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Old 06-30-2008, 05:50 PM   #33 (permalink)
Son of JayJamJah
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Default Veedon Fleece (1974)

With the divorce finalize Van went back to Ireland for holiday and back into the studio for his most personal, cathartic and poignant production since Astral Weeks. This would be the final unraveling of the young Van, the prolific Rhythm and Blues Rock superstar and spirit divided and confused. The end of the beginning, but nowhere near the end. This album marks a return to the basics and the start of a transformation.




Veedon Fleece (1974)

Veedon Fleece is a metaphor for anything and everything, it is the unknown, it’s what we are all searching for, what we can’t define or quantify. That’s all bunk of course if you ask Morrison who casually concludes; “It’s fiction, I made it up” regardless there is little denying that while a more optimistic and celebratory cycle, Veedon Fleece is a return to form from Astral Weeks, musically it’s superior at moments, but lacks the flow and consistency of Van’s WB debut. Divided into three sections within the album, a sort of delicate playful introduction, a heart pounding, escalating climax of a middle and a love song infused final stanza that reignites the Van who lived between Astral Weeks and Veedon Fleece, if only in a more sentimental and tender fashion…

1. Fair Play – Slow and soothing, the opening tack sets a mellow and serene tone for the album. Moving the listener across the plane of thought like a accomplished dancer across the parquet. Lyrically a fantastic performance, musically exquisite with so much happening on so many levels; each instrument telling its own story. Piano keys step through the verses around the bass and acoustic guitars. Van wallops the opening vocal performance diving head first into the chorus with an appropriate lyrical accompaniment (“Geronimo” and the converse “High-ho Silver”) Van’s story is that of his life and that theme is continual through every chapter of the album, very strong opener. 8.5\10

2. Linden Arden Stole the Highlights – Following the theme of “Fair Play” Linden Arden is slow and meticulous. The Piano’s keys are the counterpart to the flutes fluttering melodies on Astral Weeks. The ebony and ivory and accompanied at first by guitar then full string arrangements. Continuous building the intentionally ominous mood of the album, it acts as the bridge from the first and third songs, together the three from the “first chapter” of the album. Inspired by an incident Van witnessed in a dental office waiting room. A perfect bond in between very different, similar songs. 8\10

3. Who was that Masked Man – Van’s vocals go to their highest register and while it’s not exactly faultless, it works for the song complimenting the subtle orchestral sound behind its lead acoustic guitar. This song acts as the final act of Van’s decent back into the haze of his untrusting wounded past. The most direct reference to the despair of the divorce. There is desperation and hopelessness not present since Astral Weeks as Van cites, loneliness, longing and personal anguish and even hints at suicide. The dark conclusion of the first chapter trilogy within Veedon Fleece with departing line “No Matter what they tell you, there is good and evil in everyone”. 7.5\10

4. Streets of Arklow –The album takes a turn down a darker, even more ominous but more hopeful path with Streets of Arklow. Musically more through and fully engaged back in the sorrowful but determined world of Astral Weeks, it’s raw with humming violins, other strings and punchy piano fills throughout. Fascinating lyrics filled with references to a bright and beautiful surrounding and backed by Celtic style flute and piano take center stage however as the keys and strings bring framing and mood to each measure. The song introduces the listener to the new direction of the album very well as the story continues to develop. 8.5\10

5. You don’t pull no punches, But you don’t push the River – Assertive from the beginning, a continuing Celtic influence is present as is a heightened sense of urgency. No longer walking the streets, but not stalking them note by note. Taking the listener on a musical journey as the pulse steadily builds throughout the song as layers are added musically and lyrically. Seemingly improvised through most it features Van’s foray into verbal fascination with the self accused meaningless title line “Veedon Fleece” who\which the protagonist and his holy and poetic sidekicks search far and wide for. “William Blake and the Eternals standing with the Sisters of Mercy, Looking for the Veedon Fleece” Easily the most intense song on the album and a strong effort which brings the cycle to an appropriate apex. A brilliant composition; the frenzied crying and growling of the final lyrical revolution is the icing on cake and a heart pounding side one finisher. 9\10

