Van Morrison: Astral Weeks - 1968
"It sounded like the man who made Astral Weeks was in terrible pain, pain most of Van Morrison's previous works had only suggested; but like the later albums by The Velvet Underground, there was a redemptive element in the blackness, ultimate compassion for the suffering of others, and a swath of pure beauty and mystical awe that cut right through the heart of the work" - Lester Bangs
It is a remarkable thing that all these years later, Astral Weeks, his second album, is still considered by many to be Van Morrison's finest release and it makes regular appearances in "greatest albums of all time" lists. It often appears in "rock" lists too, and it most definitely is not a rock album, not in any way. Quite what it is, though, is debatable - Folk? Jazz? Blues? Soul? Irish? Acoustic? It is all of those to be honest.
Its foundations are Morrison's melodically-strummed and crystal clear acoustic guitar along with a delicious bass and some jazzy drums played by high quality jazz session musicians, some of whom had no knowledge of Morrison or his music. This didn't seem to matter and despite initial teething problems they gelled perfectly, giving Morrison the free, fluid feel that he had craved as he departed from the bluesy pop he had previously been known for. This was an artist maturing by a whole decade in a matter of months, securing his credibility for eternity. Much of the album, lyrically, is poetic in a stream of consciousness way, blended intoxicatingly with Morrison's increasing penchant for nostalgia, in his early twenties. He has always understood the relevance of his past, and this comes across loud and clear on this album as he wistfully references Belfast landmarks like Cyprus Avenue and getting the train from Dublin up to Sandy Row. Vocally, he utilises his unique "scat" style of repetition in his singing, something that emphasises his ad hoc, almost live approach to singing but can get a tad irritating, such as "like a like a like a like a like a......Ballerina".
Morrison said of the album -
".....Astral Weeks" songs were from another sort of place - not what is at all obvious. They are poetry and mythical musings channeled from my imagination ... they are little poetic stories I made up and set to music. The album is about song craft for me - making things up and making them fit to a tune I have arranged. The songs were somewhat channeled works - that is why I called it "Astral Weeks". As my songwriting has gone on I tend to do the same channeling, so it's sort of like "Astral Decades" I guess....".
So, with that Dylanesque explanation, you get the feeling that this is an album that defies analysis, really. Despite that, I will still give my feelings on the songs here.
Astral Weeks starts with a delightful rhythmic shuffling backing, a seductive bass, gorgeous guitar and Van singing about "the slipstream", "to be born again" and "would you kissa my eyes". Some beautiful strings join the mix and it just flows, effortlessly, like lapping waves against rocks. It is delightfully relaxing and just has a wonderful laid-back, liberated ambience. Oh, I forgot to mention those intoxicating flute interjections. Half way through when Van's improvised vocals interact with the guitar, bass and flute is simply heavenly. Lord above this is some inspirational stuff. Great track. It was 1968, remember, too - way ahead of its time and that is why it makes it on to all those lists.
A great piece of classically-influenced guitar backs the lovely slow vibe of Beside You. Van sings of "the Sunday six bells chime" in a recollection of his youth in Church-dominated Belfast. This is astonishingly mature music both from one so young and for the time.
Sweet Thing is one of the album's best known songs and its comparative brevity makes it the one track from this album that appears on "best of" compilations. It is a bucolic, dream-like, almost spiritual love song. It introduces the listener to the "gardens wet with rain" that would be revisited in the eighties on In The Garden. Check out that bass again, together with the captivating cymbal work. It's simply lovely.
Cyprus Avenue is notable for its spine-tingling harpsichord and violin interplay along with its insistent groove and Van's terrific vocal. It is a track crammed full of atmosphere and is one of the album's essential cornerstones.
Side Two references those gardens wet with rain once more on the loose, jazzy The Way Young Lovers Do when Van and the band cut loose in a way that they haven't done on the album thus far. It is by far the album's liveliest number, enhanced by some groovy trumpet breaks.
Now it is time for one of my favourite Morrison songs of all time - the mighty, mighty, image-laden creation that is Madame George. Talk about atmospheric - it is full of it from the very first note, sending shivers down my spine, literally. Van's tale of ageing drag queen "the one and only" Madame George is a beguiling one, leaving the listener wondering just exactly what it is about. Not that it really matters - it is just so damn good. Nothing more I can say other than it gets me all tearful every time (listen that crying violin) and Marianne Faithfull did an absolutely corking cover of it. Somehow it seems tailor-made for her gin and cigarettes-ravaged voice.
Ballerina has airs of Cyprus Avenue and Astral Weeks in its stretched out feel. As I said earlier, Van goes over the top a bit with the vocal repetition near the end, but that doesn't detract from what is another killer track. The morbid Slim Slow Slider (about a death from drug abuse) is probably the album's low point, and it ends abruptly too, like a demo version.
Let that not overshadow that this was/is a truly great album, though.
PS - the extras include some “alternate takes”. The take of Madame George is enjoyable but I prefer the original. Ballerina, however, is excellent, with some big, booming saxophone parts. Slim Slow Slider is great too, bassier, I think, with some nice clarinet(?).
