the angry young them

Them took their defiant blues to garage rock glory with this sad scorching soul.   George Ivan (“Van”) Morrison was born in Belfast, Northern Ireland where he began playing guitar at age eleven.  As a teenager, he joined a group called The Monarchs and toured military bases around Europe before returning to Belfast where he answered an advertisement to play at a new R&B club at the Maritime Hotel.  He brought together members of a band called The Gamblers and they changed their name to Them, inspired by the science fiction horror film 'Them!'.  

Morrison remembers:    "My first gig in school was a skiffle group – a couple of guitars, washboard, tea-chest bass – but I'd already been doing gigs before that, youth club gigs. By the time I left school, I was already playing in bands, so I think I knew when I was about 15. First it was skiffle groups, and then there was what you call rock'n'roll groups, but not what they call "rock" nowadays, that didn't exist. When we went to Germany it was seven sets a night, and nine on weekends, no days off. So it was about 55 gigs a week...That's why I never bought into the "pop" mythology, because when you've done that, it's like boot camp training. I came back and started the R&B club at the Maritime Hotel. We were asked to do a TV show and I thought, "Nah, I can't do this, it's too phony." And a lot of these TV shows wanted people to mime. I said, "Why?" and they said, "Oh, well, some of these people have to mime 'cos they can't play it live." I just came out of Germany where you had to play live, in your face, all the time, from eight to three in the morning!...It was hard! I'm not saying it was easy, but that's how I learned to do what I do. If I hadn't done that, I would not have been able to keep it going, I wouldn't have been able to have the stamina...I always end up dealing with … if you break it all down, it's about energy, because the words keep changing all the time. I mean, "R&B" doesn't mean what R&B used to mean, for instance. "Soul" doesn't mean what it used to. Words keep changing all the time, even in religious organisations.  But now it's all just to entertain people, and keep them preoccupied with stuff like reality TV, which is people in a room "acting" like it's real, keeping everybody distracted so they don't really know who they are, so they can't even stop to think "Who am I? What is it I'm feeling?" Everything is distraction, selling clothes and cars and all that. I think it's a way of keeping the population under control – keep them preoccupied all the time."

Them were discovered by Dick Rowe of Decca Records and signed to a two year contract.  After a couple of singles, their debut album 'The Angry Young Them' was recorded in London with producers Tommy Scott, Bert Berns ("I Gave My Love a Diamond", "Go On Home Baby", "My Little Baby"), Dick Rowe ("Gloria").  The lineup at the time featured Van Morrison on vocals, harmonica, and tenor sax;   Peter Bardens on keyboards & organ;   Billy Harrison on guitar;   Alan Henderson on bass;   and  John McAuley on drums, piano, and harmonica.  

Morrison considers:   "I think any musician in what they call rock & roll is from the streets, otherwise he couldn't sing it or play it...Image is a definite problem. I don't have an image, I don't want to have one, I'm not interested in it. I went through that when I was a teenager. I wasn't modeling myself after someone, there was an image that was projected – people will project an image, and you can either buy it or not. I was just being me, a street cat from Belfast, and was probably like thousands of kids from Belfast who were in bands. But the management built an image around that – "The Angry Young Them" – the punk image, when in actual fact there were lots of people like me in those days. Everybody's got different sides to them, but an image is like taking one thing and saying a person is that. Most of the time it sells more albums if somebody is somebody. Who wants to package nobody?"





http://vanmorrison.com

http://themtheband.tripod.com/bandhistory.htm





The classic "Gloria" was originally the b-side to "Baby Please Don't Go".    
https://www.youtube.com/watch?v=goR8Lf3YH2w
https://www.youtube.com/watch?v=J0aHmMfZTEw





"Baby Please Don't Go" became a top ten hit in 1964.  It included studio musician Jimmy Page on rhythm guitar.    
https://www.youtube.com/watch?v=jwNg-ov3T2w






"Here Comes The Night" appeared on the US release of the album.  The single went to number two in Ireland and the UK, and number twenty-four in the US.  
https://www.youtube.com/watch?v=MzMZGL-Z2E4

https://www.youtube.com/watch?v=rzCtqUJUPtI










 'The Angry Young Them' 
full album:





Side 1
"Mystic Eyes" (Van Morrison) – 2:41
"If You and I Could Be As Two" (Morrison) – 2:53
"Little Girl" (Morrison) – 2:21
"Just a Little Bit" (Ralph Bass, Buster Brown, John Thornton, Ferdinand "Fats" Washington) – 2:21
"I Gave My Love a Diamond" (Bert Berns, Wes Farrell) – 2:48
"Gloria" (Morrison) – 2:38
"You Just Can't Win" (Morrison) – 2:21
Side 2
"Go On Home Baby" (Berns, Farrell) – 2:39
"Don't Look Back" (John Lee Hooker) – 3:23
"I Like It Like That" (Morrison) – 3:35
"I'm Gonna Dress in Black" (Gillon, Howe) – 3:34
"Bright Lights, Big City" (Jimmy Reed) – 2:30
"My Little Baby" (Berns, Farrell) – 2:00
"(Get Your Kicks On) Route 66" (Bobby Troup) – 2:22










The US version 'Them' had only twelve songs with two that did not appear on the UK version:

"Here Comes the Night" (Berns) – 2:45
"One Two Brown Eyes" (Morrison) – 2:39

moondance

Van Morrison found his sweet spot with the pastoral passion of this fantabulous mystical caravan.  Following the recording of 'Astral Weeks' in New York City, Morrison and his wife moved to upstate New York near Woodstock, where he started writing new songs.  When it came time to record again he brought in musicians from the Woodstock area to replace the studio musicians executive producer Lewis Merenstein had brought back from 'Astral Weeks' .  The sessions for 'Moondance' took place at A & R Studios in New York and featured Van Morrison on vocals, guitar, rhythm guitar, tambourine, and harmonica;  Jack Schroer on alto and soprano saxophones;  Collin Tilton on flute and tenor saxophone;  Jef Labes on organ, piano, and clavinet;  John Platania on guitar and rhythm guitar;  John Klingberg on bass;  Gary Mallaber on drums and vibraphone;  Guy Masson on conga;  and backing vocals by Emily Houston, Judy Clay, and Jackie Verdell.  Morrison decided to produce the sessions himself with engineers Steve Friedberg, Tony May, Elliot Scheiner, Neil Schwartz, and Shelly Yakus. 

Morrison would reveal:   "That was the hardest part. The rest comes naturally to me - singing it and playing it - but producing it was a whole other thing. It was the first time I had ever done it, and I had to tax my imagination for all sorts of stuff. It was a big job for me - it was fun, but it was hard work. The reason I decided to do it in the first place was just that I couldn't find anyone else to do it. I looked around and I spoke to a lot of cats, and I had some people come up here to Woodstock, and we pushed around ideas, but no one knew what I was looking for except me, so I just did it...Most of my own singing was done live, although sometimes we did a rhythm track and then the vocal, or sometimes the vocal and the rhythm track and then added the horns. But mostly it was live...They were kind of head arrangements; four of us did them. The piano, horns and myself took care of all the arrangements. There were no charts, and a lot of it was spontaneous. But it wasn't like a jam; it was more than that. I did all the mixing myself, too . . . I was stuck with the engineer. I learned so much from doing it that I would never have known about because there's so many groovy people that are doing that. There's two engineers in particular, Elliott Scheiner and Tony May, who I worked with at A&R and who were really a bitch to work with, so I dug that. They gave me a lot of help on the technical end of things...It was more or less the songs [that brought about the change in style]...There were certain songs on this album that I had to do. I don't know if it was conscious, but everybody involved in the album, the other musicians and myself, had a certain feeling about the whole thing that went down. It was very human, and everybody enjoyed it. There was no uptightness about doing the album. I wouldn't dream of doing it any other way ... That was the sort of band I dig: Two horns and a rhythm section — they're the type of bands I like best.” 

'Moondance' was a critical and commercial success for Morrison, with several of the songs becoming radio staples.  It went to number thirty-two in the UK and twenty-nine in the US.  





http://www.vanmorrison.com





"Moondance" became an instant classic.  It wasn't officially released as a single until 1977, where it peaked at number ninety-two.  
https://www.youtube.com/watch?v=6lFxGBB4UGU



"Crazy Love"
https://www.youtube.com/watch?v=oeE7BOLB8Jc



"Caravan"




"Into the Mystic"








'Moondance' 
full album:

https://www.youtube.com/playlist?list=PL9C23BB2EA26094E5

https://www.youtube.com/watch?v=hx8LrtNHa1M




All songs written and composed by Van Morrison. 