6. Bulbs – A reenergizing effort moving out of the second chapter of the album, fun and free. A tale of emigration to America upon reflection from holiday back home. Almost a stand alone song, but necessary to bridge the overall cycle and tell the complete story. Simple strumming and heavy acoustic (stand-up bass) follow futbol metaphors into blue street light brass driven country guitar licks. With a steady, constant build from the first note it transforms itself from mellow folk cry to fast paced honky-tonk style rhythm and blues. Electric steel guitar plucking and acoustic strumming perpetrate the melody until “her 100 Watt bulb just blew”. Featuring all those wonderful performances as well as lyrical interludes in the traditional Van styling it’s a complete victory of a song. Outstanding lyrics, flawless musical execution and creative construction: Simply put a romp of a song. 9.5\10

7. Cul-de-sac – Mellowing back out but presenting an interesting jazzy contrast (to bulbs) with the same two featured instruments and a theme featuring Van’s reflection on moving to America in the forefront. Both build from the start to end, but Bulbs picks up pace while Cul-de-sac gathers emotion. A smooth transition from the climatic “…Don’t pull no Punches…” and the reinvigorating “Bulbs” into the love song filled finale chapter. This is a more mature Van then the one from Astral Weeks realizing that he has simply loved and lost and will Love again. You can hear the cautious but convincing confidence in his voice as he convinces himself it’ll all be okay, first in a whisper then a growl then a scream. 8\10

8. Comfort You – Into the Love song portion of the album. Continuing the cycle with Veedon another turn, carrying elements from the previous songs, especially the early songs, Comfort You brings it down some more and brings the strings to center stage with the acoustic guitar and violins. Subtle lyrically and not at all cliché, the piano provides a friendly accompaniment for another very strong vocal performance. Relaxing, satisfying song and well placed as a final turn for the album. 8\10

9. Come here my Love – Poetic and intriguing lyrical, subtle musically, perhaps the most tranquil song on an intentionally relaxed or at least melancholy album. Guitar is the driving force and only notable performance. Never really makes its move just sort of short and sweet reinforcing Vans expectation of new love. 7\10

10. Country Fair – Haunting, excellent and comforting. An all-encapsulating tale the final track of the albums final chapter does not let down. Starting with brilliant guitar work and harmonizing flute and vocal side bars, as “we stood out and watched the river flow” through the Country fair in one of the most innocent and unassuming love songs in all of Van’s catalog. Easing from stanza to stanza, portion to portion it departs as the albums enters with balance and order amongst chaotic surroundings and contents. Expectedly smooth. 8\10


…This was the first Van album I ever listened to on the day it was released. I was 17 years old had just graduated high school earlier that summer and had just begun to really dive into this music. At the time, Zeppelin and the Who was rocking the world, especially for me and my friends, but this was a music I related to in a different way, a more personal way. Like Astral Weeks, Veedon Fleece initially went largely ignored. Hard Nose was dismissed as average and this was out of left field, a return not the peppy stylings of Moondance, Street Choir and Tupelo Honey but to the melancholy of Astral Weeks, still over time it’s become a classic fro fans and critics alike and never disappoints me.




First Time I Listened to it: 1974
Defining Track(s): Bulbs is a masterful composition and stands out amongst the album however “You don’t Pull no Punches, but you don’t Push the River” is the defining track without question.
Line in my head: “Ain’t it lonely when your living with a gun”

Star rating: (1-5) (from my personal catalog) *****
How it made me feel today: (1-10): 8.5
Overall Ranking: TBD (Top 10)


Next up: A period of Transition - 1977

Last edited by Son of JayJamJah; 07-01-2008 at 07:11 AM.
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