Wavelength became Morrison’s fastest selling album ever, still while the sounds we’re evolving there was a still an element missing, Van was still not natural as he had been during the earlier part of his career, critics had noticed and while not dismissing the music had rated it lower then his music from earlier in the decade. Morrison choose to leave the country and rediscover the joy of making music and this eleventh studio release was the result.
Into the Music (1979)
The ninth and final studio album of the decade released by Morrison was written primarily on sabbatical in England. The album, again, has a carefree and contented feel from start to finish. Morrison included the likes of established stars Pee Wee Ellis, Ry Cooder and Herbie Armstrong, who Morrison had been staying with. Morrison describes being reenergized by their presence and even admits “It’s when I starting enjoying it again…that’s why I called it “Into the Music”…” The reaction from critics seemed to fall in line with Morrison’s assessment as many hailed it a comeback and an instant classic …
1. Bright Side of the Road – Peppy and positive out of the gate it’s a simple, safe and strong choice to open the album. Brass stands out backed by the rhythm section including piano and bass. Harmonica interlude by Morrison is a nice touch falling into the bridge. Overall the song is a good one but forgettable as it’s as run of the mill as any Morrison single to date. Even Morrison’s throaty final delivery of the “Brightside…” chorus is fairly average.
7.5\10
2. Full Force Gale – Country Gospel is the essence of this spiritual ode which has become a favorite of fans and critics alike over the years. The upbeat tempo and full sound with harmonizing vocals and uplifting lyrics are a touching combination to even the most callus critic. The screaming violin is the essence of the song; and there is strength in the simplicity of the progression. The song has such a free and easy spirit; each verse, each chorus, each note is so effortless that the song moves by in the blink of an eye each time.
8\10
3. Stepping Out Queen – Exemplifying the transitionary sound of the era, “Stepping Out Queen” is a full powered punchy ballad atop a stirring epic which is as candid as it is condensed. Another full sound with triumphant horns and piercing strings behind a technically flawless rhythm. The Searing violin interlude and powerful bridge procession are the highlight of the song. If it’s to be criticized will be for not featuring a daring or dynamic enough approach, it sort of drags along at times rather then moving with the confidence of Morrison’s best work.
7 \10
4. Troubadours – Injecting needed energy and soul into the album is the appropriately titled “Troubadours”. Gliding from note to note, it’s a delicately composed number with a distinct Celtic influence. The nuanced sound is a product of the eclectic influence behind the album. A gentle marching beat is the backbone for the four-headed lead with woodwinds, keys, strings and brass sharing the spotlight. One of the musical highlights of this or any other album; such a full but self-contained sound is as relaxing an uplifting a number as the first side offers.
8\10
5. Rolling Hills – Continuing on the easy Celtic theme is the playful “Rolling Hills” a simple stomping circular number delivered in a semi-decipherable growl. The instruments have a novelty feel that breeds simple satisfaction and unconscious toe-tapping. The end result is a smashingly brilliant bit of Celtic-pop from the Irish sultan of Soul. This is the type of song that requires several listens over a period of time to fully appreciate. It’s complex construction but simple sound is one of many dichotomies among the song that make it such an interesting and satisfying cut.
8.5\10
6. You Make Me Feel So Free – True to form with the sound of the album, especially the early numbers. Piano punches out the melody and horns fill in the cracks of this predictable but prolific jazz\R&B number. Saxophone overlays and solo and a lively bass line highlight There is a sort of “yes and” feel to a lot of these type of Van songs; it’s just so structured and repetitive it almost borders on over-produced. It’s the conviction and confidence of Morrison alone that makes this song work for me.
7.5\10
7. Angelou – The Side two Suite opens with the eerie “Angelou” thankfully revisiting the Celtic influence in the intro and progressing into a delicate soulful plea. Stepping out of desperation (Angelou...oh, Angelou) into improvisation and back again as quickly and unannounced as before. Angelou is a casual confident declaration of an arrival. It’s Morrison’s personal expectation reaching manifest. A new more mature sound with the same old soul, maybe a litter safer but a little more refined for the journey. The melody sneaks up on you and wraps you up; it’s a fantastic introduction to what is one of Van’s most highly regarded album sides ever. More layered and inclusive then it appears at first listen, a really nice mellow number.
