Computer Age

Van Morrison
It's Too Late To Stop Now
Warner 1974

Cuesta find live albums that are really essential. Normally recordings are contributing little or nothing to the discography of every artist who comes to this relief appeal. However, "It's Too Late To Stop Now" (1974) is a glorious exception to that rule. Moreover, in the case of incurring the sin of not possessing any album from Van Morrison (Belfast, 31-8-45) could be enough to acquire this double cd to be able to savor the Irish at the peak of his career. This is a double disc that works because it is a superb action exudes that "feeling" that the Irishman was accompanied by the superb Caledonia Soul Orchestra, and also because it is compiled much of the best tracks on the cusp of its long career.

The performances are some actions carried out in summer 1973 in London and Los Angeles. Van Morrison came to be linked half a dozen discazos: "Astral Weeks" (68), "Moondance" (70), "His Band and Street Choir" (70), "Tupelo Honey" (71), "Saint Dominic's Preview (72) and "Hard Nose The Highway (73). The mere enumeration removes the hiccups ... All these discs are represented in "It's Too Late To Stop Now" save "Tupelo Honey." It would have been a hit that would have included Van Morrison the foolproof "Wild Night" in this directory. A failure to which must be added the fact that it goes hand in hand with a little bit versions. The tributes to Sonny Boy Williamson, Sam Cooke, Ray Charles and Willie Dixon reveal the debt owed by the lion of Belfast with black music (soul, jazz, blues, gospel), but imply that there is less space for your items own bill that will miss less ( "Sweet Thing," "And It Stoned Me" or "Redwood Tree" for example).

The first disc include the sublime "Into The Mystic" quintessence of what is capable when he is inspired Van Morrison, and the dynamic "Domino". In the second cd there is a trace truly spectacular. Apart from that it was reviewing its stay in Them with "Here Comes the Night" and the legendary "Gloria", the grumpy Irish reserves for the final temazos the caliber of "Caravan" or "Cyprus Avenue". All of them played with passion and the wisdom of a Van Morrison at that time lived an idyll with the Mets.

In the reissue that has emerged in 2008 is included as a bonus track the infallible "Brown Eyed Girl." A perfect way to close one of the best live albums in the history of rock. One of the few essential. I wish I could have a be there.

25 essential albums live (in chronological order):
"Live At The Apollo" (63) James Brown
"Live At The Harlem Square" (63) Sam Cooke
"Kick Out The Jams" (68) MC5
"At Folsom Prison" (68) Johnny Cash
"At San Quentin" (69) Johnny Cash
"Live At Leeds (70) The Who
"Get yer Ya-Ya's Out!" (70) The Rolling Stones
"At Fillmore East" (71) The Allman Brothers Band
"Live 1969" (74) The Velvet Underground
"Rock And Roll Animal" (74) Lou Reed
"It's Too Late To Stop Now" (74) Van Morrison
"The Last Waltz" (78) The Band
"It's Alive" (79) The Ramones
"Live Rust" (79) Neil Young
"One For The Road" (80) The Kinks
"Dig The New Breed" (82) The Jam
"Ziggy Stardust: The Motion Picture" (82) David Bowie
"Live/1975-1985" (86) Bruce Springsteen
"Live at Sin-é (93) Jeff Buckley
"Unplugged In New York" (93) Nirvana
"Live 1966: The Royal Albert Hall Concert" (98) Bob Dylan
"How The West Was Won" (03) Led Zeppelin
"Kicking Television: Live In Chicago" (05) Wilco
"Hammersmith Odeon, London 75" (06) Bruce Springsteen
"Live At Massey Hall 1971" (07) Neil Young

Listen: Van Morrison - Into The Mystic

Forums Computer Age:
Van Morrison - It's Too Late To Stop Now

Van Morrison
Palacio de Congresos. Madrid.
Sunday January 15 2006.

