, but I wouldn’t be following him around the globe. Van makes music in the moment. Unlike almost everyone else, his concerts are not choreographed.”

Mike Millard is a retired performance analyst from Canterbury, England, who has seen Van 700 times over the last 40 years – which speaks not only volumes about his devotion but also about the money to be made as a performance analyst. Millard’s best year was 2003: he witnessed 56 out of 90 Morrison concerts. “What can I say? I love the man, his music and the gatherings. And I have yet to meet a fan who I’ve later wanted to avoid.”

Detroit publisher Michael Seltzer and his wife Laurie, along with Millard, are among the few Vanatics who’ve actually met the man. “A quiet, sweet man,” he says. “My friends have season tickets to the Pistons. I have season tickets to Van.”

A Van concert doesn’t come cheap. Tickets for the Montreal show fetched up to $325 each. When transport and hotel are factored in, these are some of the priciest season tickets around. “Especially when my wife and I go off to Spain or Switzerland to see him,” Seltzer notes.

Which explains why most of us fans will never be able to spend our lives on the cara-Van.

“But this is our biggest addiction,” Seltzer adds. “And, besides, Van never plays the same song, the same way twice.”

“It’s not about the fame or fortune for Van,” says Laurie Seltzer. “It’s all about the music and the man’s passion for it.”

“He’s the equivalent to a meditation high,” Vale rhapsodizes.

Which is to say Morrison will never be mistaken for Metallica.

Benjamin Croll, the 22-year-old student son of Montreal Vanatic-chief Bob, may well have been a Metallica fan if not for genetics. “Let’s just say the Stockholm Syndrome has kicked in,” muses the younger Croll, about to take in his second Morrison concert. “Sure, I could have jumped out of the car when my father first started playing his music, but I figured I might have hurt myself. Now I’ve really come to appreciate Van’s Zen-like qualities.”

And perhaps there is hope for the next generation.
-Bill Brownstein

02-Oct-09 Massey Hall, Toronto Concert Review
Here's Cami's Review:
Another fabulous show! Van, taking it down and bringing it back up, over and over... the band just so in tuned and tight and bringing it all back home one more time again...Beside You and Ballerina the Astral standouts this night The concert rounding out with Healing Has Begun and Hyndford Street! So thrilled to have been a witness to that magnificence! In between we got the holy guardian angels again and we got rainbows in our souls and pylons and backstreet jelly roll and "gimme 5" and the slap on the left side of our collective faces too. My daughter was with me, her first show..she loved it. Aside from Astral Weeks she also got two of her favourite songs..she described his voice as "velvet covered in melted chocolate".. .never quite thought of it like that before, but it's a fitting description I think. She's had a night she won't soon forget. I don't! think she'll ever be the same again!!

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
All In The Game
In The Garden
Astral Weeks
Beside You
Slim Slow Slider
Sweet Thing
Cyprus Avenue
Young Lovers Do
Ballerina
Madame George
And The Healing Has Begun
On Hyndford Street

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser

01-Oct-09 Salle Wilfrid-Pelletier of Place des Arts, Montreal Concert Review
Montreal Gazette
During a no-nonsense, 100-minute set at Salle Wilfrid-Pelletier of Place des Arts last night, the man on stage never seemed to connect with his audience or his band in any conventional way.

If the performer were anyone else but Van Morrison, that would be a problem. With Morrison, however, it's kind of what you want. You need him to be somewhere else, speaking in tongues, repeating words like "never" and "very" so often within a line that the simplest phrases take on fresh meaning as they simultaneously become meaningless.

From the moment he sat down at the piano - just once - to open the show with a slow, subtly bluesy Northern Muse (Solid Ground), Morrison showed more engagement with a live performance than he's let us see in some time.

Whether it's the challenge presented by the concert's centerpiece, Astral Weeks in its entirety, or whether it's the sheer fun of shocking the fans by putting utterly unexpected gems in the set list, Morrison seemed fully inspired at every moment. Quite simply, it would be hard to argue that last night's performance was anything but the best show he has ever given in this city.

The finest of Morrison's work sounds like it's part of one long, perfect song. And that's how the concert unfolded. A playful Brown Eyed Girl - with the audience singing the sha-la-las and Morrison tossing back "Like that!" - yielded easily to a dreamy, jazzy Fair Play that wanted to go on all night.


Yet it all seemed mere prelude to a hushed, sublime and mystical In the Garden, with Morrison invoking the Father, the Son and the Holy Ghost as the strings in his nine-piece backup group swelled up and rose around him.

A 45-minute Astral Weeks followed, managing to sound both turn-on-a-dime tight and like it was being created right in the moment - a testimony to both the singer and his stellar musicians, among whom were guitarist Jay Berliner, who played on the original album.

With Sweet Thing and The Way Young Lovers Do swinging and Ballerina rocking like never before, the revamped, resequenced Astral Weeks has now taken on a life of its own, well beyond the one-off celebration it started out as last year.

Still, the biggest surprise came at the end. A lyric sheet was brought out in case of emergency, the band started a slow, pastoral swirl and Morrison, swaying back and forth, offered a recitation of On Hyndford Street, delivering its last lines as he walked off the stage without doing an encore.

