Happy Birthday Townes Van Zandt- In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Van Morrison At The Movies”

Happy Birthday Townes Van Zandt- In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Van Morrison At The Movies”

A YouTube film clip of Van Morrison performing his classic Into The Mystic. 

CD Review

Van Morrison At The Movies , Van Morrison, Exile Records, 2007

The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Van Morrison At The Movies , and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.

If you do not believe me then just listen to him ante up on his Gloria (although I admit that I did not know that he wrote that one back in the day), a classic rock bluesy number; the thoughtful Brown-Eyed Girl; the pathos of Days Like This ; the John Lee Hooker song Baby Please Don’t Go; and, something out of time,Into The Mystic. The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.

***In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Pay The Devil”

***In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Pay The Devil”

A YouTube film clip of Van Morrison performing his pre-Belfast Cowboy Into The Mystic.

CD Review


Seth Garth

Pay The Devil, Van Morrison, Exile Productions, 2006


[One of the enduring things about the older writers here, the ones who were “present at the creation” of this publication in its hard copy days back in the mid-1970s when there was still something of an afterglow alive, if not well, from their 1960s countercultural is their love of music. Mainly back in that self-same 1960s rock and roll which most of them were also “present at the creation” at although it was left to older brothers and sister to partake of the full “jail-break” as Sam Lowell liked to call the early uprising. Of course rock and roll has gone through many incarnations, has suffered as has my favored music, jazz, its share of blossom times and barren periods. When that has happened in jazz I tend to go back to the blues, or better rhythm and blues from which a lot of modern jazz had emerged from to break out again.       

When Seth Garth, who knows more about music, about the American songbook that all the rest of his old-time cohort combined hits a dry spot he looks, feverishly at times from this review, for some other nuggets from the songbook. I know because of later he has been humming and low-voice singing the lyrics from a bunch of Cole Porter songs. But back in the 1980s he was working his way through the great American go west young man, young cowboy to be myth and what it meant to some songwriters who were tired of what passed for such music and brought some vigor into the genre. Not so strangely to my mind as that was something of an off period for modern jazz as well I went back to the blues, went back to the old country blues from down in the Delta. On this beat unlike our “dispute” over the merits of film noir we have some agreement if not of kind then of spirit. Greg Green]     


**********
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hencethe Belfast cowboy.

If you do not believe me then just listen to him ante up on There Stands The Glass, a classic honky-tonk midnight sorrows tune; the Williams’ classic Your Cheatin’ Heart; the pathos of Back Street Affair; the title song Pay The Devil; and, something out of about 1952, and the number one example of his cowboyishness (whee!), Till I Gain Control Again. The Belfast cowboy, indeed, although I always thought that was in the North.

Happy Birthday Keith Richards *Come See About Me, Indeed- The Driving Blues Of John Lee Hooker

Click on title to link to YouTube's film clip of John Lee Hooker and Bonnie Raiit performing "I'm In The Mood For Love". WOW!

DVD Review-August 18, 2008

Come See About Me: John Lee Hooker-The Definitive DVD, Eagle Rock Productions, 1992

In a recent entry in this space on July 18, 2009 entitled, "The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker", I made the following comments about this seminal blues artist:

“I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.

So given the above comments what is classic here, according to my tastes. Well, hell “Stella Mae” is one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Peace Lovin’ Man” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.”

After viewing this DVD compilation (definitive or not, that after all is trade puffing) all I can say is oops, maybe I spoke just a little cavalierly above. Maybe it was because I viewed this DVD while we are having a heat wave here in the Northeast and his driving and sensuous blues riffs have come alive like in sultry old plantation and African roots days. Check out “I’m In The Mood For Love” in a duo with Bonnie Raitt to see what I mean. Or with Van Morrison on “Baby Please Don’t Go”. How about “Boom Boom”? Or “Hobo Blues" with the ubiquitous Ry Cooder. Or the masterpiece Hooker classic “Boogie Chillen” with Eric Clapton and The Rolling Stones”. Most of this is mature work so maybe that counts for its appeal to me now. Let me just say-WOW!

"Baby Please Don’t Go"

Baby, please dont go
Baby, please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby please dont go

Baby, your mind done gone
Well, your mind done gone
Well, your mind done gone
Left the county farm
You had the shackles on
Baby, please dont go

Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please dont go
Hey

Baby, please dont go
Baby, please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby, please dont go

Before I be your dog
Before I be your dog
Before I be your dog
Git you way down here
Make you walk alone
Baby, please dont go

Know how I feel right now
My baby leavin, on that midnight train
And Im cryin

Baby, please dont go
Oh, baby please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby, please dont go
Lets go

Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please dont go, yeah

Alright

Happy Birthday Townes In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again-Van Morrison’s “Back On Top”

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.

CD Review

Back On Top, Van Morrison, Exile Productions, 1999

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Back on Top, and another “outlaw” country music man, the "Belfast Cowboy," Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy. But he ain't no one-trick pony, no way. This guy is a musical songbook of the late 20th century.

If you do not believe me then just listen to him ante up on Goin’ Down Geneva, a classic bluesy number; the thoughtful The Philosophers Stone; the pathos of High Summer; the title song Back On Top; and, something out of time, something out of a place that few musicians, hell, few people, go Golden Autumn Day. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves.