Van Morrison has returned to acting in the city bringing a portfolio focused on its excellent record of the past year, with some advancement of what will be his new material, for imminent publication. Despite the unpleasant cost of tickets, the singer's concert was filled almost total. The public came to be a mix of ages with a tendency to strip of between 30 and 50 years, which is natural, given the age of the singer, who nevertheless fell on the quantity and level of production in his studio and staged in vivo. Like other classical artists who have also released good albums in 2005, as Neil Young, Paul Mcartey or John Cale brings a set of songs that more dignified and lusts to be heard live, without having to dip into the need for success past, as well proved, being essentially a concert focused on Magic time and well balanced as regards the inclusion of items from previous albums.
The recital was opening an instrumental introduction by the band, formed a core of guitar (musical direction), bass, piano and drums, who joined the winds and a vibrant and eclectic percussionist. The start and gave a key to the concert in terms of internal functioning of the training, as being appropriate, since the choice of the instrumental opening was successful (a rythm'n 'blues very classic in which the soloist will be different give the pass in brief interventions that aim to heat the soloists environment), failed precisely on this, as to what hesitant or fearful of leaving, because really did not seem to be loose enough to achieve the desired effect. It was certainly sensed the high level of musicians, but was greatly noticed the lack of strength and determination to address an issue of this nature, and even at times could seem a kind of gifted students in a music school offering a recital for parents and friends. Lacked warmth and character needed. It is a kind of introduction to this type of classical artists, not as bold as you can do a James Brown even today, but if that same function, which is due to leave to see what is going to offer below , While the musicians must show their expressive resources and the reason that the figure carries, which was not easy to imagine the timidity with which it began. A simple exercise that was quickly forgotten after the arrival of the singer.
The concert began, as usual on this tour, with Keep mediocrity at bay, the last disc, a Chicago-style blues, in which Morrison plays the harmonica and acts as an excellent entry. A true exercise in style with rhythm and punch, making it clear where he is a good part of their roots. The style of music is played entirely focused on the sound of the singer's latest productions, which is almost like putting a true redoubt of the fortress and rhythm'n 'blues classic, played as jazz musicians do. Though not without some touch another classic like Moondance (especially acclaimed), the concert discurrió happily for the interpretation of most songs from her latest album, which sounded really neat and emotional throughout the session. The basic structure of the items proved to be virtually identical: presentation of the theme sung, round alone as a jazz band, returning to the theme and final. The soloists clearly left its worth, with special emphasis on sax, which was the largest made to vibrate with their public speeches, leaving glimpse into the bitumen bearing veins, managing both the tenor and baritone as the responsibility of creating the most instrumental moment hot at night, as well as trumpeter, who also played the flute in the Celtic New Year. The pianist showed his training and tastes in a speech to more soul jazz. In turn, the size of Morrison as a performer was more than clear when it was his saxophone section joining the winds, especially when interpreting the songs Louis Jordan-style jump. We commented above on the introduction of revealing what was confirmed over the bolus. No doubt there should be some sort of intimidation among the musicians who hires Van Morrison, as almost never tonight and just start playing a pleasure, except perhaps the saxophone. It seems that the singer's personality completely dominates the band, which is logical, but it seems to be excessive in practice. Everything was too loose and poorly studied, very consistent with the expectations that a compound as the Palacio de Congresos can awaken. It is black music, but sometimes in excess domada. All very proper, almost too good. Is due to make a difference between songs on the disc and its representation in vivo. This was done, but throwing hand of a structure based on the same rounds that left no holes closed to the unexpected. Anyway, this is the result of the will of the boss, whose performance was undoubtedly exquisite and moving at all times. Open your mouth and there is no more to say. That if, without ever addressing the public: either hello or thank you or to another (90 minutes of the clock), which also does not matter so much, but certainly does not contribute to the relaxation and enjoyment of the highest respectable. There was a calculated, in which Morrison played Sonny Boy (Help me), as has been doing for over 30 years and it sounded excellent. And final point.
The public could soon enjoy the recital. Noted the typical lack of familiarity with the new code and over-eager to justify the payment of the entrance, applauding without rhyme or reason at the slightest opportunity, and only after each sounded especially when some classic vintage. It was not much noise on the new compositions, which no doubt already on his best legacy. This is more than normal.
Despite all this, a very good concert by someone who certainly could not get out on stage if not given, at least, I offered that night.