Recorded in Dublin, Ireland in the Winter of 1987, after the group and Morrison had discussed recording an album together a few years prior. Recalls Paddy Maloney of the Chieftains: “I think at that time Van was searching for his Irish roots. It was this man of blues, of rock ‘n’ roll, jazz and more importantly soul, coming home to his Irishness with The Chieftains and the music we’d been playing for so many years. Musically we were going to meet each other half way.” The union culminated in the album release and a concert for the BBC on St. Patrick’s Day 1988.
Irish Heartbeat (1988)
Comprised of eight traditional Irish numbers and two reworkings of previously released Morrison originals, the album is distinctly Irish but still with noticeable Morrison panache woven in. The album was welcomed to warm critical reviews and became on the most critical acclaimed and best selling albums of 1988, still in retrospect it does not hold the same esteem or place in my memory that much of his less ballyhooed earlier and later original albums…
1. Star of the County Down – Distinctly Irish traditional with a lighthearted gait through the verse building towards the resounding chorus and it’s subtle at first then obvious harmonies. An easy song to enjoy and be annoyed by, I happen to like this filth so it meets my approval.
7\10
2. Irish Heartbeat – The soft and welcoming Morrison original is re-imagined in a delightful way. Originally released on 1983’s “Inarticulate Speech of the Heart” it harkens back to a time of Morrison’s longing to return and reconnect with his roots and thus is appropriate in it’s inclusion on this album recorded in Ireland with the traditional giants.
7.5\10
3. Ta Mo Chleahnas Deanta – This traditional March number features a back and forth between Kevin Coneef and Morrison on lead vocals and a harmony through the chorus with Mary Black, the combination of vocal styles paired with the distinct and charming sounds of Ireland help this song work comfortably into flow of the album and make it an enjoyable addition.
8\10
4. Raglan Road – Inspired and based on a poem by Patrick Kavanaugh, this gradual builder is a heavy handed number as much an acquired taste as any on the album. Well delivered by limited in terms of appeal, instrumentally as tame and predictable as any on the album thus far and maybe the weak link through the albums first side. Morrison’s lyrical bellows are not the same when the pain he sings of is not his and this is evident on many parts of this album.
6.5\10
5. She Moved Through the Fair – One of the most creative and individual renditions of this number closes side one with a detailed soft introduction welcoming Morrison’s vocals which carry the verses almost alone throughout as the pulse never raises much above a whisper from beginning to end.
6.5\10
6. I’ll Tell Me Ma – Side two opens with more energy but it’s not necessarily a good thing this one falls on the wrong side of the thin line between charming and annoying a little two often as the feeling of an Irish square-dance is not one I need to revisit. Still innocent enough it’s over as quick as it starts and is probably pretty good if you’re drunk.
6\10
7. Carrickfergus – Another traditional ballad and proclamation of love as this song rocks back and forth on its own harmony. Morrison sings with candor but without conviction, it’s simply a well tuned instrument playing a song as to form as it can. Still a few moments of Van’s signature shriek and the natural lure of the song are enough to make the experience an enjoyable one.
7\10
8. Celtic Ray – The second Morrison original, Celtic Ray, originally released just five years prior finds itself right in the middle of side two and finds a more comfortable home in 1988’s Irish backdrop then it did in it’s synthesized resting place a few years ago. The chorus is still the catchy and signature moment of the song; and the only missing element is the desperation of the more agonized Morrison.
7.5\10
9. My Lagan Love – Tedious, especially at this point of the album. This is the point where I start to get disinterested every time, this time is no exception.
5.5\10
10. Marie’s Wedding – The Closing number is a joyful song from start to finish and does a nice job of sort of encapsulating the albums best qualities without putting a false face on it. A toe-tapper you’d call it, simple and safe enough and just short enough to stay charming.
7\10
…As the album wears on it’s easy to lose interest a pure Morrison fan, it’s not his world you’re in, it’s his reconnection to his roots your witnessing, or at least the symbolic re-embrace that culminates his quest to go back as he first mentioned directly in “Irish Heartbeat” after hinting at it time to time throughout the 1970’s. A solid musical compilation, but lacking the energy or individuality to be a lasting gem.
Defining Track(s): “Carrickfergus” and “Ta Mo Chleahnas Deanta” are my favorite traditional covers and that’s the album’s concept.
Line in my head: “She’s the wee Lass that’s left my hear broken”
Christagu’s Take: C+ Having finally met up with the jet-setting Irish traditionalists, known the world over for sitting down with anybody who'll look good on their résumé, the blocked poet essays a few jigs in a misguided attempt to prove he hasn't lost his rebop. Instead he should take another cue from the bluesmen who taught him his ****--once you settle into other people's songs, the secret of an honorable senescence is your own sense of rhythm.
Star rating: (1-5) (from my personal catalog)
***
How it made me feel today: (1-10):
6.5
Overall Ranking: TBD
Next up: Avalon Sunset - 1989