8.5\10
8. The Healing Has Begun – A particularly triumphant and significant song in Morrison’s career. This is old Van meets New Van. Making a literal reference to the metaphorical healing element that would become a recurring theme in his future releases. As the song opens that isolated acoustic sound accompanied by strings and keys sets a nostalgic and exhilarating mood as the song opens. The first line takes us “Back down the Avenue of Dreams” A Powerfully delivered song; forceful yet tender each note a journey through the love of the music and the melancholy of transformation. Such a beautiful and sincere energy; it’s more then enough to power the song. The full sound and the transcending melody do the rest. The music is distinctly similar to early Van as the vocal delivery explodes into its own sleeping monster on a bed of rhythm. The song becomes more and more signature as it moves, Van evolves the lyrics the band evolves the music and the cathartic element has never reached such heights; an insistent Morrison propels the song including a brief ¾ spoken dialogue from the Belfast Cowboy culminating with him insisting “We gonna stay out all night long” and “run across the field”.
9.5\10
9. It’s All in the Game – The penultimate number, a 1950’s pop cover, continues the side two suite with a mellow monster of a song; lyrically delivery from spoken, to whispered to shrieked and slurred. A love song without a subject to sing to; a sort of tale of life lessons taught, this is the final piece to the puzzle, Van is not the emotionally raw and explosive narrator of Astral Weeks, he is now a grizzled loved and lost veteran. A preface of a song really setting the final trap on the album. As the music shifts pattern not progression “It’s all in the Game” proceeds with such ease it goes almost unnoticed into the distance and usher’s in the album’s finale.
8\10
10. You Know What They’re Writing About – Opening soft and subtly the self aware finale is another restrained variation on the side two theme. The slow rhythm builds to a finally conclusive chorus. This song is and album are ready wrap after the first time through the sequence at the 2:50 minute mark but persists another two plus minutes trying to stomp its point home and losses a bit of the albums overall momentum, it’s one of two songs I can fathom criticizing on this album.
7.5\10
…Often described as the quintessential mid period Van Morrison album. For me it’s not considerably better then either of the previous two. However it has a more comfortable and natural sound with a more sincere confidence that leads to a more consistent and inspired vocal performance. It’s slightly more consistent though not considerably better then Wavelength and its debatable which side two I like better though Into the Music is the critic’s clear choice. For me most it’s the side two suite that stands out but for others it’s the energetic and full compositions of the first side and for me it’s an album built are “The healing has Begun” and very well built. I suppose that’s part of it’s strength’s having a broad appeal, I think most significantly it’s marks an eleventh straight album with well above average material for Morrison a type of prolific consistently few artists ever approach.
Defining Track(s): “The Healing Has Begun”
Line in my head: “Backstreet Jelly Roll”
Christagu’s Take: The rockers are a little lightweight, the final cut drags halfway through, and that's all that's wrong with this record, including its tributes to "the Lord." You might get religion yourself if all of your old powers returned after years of failed experiments, half-assed compromises, and onstage crack-ups. Like that other god-fearing singer-songwriter, Morrison has abandoned metaphorical pretensions, but only because he loves the world. His straightforward celebrations of town and country are colored and deepened by his musicians--especially sprightly violinist Toni Marcus (feh on Scarlet Rivera)--and by his own excursions into a vocalise that has never been more various or apt. The only great song on this record is "It's All in the Game," written by Calvin Coolidge's future vice-president in 1912. But I suspect it's Van's best album since Moondance.
A
Star rating: (1-5) (from my personal catalog)
****
How it made me feel today: (1-10):
8
Overall Ranking: TBD
Next up: Common One- 1980