Happy Birthday Townes-In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony-The Belfast Cowboy Rides Again- Van Morrison’s "How Long Has This Been Going On"

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, How Long Has This Been Going On.

CD Review

How Long Has This Been Going On, Van Morrison, with Georgie Fame and the Flames, Exile Productions, 1995

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way.

If you do not believe me then just listen to him ante up on Early In The Morning , a classic bluesy number; the thoughtful Gershwin tuneHow Long Has This Been Going On ; the pathos of That’s Life;and, Blues In The Night; and, something out of lost time,Early In The Morning. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And kudos to Brother Fame, who rode that same train, as well.

Happy Birthday Townes-In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Keep It Simple”

Click on the headline to link to a YouTube film clip of Van Morrison performing Behind The Ritual.

CD Review

Keep It Simple, Van Morrison, Exile Records, 2008

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Keep It Simple, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony.No way, no how. Too many hard life lessons "learned."

If you do not believe me then just listen to him ante up on School of Hard Knocks, a classic bluesy number; the thoughtful Song Of Home; the pathos of No Thing; the title song reflecting back from back in youthful rock times, Keep It Simple; and, something out of time, Behind The Ritual. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Van Morrison, barrelhouse blues, folk rock, outlaw country music, Townes Van Zandt, be-bop night, rock and roll,

Happy Birthday Townes- In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony-The Belfast Cowboy Rides Again Van Morrison’s “The Best Of Van Morrison, Volume Three”

Click on the headline to link to a YouTube film clip of Van Morrison performing Tupelo Honey. A greatest hit, indeed.

CD Review

The Best Of Van Morrison: Volume Three, two CD set, Van Morrison, various artist, Exile Productions, 2007

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how.

If you do not believe me then just listen to him ante up on Gloria , a classic bluesy number with legendary bluesman John Lee Hooker; the thoughtful Centerpiece Stone with Georgie Fame and the Flames;the pathos of That’s Life;The Healing Game; and, something out of time, out of youthful rock timeTupelo Honey with bluesman Bobby Bland. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And as loners, not with legendary company. But fine, fine indeed.

Happy Birthday Townes -In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Brown Eyed Handsome Man”

Click on the headline to link to a YouTube film clip of Van Morrison performing In The Back Room.

CD Review

Brown Eyed Handsome Man , Van Morrison, Bono Records, 2000

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how not with that deep musical background.

If you do not believe me then just listen to him ante up on He Ain’t Give You None, a classic bluesy number; the thoughtful Beside You; the pathos of Send Your Mind; the title song from back in youthful rock timesBrown Eyed Handsome Man; and, something out of time,The Back Room. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Happy Birthday Townes- In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Down The Road”

Click on the headline to link to a YouTube film clip of Van Morrison performing The Beauty Of Days Gone By.

CD Review

Down The Road, Van Morrison, Exile Records, 2002

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Down The Road, and another “outlaw” country music man, the Belfast Cowboy, Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony. No way, no how, just too many lessons "learned."

If you do not believe me then just listen to him ante up on Steal My Heart Away, a classic bluesy number; the thoughtful The Beauty Of Days Gone By; the pathos of Chopping Wood; the title song reflecting back on youthful rock timesDown The Road; and, something out of time,Fast Train. The Belfast cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Happy Birthday Townes Van Zandt- In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Van Morrison At The Movies”

Happy Birthday Townes Van Zandt- In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Van Morrison At The Movies”

A YouTube film clip of Van Morrison performing his classic Into The Mystic.


CD Review

Van Morrison At The Movies , Van Morrison, Exile Records, 2007

The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Van Morrison At The Movies , and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.

If you do not believe me then just listen to him ante up on his Gloria (although I admit that I did not know that he wrote that one back in the day), a classic rock bluesy number; the thoughtful Brown-Eyed Girl; the pathos of Days Like This ; the John Lee Hooker song Baby Please Don’t Go; and, something out of time,Into The Mystic. The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.

In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “The Best Of Van Morrison, Volume Two”

Click on the headline to link a YouTube film clip of Van Morrison performing his classic Into The Mystic.


CD Review

The Best Of Van Morrison, Volume Two, Van Morrison, Polydor, 1993

The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, The Best Of Van Morrison, Volume Two l, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.

If you do not believe me then just listen to him ante up on his cover of Bob Dylan’s It’s All Over now Baby Blue, a classic folk bluesy number; the thoughtful Sense Of Wonder; the pathos of Real Real Goner; the song I’ll Tell Ma; and, something out of time,Hymns To The Silence . The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.

In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Pay The Devil”

Click on the headline to link to a YouTube film clip of Van Morrison performing his pre-Belfast Cowboy Into The Mystic.

CD Review

Pay The Devil, Van Morrison, Exile Productions, 2006

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy.

If you do not believe me then just listen to him ante up on There Stands The Glass, a classic honky-tonk midnight sorrows tune; the Williams’ classic Your Cheatin’ Heart; the pathos of Back Street Affair; the title song Pay The Devil; and, something out of about 1952, and the number one example of his cowboyishness (whee!),Till I Gain Control Again. The Belfast cowboy, indeed, although I always thought that was in the North.