By 1987 Morrison had shed critics and doubters and continued to improve his new format and method. The shift into a being a contemporary artist was complete. Just brief flashes of rugged, raw nature of his earlier work; a mostly refined polished sound was now the norm. His fascination with music and its healing power was still at the forefront of his mind and his lyrics along with a new fascination with philosophy.
Poetic Champions Compose (1987)
Often regarded as his finest work of the decade, Poetic Champions Compose is the culmination of Morrison’s transformation. While I’d debate it’s standing in terms of greatness there is little doubt this is most well composed and executed collection based on technical merit. The sound is soft and clean and at times moving in it’s elegance but other then a few fantastic moments it’s nothing more then a high end sort of easy listening album…
1. Spanish Steps – Cautious instrumental opener, horns are front and center as cautious keys and silky strings provide a Smoky underbelly for the music to swim and slide. A more formal welcoming then we are accustomed to from Van Morrison and one true to the albums original intent. Highlighted by a pure jazz piano bridge just past the two minute mark that raises the songs pulse for a moment.
7\10
2. The Mystery – Breathtaking, reminiscent of a younger, hungrier Van Morrison. Violins elevate dramatic elements as the song soothes and heals. A mature and majestic Morrison propels the song with a lyrical tirade and a delivery crowded with conviction. The songs strength is its title line and the surrounding instrumental accompaniment. Each instrument perfectly finds its place in this one; the backup vocalists, the piano, the violins and the bass guitar all find chances to briefly take center stage along Van’s vocal lead. A strong and compelling number that satisfies more and more with each listen.
9.5\10
3. Queen of the Slipstream – Gentle, charming number is among the most enduring numbers on the album. A perfect melodic ballad with a nimble and free flowing ambience and a restless but easy gait. An accidental title track with subtle lyrical companion. It embodies the albums innocence in honesty. This is Morrison comfortable in his own skin. Nothing daring or embolden, just a smooth, easy, elegant number that feels exactly right. It’s a perfect example of the direction of the music in the past 6-7 years; possibly the most popular song from the album.
8\10
4. I Forgot that Love Existed – Piano moves a confident jumper song behind an exotic and entertaining bass track. Morrison whispers a simple title message and flushes out empathy and enthusiasm and then embraces these presumed lost attributes. Philosophy heavy lyrical content and the instrumentals interludes are outstanding elements of the song that both point towards its original design as an instrumental. Electric guitar utilized as it rarely is in Morrison’s music, safe but satisfying a solid number.
8\10
5. Sometimes I Feel Like a Motherless Child – A completely individual rendition of the traditional classic made most notable by Ritchie Havens at Woodstock 17 years earlier. Sonic drama devoted to each moment; an eerie backdrop behind familiar lyrics in a unique delivery are the elements that make up Morrison’s ominous interpretation. The harp and horns carve the melody carefully and creatively shaping the song formaticly. A fine song.
7\10
6. Celtic Excavation – The Horns are diplomatic as the set the pace for this distinctive ace of an instrumental piece to close side one. The Piano provides a breathtaking accompaniment that glides around each measure with precision and poise. A song that makes you feel light and care free, ultimately relaxing. It’s easy nature also breeds an instant familiarity and an accompanying comfort.
8\10
7. Someone Like You – A love song without question, a gentle number that builds just to a flutter and eases into a beautiful state of mind. Still despite its natural broad appeal and numerous cinematic cameos it quickly becomes a mood piece and an otherwise rather boring and repetitive song. This is really the only element of Morrison’s music I’ve never fully enjoyed or understood. Even the best of this breed score low on my scale.
7\10
8. Alan Watts Blues – Mystic Jazz is the phrase that comes to mind as it did the first time I heard this one. It quickly evolves into a toe-taper as the melody seduces your soul. Rhythm is the core and the gentle guitar fills add an element of excitement and provide foreshadowing of the more energetic chorus. The piano acts as a guide from section to section taking center stage in the in-between and instrumentals. The almost ironic title is a nod to Morrison’s philosophical influence of the time. “Whereabouts unknown”, the payoff line, is Morrison’s homage to his own mood and understanding. A very enjoyable song from beginning to end even if a little circular and repetitive.
8.5\10
9. Give Me My Rapture – A sort of curious, almost playful melody drives the song through the opening measures as the piano and vocals prepare to provide the soul of the song. A song with clear direction and a mellow twist on a major request. This is another song with an ultimately confident Morrison at the wheel. The happy go lucky atmosphere of the song only benefits it’s core request.
7.5\10
10. Did Ya Get Healed – Layers of light lounge style horns line the opening of the song making way for Morrison muse to guide him again. It’s fashionable façade is done with delicate consideration for the style and purpose of the music. To entertain and inquire or profess or desire, in general to improve. Morrison whispers away the songs final moments.
7\10
11. Allow Me – As subtlety and elegantly as the album had opened, so it closes with some of most spot on placement in recent memory. Each note acts to tighten the loose ends the final number serves to tie. Just pure and simple, easy jazz with a persuasive and prodigious pulse. Aptly titled and enduring as any instrumental from the period, there is no better way in music to say good-bye then these careful selected notes in this four minute farewell.
8\10
…As mentioned the album was imagined as a Jazz Instrumental collection, however Morrison found the lyrics coming naturally. He credits almost all of the lyrics to stream of consciousness a tactic similarly humiliated in his earlier works and live performances. And while some of the original songs were scrapped in favor of the more contemporary classics others like “Did Ya Get Healed” and “I forgot that Love existed” are clearly cut out to be stand alone instrumental numbers. Overall the album moves freely and confidently and is a well crafted enjoyable listen.
Defining Track(s): “The Mystery” is easily my favorite, but “Someone like You” and “Queen of the Slipstream” better represent it as a whole.
Line in my head: “Let go into the Mystery”
Christagu’s Take: B+ His first interesting album in five years sounds best as a CD for the same reason it isn't all that interesting--in his current spiritual state, which could last until he rages against the dying of the light, he doesn't much care about interesting. He just wants to roll on, undulating from rhythmic hill to melodic dale. If only he'd resequenced the third-stream instrumental "Celtic Excavation" so that it closed the full-length digital work instead of opening its nonexistent second side, he'd have framed his dinner music perfectly. Yeah, dinner music--I figure if it doesn't make me want to vomit, it must have something going for it.
Star rating: (1-5) (from my personal catalog)
***1/2
How it made me feel today: (1-10):
8
Overall Ranking: TBD
Next up: Irish Heartbeat- 1988