George Ivan Morrison was born in Northern Ireland during the summer of 1945. He formed his first band, The Sputniks, before he was a teenager. At the age of 17, he became a touring musician. In 1964, Van Morrison became the frontman for Them, a band that mixed rhythm and blues with garage rock, and scored hits with “Baby, Please Don’t Go,” “Here Comes the Night,” “Gloria,” and “Mystic Eyes.” It has been said the he smiled briefly on one occasion while performing with Them, but that assertion has not been proven in a court of law.
By 1967, Morrison was recording as a solo artist. His hit “Brown Eyed Girl” went to #10 on the U.S. pop charts and has since been played by every band that has ever recorded a note of music. None of what Van had done up to this point, and he had recorded many fine songs, prepared music listeners for his 1968 album “Astral Weeks.” On that album, Morrison began to incorporate elements of jazz and folk instrumentation into his music. The lyrics might be considered either impressionistic brilliance or simply impenetrable. The quixotically romantic “Sweet Thing” was a harbinger of the direction that Van would take on his next album.
In February of 1970, “Moondance” was released. It very well might be my favorite album. Ever. By anyone.
“And It Stoned Me,” a rural reminiscence of fishing and hitchhiking and getting stoned on a glass of water from the mountain stream is the lead track. Check out the country meets jazz arrangement. Stones me just like Jelly Roll.
Slotted second is the title track, “Moondance,” which has become both a classic and a standard. Anchored by a jazz walking bass line and including wonderful piano accompaniment, this is a song of infinite romantic beauty. You are also impressed by the playful tone of the flute, giving a light touch where an electric guitar could have killed the mood of the song. The smart people at Warner Brothers pushed this as a single. SEVEN YEARS after the album was released.
Another soft blue-eyed soul number follows, “Crazy Love.” It’s a love that takes away Van’s trouble, grief, and heartaches. Seek out the cover by country artist John Anderson, who sounds like his crazy loves “makes me right checks,” instead of “makes me righteous.” Kinda gives you a completely different take on the relationship.
On “Caravan,” Morrison finds himself transfixed by the charms of gypsy women and the music they play on the radio. In 1970, you could write un-ironic songs about the magic of radio (see “Rock & Roll” by the Velvet Underground for further proof). Those were the days. Love the arrangement at the end of this song, where the horns play underneath the vocals instead of blaring over them.
Noting the timelessness of his love on “Into the Mystic,” Van notes that the lovers were born before the sun. Musically, the gorgeousness of the arrangement and playing is virtually unparalleled in popular music. Should we discuss the second side of the album? It’s too late to stop now.
“Come Running” kicks off the second side of the album on an upbeat and lighthearted way. Released as a single, it managed to jog up to #39 on the pop charts. What does the woman get for all her huffing and puffing? “You gotta rainbow if you run to me.”
On “These Dreams of You,” Ray Charles makes a strange lyrical cameo. A dark undercurrent in the verses is offset by the lilting sway of the music.
Hope and spiritual renewal are the themes of the gospel tinged “Brand New Day,” which includes Cissy Houston on background vocals. Van gives an exceptionally heartfelt and soulful performance on this one.
A spry clavinet intro sets the tone for “Everyone.” Van plays the pied piper, complete with a flute following every word on the chorus.
The album concludes with the understated rhythm and blues of “Glad Tidings.” Perhaps unknowingly reminiscing about his “Brown Eyed Girl,” the chorus consists of chipper “la la la la’s.”
As a whole, Moondance is defined by the captivatingly arranged music and equally adept performances. Like the best of any art, listening to Moondance gives you the experience of opening a new world to you. On this album, Van Morrison wasn’t dwelling on the threshold of his beautiful vision. He was completely enveloped in it.