After the mixed reactions to “A Period of Transition” in 1977 George Ivan Morrison went back to the studio and continued his evolution with what would become his more pop oriented album since “Blowin’ Your Mind” if not ever. Despite the relatively mild success of the previous album it nevertheless propelled Morrison into a prolific stretch of song writing. There was an optimistic sense to “…Period…” and that optimism has come to fruition within and all around Van’s tenth studio release “Wavelength”.
Wavelength (1978)
With an influx of electric guitar sound as well as more modern production and synthesized beats, “Wavelength” is a new kind of Van Morrison album with the same soul as all the rest. Wavelength served to reenergize Morrison’s fan base as well as his drive to perform. Following the album’s unprecedented commercial success Van assembled a new band, (The Caledonia Soul Orchestra having been disbanded for the minimalistic Veedon Fleece) and began touring again. The sound is in its totality original, a new style for Morrison more reflective of the popular sounds of the era…
1. Kingdom Hall – Energetic and excited from the first note; the album opener is a nostalgic step in a spiritual direction that would probably best define Van’s music of the era. A full sound from start to finish, picking right up where he left off. The Piano keys are entrancing as they step between the slurred lyrical deliveries. Horns and electric rhythms back the scat-style post chorus refrain and lay a bed for the rest of the song. Has a sort of easy southern country-rock feel to it but with a synthesized shadow of sorts. A much needed strong opener.
7.5\10
2. Checkin’ It Out – Sort of clumsy out of the gates, the song builds a sincere message out of a seemingly playful melody. Clean and concise, with the necessary malleability to let Van and the band explore, but overall a rather self contained number. Described as a song of losing your way and finding a beacon of hope\help in the form of a spiritual guide. Morrison guides the listener through the music as the simple acoustic melody moves its way past organs and electric fills. A graceful number but ultimately one without the depth to stand out.
7\10
3. Natalia – Free flowing country R&B ballad; one of three consecutive pseudo-love songs to close side one of the album. Teeters on the edge of boring at times getting caught up in an overly clean circular rhythm. Electric guitar feels forced and the horns and back-up vocals while technically sound are lacking purpose and texture. Even the tempo seems uneasy. For the second straight song and partially the second consecutive album, Van flirts with “grey area” of the song on the outro only to fade away. One of my least favorite songs Van released in the 1970’s.
6\10
4. Venice, USA – With that southern jazz\blues sound more adept to fit in amongst the previous album, “Venice USA” bounces its way along with a delightfully contrasting simplified musical refrain and a complex but contemporary lead vocal performance. Van’s soulful delivery and the diabolically interesting construction and direction of the song are enough to elevate the song to enjoyable despite its otherwise mundane nature. Lyrically and aesthetically it’s as simple as it gets. The Chorus is a fun easy harmonizing chant, the verse is a chew it up and spit it out promenade, the whole is (along with Kingdom Hall) the highlight of side one.
7.5\10
5. Lifetimes – It opens like a TV sitcom theme, or maybe it’s just my brain jumping into 1980’s mode. “Lifetimes” is a subtle, smooth and solid number. Continuing the theme of electric guitar leads and synthesized rhythms; also a very limited role for the brass section. Easy to enjoy but hard to identify what element has charmed you. There is no denying the delicate suspense of the chorus’ opening line or the magnetic synthesizer humming brought to the forefront on the bridge, but more then that it’s the way it just feels like it’s reaching out to you. The side one closer is a personal favorite of mine on the album.
7.5\10
6. Wavelength – Is it possible to be ahead of your time if the music sounds dated 30 years later? This song has got 1985 written all over it; a moderate hit in its hey-day, a prevailing favorite of many fans who prefer post Veedon Fleece Van. A good song but obviously flawed and as mentioned somewhat dated sounding today, a rarity with Van’s music and my palette. The synth is the star of the show here, sharing the stage with Van’s vocals. In harmony both are first gentle as the music builds around them. The song has a wide open spaces feel, it follows the rules and breaks new ground simultaneously as it builds from intro to verse to chorus, from start to finish combining elements of new wave and gospel\soul music. The slow acoustic version of this song, to my knowledge not available except via bootleg is breathtaking.
8\10
7. Santa Fe\Beautiful Obsession – Sante Fe\Beautiful Obsession is a slow, mellow R&B number in traditional Van style with a little country twist that harkens back to Tupelo Honey. It takes a hold of you as it moves along; the verse is narrative, progressing the rhythm, the chorus is comforting desperation, each word is holding on for dear life as the notes casual cascade across the melody. (“Do you need it, can you feel it?’) The Blues guitar is under stated and at it’s best in this number, simple but strong back and drums round out the resonance. The transformation to “Beautiful Obsession” is the casual conclusion of the journey to “Sante Fe”, explosive vocals over the same synthesized and natural rhythms that have guided you all the way.
8\10
8. Hungry for your Love – There is a song like this on every few Van Morrison albums, one of those raw, natural love songs that only the most clumsy of songsmiths would imagine and only the most brilliant could write. It’s a musical refrain and pure William Blake prose throughout the verses and that typical “cards on the table” chorus. Continuing to experiment with different combinations of instruments\sound Morrison plays the electric piano in lieu of acoustic guitar on this track. There is not a lot that you can say about the track, it’s the most natural number on the album, vulnerable and exposed it’s a reminder that what was, still is somewhere.
8\10
9. Take it Where you find it – The albums final track and ultimately the most important track on the record. Opening with a rolling snare and a mellow marching melody, moving into a patient verse and hurried chorus. The piano adds modishness and personality and the guitar cadence and humanity. The song is comprised of three basic movements, the aforementioned\described verse\chorus, and then an encapsulating chanted harmony with proclaiming horns that endures trapped in your mind and finally a third movement. There is no best way to describe the sort of impromptu third movement noted as “drift into the American dream” by critics and biographers. “I’m gonna walk down the street until I see my shining light” It’s this sort of ultra-victorious proclamation done with all the humility and humanity even the most virtuous of hearts can not readily rival. Musically and vocally very strong performances, collectively the pinnacle of the last two albums and a promising precursor for things to come.
9\10
…This one takes a little while to get going, to find its gait and really hit full stride. However the second is the most promising stand on its own collection assembled since Saint Dominic’s Preview. The Morrison of “wavelength” is an artist still in transition but more confident in his new persona, more poised and relaxed and able to let things come to him rather then forcing the pieces into place as in parts of “…Period…” and the first side of this album. It’s an overall eclectic sound, sort of contrasting variations on a theme. A victorious record but one that leaves a few rocks unturned.
Defining Track(s): “Kingdom Hall” foreshadows the continuing move towards religious\spiritual themes within Morrison’s music. “Wavelength” captures the conceptual evolution of the sound, but “Take it Where You Find it” steals the show on the way out.
Line in my head: “Lost Dreams and Found Dreams in America”
Christagu’s Take: Unlike A Period of Transition, this is a good Van Morrison record, as up as any he's ever made, but it's certainly not a great one. You might pay attention to side two, an evocative reinterpretation of Van's America fixation, but side one is nothing more (and nothing less) than class programming.
B+
Star rating: (1-5) (from my personal catalog)
***3/4
How it made me feel today: (1-10):
7.5
Overall Ranking: TBD
Next up: Into the Music - 1979