Five minutes after the lights went up, an incredulous crowd began to shuffle out only when the crew started removing instruments from the stage.

But really, how could he have followed that ?
-Bernard Perusse
Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Philosophers Stone
In the Garden
Astral Weeks
Beside You
Slim Slow Slider
Sweet Thing
Cyprus Avenue
The Way Young Lovers Do
Ballerina
Madame George
And the Healing Has Begun
On Hyndford Street

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser

30-Sep-09 Massey Hall, Toronto Concert Review
Toronto Sun
With roughly three dozen studio albums under his belt, it took more than four decades for Van Morrison to return to one of his and rock music’s landmarks.

And despite the fact it wasn’t played in the same running order as the 1968 record, the Irish soul singer ensured that Astral Weeks was the focal point of his near capacity show Wednesday night at Massey Hall.

With a large backing band – including a small string section – Van Morrison sat behind a black piano to start the 100-minute set with some other non-Astral Weeks efforts. Northern Muse (Solid Ground), the first of several tunes that dabbled almost simultaneously in folk, blues, country, Celtic and soul, set the tone for most of the first half highlights.

Not one for idle banter, Van Morrison, 64, left the piano for good and did a rather ordinary run through of Brown Eyed Girl as the audience eagerly helped out. But it was the ensuing number Fair Play which symbolized the magic of the man and his muse.

Often leading the very attentive group with subtle hand cues and gestures, the performer took Fair Play down a rather lengthy and lovely musical road, giving guitarist Jay Berliner (who played on Astral Weeks) and fiddler Tony Fitzgibbon time to shine as Van Morrison let the song guide him and not the other way around.

The only low moment of the night might have been when Van Morrison figuratively and literally blew it during Little Village. Attempting a saxophone solo, but not quite hitting the desired notes, the singer quickly got help from Paul Moran who fleshed out the horn portion on trumpet.

Nonetheless, the draw to this particular tour is Astral Weeks. Earlier this year Van Morrison released Astral Weeks: Live At The Hollywood Bowl as a live CD and DVD. Next year a documentary entitled To Be Born Again will be released revolving around his return to this particular masterpiece.

After a brief announcement stating Astral Weeks was commencing, the musician opened with the melodic title track, often playing off David Hayes plucking his standup bass. The song was also met with some heads bobbing and toes tapping throughout the audience.

Probably the night’s highlight was the middle section where the blues-tinged Slim Slow Slider found its groove early on, bobbing and weaving as Van Morrison strummed his acoustic guitar with more verve. Singing at times a bit off microphone but with a voice that rarely needs amplification, he nailed the swaying, melodic Sweet Thing which he occasionally slowed to a crawl.

The combination of Ballerina and Madame George also soared, the former met with hoots and hollers while the latter – with the song again steering Van Morrison – concluded with a standing ovation, proving it was well worth the steep price to get in.

Closing with the warhorse Gloria, Van the Man thanked the band, took a bow and exited the building, leaving the audience pleased to have witnessed such a rare sweet thing.

****1/2(4.5 out of five stars)
-JASON MacNEIL


The Star
Van Morrison's only got but so much to give and that seems to be all right with his fans.

Clad in trademark black fedora, dark suit and sunglasses, the 64-year-old Irish native delivered a perfunctory 90-minute set at Massey Hall Wednesday night.

The folk-rocker didn't banter with the audience or crack a smile. (He'd even requested the venue not serve alcohol).

The only bit of flash was the giant "M" in the centre of his microphone stand. You assumed his occasional side-to-side rocking meant he was having a good time.

The first half was dedicated to the musician's "classic songs," including "Brown Eyed Girl" and "In the Garden." Since enunciation didn't seem to be a priority, singing gave way to scatting with no jarring.

But the vocal delivery was adjunct to the penetrating and heavily improvised musical palette, courtesy of a nine-piece band that included flute, fiddle and cello.

Through clearly working from a set list, Morrison who accompanied himself on acoustic guitar and also played harmonica and sax, kept the musicians on their toes with unexpected solo cues.

The remainder of the concert was a slightly rearranged front-to-back rendition of his 1968 critically acclaimed Astral Weeks.

He's been touring that routine since debuting it with a pair of successful Hollywood Bowl concerts last fall that were released on DVD.

The Massey Hall gigs (he's back Friday night) are billed as "the most intimate setting to date."

Funny though, with the full orchestration, songs such as "Beside You," "The Way Young Lovers Do" and "Sweet Thing" were not as intimate as the recordings by 23-year-old Morrison.

With that blues-laced voice less in the forefront, the angst-ridden tales of his Belfast upbringing didn't connect in the same way.

But the near capacity crowd lapped it up and lingered hopefully for the encore that never came.
-Ashante Infantry

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Little Village
In the Garden
Astral Weeks
Beside You
Slim Slow Slider
Sweet Thing
Cypress Avenue
The Way Young Lovers Do
Ballerina
Madame George
Listen to the Lion
Gloria

Big Hand For The Band
Paul Moran
Tony Fitzgibbon
David Hayes
Richie Buckley
Jay Berliner
Bobby Ruggiero
Richie Buckley
Michael Graham
Terry Adams
Rick Schlosser