After a distressing experience following the release of Common One van took more then 18 months in the recording and releasing of his next album 1982’s Beautiful Vision. Living in England again, Van was a new man and one comfortable in his and his surroundings. At the time rumored and since confirmed to have been dating Ulla Munch during the recording phase she serves as a convenient muse and along with Morrison’s requited love for the United Kingdom and simultaneous push back towards the Into the Music formula create the structure of the album.
Beautiful Vision (1982)
The sounds are charming and eerie, a very polished and spiritual feeling album. Every song’s sound is full and free. It’s as pleasant sounding an album as there could be, very easy listening but lacking any real stand out tracks. Morrison combines elements mostly of his recent history in finding his footing again on his second album of the decade. The particularly infatuated feel of the album is due to, as any feel of his albums are, to Van’s current state of mind…
1. Celtic Ray – Guitar rhythms, bagpipes lend a distinctly Celtic sound to the song which deals with Morrison’s spiritual connection to his homeland; a particularly ethereal opener, some what out of sorts for Van but still a very polished and powerful musical performance. With a few nice changes of tempo breaking the monotony and a vocal performance complete with background reinforcement and real conviction. Van has renewed his love affair with Europe.
8\10
2. Northern Muse (Solid Ground) – Most likely inspired by his girlfriend at the time. Cool country rhythm fuses sounds from Wavelength to Common One continuing to shine with confidence and conviction. A steady tempo soothes your spirit, but never steals your full attention. Very strong musical collaboration; notable performances by complimentary bass and horns sections follow the back-up enhanced vocals. Simple but soulful lyrics “if you see her”, “and she moves” delivered with fervor to spare help elevate the song.
7.5\10
3. Dweller on the Threshold – Very identifiable with the era of the music; no doubt this is an 80’s Morrison number. Short winded horns punch out the melody of the chorus as the constant rhythm of bass guitar, drums and synth marches on. Very strong musically including an excellent saxophone solo and an overall pivotal performance from the horns. Circular musical and lyrical pattern again with backing vocals just sort of pushes along. Its strength is it creators not it’s creation.
7.5\10
4. Beautiful Vision – The title track sways back and forth with a balanced sound and a just catchy enough rhythm. Intoxicating imagery fills the lyrics and the feel of the music. Guitars and percussion keep the rhythm and horns and electric guitar fill in the gaps with delicate progressions. Van confidently pleas to his or someone’s “Beautiful Vision” be it Heaven, Love or otherwise it’s a certain aspiration and inspiration for the song. A song that appropriately exemplifies what this album is all about. Holy, real spiritual music that is relatable to everyone from Baptists to blasphemers, atheists to agnostics, Christians and klingons. Real soul music.
8\10
5. She Give’s Me Religion – Marinating in the overall sound of the album, it’s another comfortable, easy going number. Harkening back to that “mystic avenue” from Astral Weeks gone by; it’s a simple song with a simple message at its core. The Chorus is a full and powerful declaration but still done with delicate delivery. This one is confirmed to about the new love and follows the pattern of Van’s love songs since Veedon Fleece being musically sound first and expressive second.
7.5\10
6. Cleaning Windows – A little bit jumpier then and more energetic then most of side one; a very evocative number calling back to his days literally Cleaning Windows in his youth. This one has all the characteristics of a Van Morrison classic, with the random vocals (“#36”) mixed in amongst an otherwise linear storyline and the nuanced musical orchestration. A nostalgic narrative lyrical dialog opens the number alongside flawless musical execution. Powerful punchy horns and groovy electric guitar fills highlight the musical melee. The first song on the album to really catch your attention; it’s a different sounding Van but one his roots are firmly entrenched in those same early R&B stars. It feels like Blowin’ your Mind almost two decades later. Distinctively 80’s and distinctively Van all at once. A funky sort of classic.
8.5\10
7. Vanlose Stairway – Slowing it down with this poignant, pleading composition of conviction. Van’s second love song on the album expressing his angst in longing for his new found love. True to this albums direction and the traditional formula used in Morrison’s more affecting numbers; Van highlights the moment’s necessary to set the mood with his vocal escalations and variations. Gradually growing melody relaxes the mind, body and soul with elegant excellence. It’s a good enough song to make me like it a lot in a genre I am typically apathetic towards.
8\10
8. Aryan Mist – The numinous side two midpoint is the humming hymn “Aryan Mist” Originally title “Among the Bridges” until the title line was added to give it an even more eerie element. The bass line buzzes along ass the backbone to song as guitars, drums and backing vocals round out the sound of the song. It carries itself safely enough but has threatening moments of exploration that intoxicate the more personally involved fans. The most casual confusion imaginable, a delightful display of delicate decadence. John Lennon suggested “God is a concept” I suggest it’s a feeling of relating.
8.5\10
9. Across the Bridge Where Angels Dwell – Musically and lyrically it’s a still even more spiritual and light hearted dalliance with a very touching chorus. Almost effortless throughout, it’s too safe for its own good, but still endearing enough and so well crafted that it offers a lot to like. This one is again about his new found love and has been, because of it’s placement accused of being overkill. On it’s own merits it stands nearly as strong as other love song of the era.
7.5\10
10. Scandinavia – Starting with a distant hum, then enter the piano keys as played by Morrison himself and eventually Mark Isham on the synthesizer and an array of filling rhythm instruments and you have the first complete instrumental track by Morrison to make an album. It’s an odd experience the first time through with the absence of Van’s signature vocals that had been the enduring highlight of his music, but in the end serves to provide an assured summation of the album and direction of his music to come.
8\10
…This is a very good album, it’s technically near flawless and without any evidence of filler. All the songs follow a theme and yet stand out as individual compositions. It could easy be rated with Moondance as one of his best mass appeal albums. It is also however a very safe and sometimes boring record. Van undoubtedly hurt by the backlash from Common One took the safe route here. He assembled very good musicians, most with experience with Morrison, and sang the songs with clear annunciation and confident conviction. He took time to write each song just so as to be sure it could not be criticized on its musical merits. This album is a 10 musically, but a 6 or 7 artistically. There have no doubt been times when it ranks last among his albums to date (1982) on my list.
Defining Track(s): “Cleaning Windows” is the fans, critics, and my favorite.
Line in my head: “Number Thirty-Six”
Christagu’s Take: After a period of transition, Van has finally achieved the eternal Kansas City--this music is purely gorgeous (or at times lovely), its pleasure all formal grace and aptness of invention. Only "Cleaning Windows," a cheerful, visionary, deeply eccentric song about class and faith and culture, stands among his great tunes. But every one of these songs makes itself felt as an individual piece of music. And every one fits into the whole.
A-
Star rating: (1-5) (from my personal catalog)
****
How it made me feel today: (1-10):
7.5
Overall Ranking: TBD
Next up: Inarticulate Speech of the Heart- 1983