Side One
1. "And It Stoned Me"   4:30
2. "Moondance"   4:35
3. "Crazy Love"   2:34
4. "Caravan"   4:57
5. "Into the Mystic"   3:25
Side Two
1. "Come Running"   2:30
2. "These Dreams of You"   3:50
3. "Brand New Day"   5:09
4. "Everyone"   3:31
5. "Glad Tidings"   3:42

Original 1970 album liner notes

A FABLE
by JANET PLANET

Once upon a time, there lived a very young man who was, as they say, gifted.  His gifts were diverse, and as he gave of them to others (for gifts are for giving) he found that they were most readily accepted and much desired.  He began to regard his gifts rather tangibly after a short while, and soon the courtesans of a nearby palace were teaching him how to measure and label them, and how to mathematically compute their value.

After a short time it occurred to the young man that instead of giving his gifts, he might sell them. This idea better fit in with the new way in which he regarded himself.  Soon his gifts were offered for sale all over the land.

Regularly, men would come to him or send for him, exchanging bags of silver coins that they had collected in order to obtain the young man’s gifts.  Now and then a tattered man would appear, begging to be able to obtain the young man’s gifts for no silver at all, but the young man now only scorned these men, and sent them away with nothing but the memory of his bitter smile.  Bitter it had become, for lately his sleep was being regularly disturbed by a terrible nightmare, so clear and real that he had become obsessed by it.  It involved thieves coming in the night to rob his storehouses of all his silver and gold, leaving him with nothing.  Nightly he would awaken, screaming with rage, “How dare they!!… To rob me of what is mine!!…Rightfully mine!!…Payment for my gifts!!”  And so the young man set sixteen vested soldiers to guard his storehouse…horrible and cruel they looked with huge loaded guns that surely would have frightened away the devil himself.  So frightening were the young man’s soldiers that all of the townspeople never ventured near his home, often taking long detours to avoid passing, in order that they might not be mistaken for robbers and chased by the sixteen grotesque soldiers.

And in the town itself there came a new polite attentiveness to the young man whenever he went to the shops for fresh bread and milk.  It was not the feeling of the many similar mornings of the past, when people called greetings to him glowing from the joy of receiving his gifts, eyes glittering with love, the young girls blushing and running away, soft laughing mouths singing in his praise – all this was now over-shadowed with fear – the people feared his soldiers.  They seemed, to the townspeople, to be the materialization of the very opposite of all the various feelings they had felt for the young man, “their” young man, whom they so loved, and just as the loving parents of a young one who deceives himself but refuses their anxious concern are agonized, so were the people of the town agonized that the young man had seemingly forgotten their never-faltering love, and thus…the deepest source of his gifts.

Clouds began to cluster over the town until the sun and sky could not be seen.  They hung motionless for days, letting in neither sun nor moonshine, yet it did not rain and the wind would not come to move them.  The grayness of the days made everything look solemn, or in the case of the sixteen soldiers’ visages, more horrifying than ever.

Soon the young man found that his lover had become ill, and lay in her bed unable to speak or smile or eat or sleep.  The young man went to her in great concern, for she had adopted the still pallor of the skies.  He offered medications and curatives to her, but to no avail.  She remained almost motionless in her bed.  On the seventh day of her illness the young man realized that the one thing that he had not tried was the one most obvious cure.  His gifts!  Surely they had cured everyone in the land of one thing or another.

He went to his lover in her chamber and commanded that no one disturb their communion for the afternoon.  The servants were used to this order, although had they suspected that he intended to give his ailing beloved of his gifts, they most surely would have listened in at the keyhole.

The young man gave to her every facet, every subtlety and strength of his great gifts on that afternoon, and they seemed (in his own judgment) never to have been more radiant.

After the presentation, the beloved sighed deeply, got up out of her bed and walked, unsmiling, out of the chamber into an adjoining room.

The young man was knocked senseless with shock.  She, still gray and unsmiling, had LEFT him in the face of the greatest of his gifts!  Suddenly a ghastly unreal wave of uncertainty and fear overcame him.  If he had not moved his beloved, if she had not been eased or even CHEERED by his most brilliant efforts, then had his gifts LEFT him?  Was he mad?  Or was it she?  Was she trying to torture him…was her sickness all a sham to lure him into buying her some new bauble she fancied?

The young man writhed in the agonies of his misgivings, his fears, his anger.  As if driven by demons tearing at his flesh, he stormed into the room where his lover stood looking out the window.  Choked with emotion, he demanded an explanation for her cold, impersonal, seemingly unfeeling demeanor.

She seemed so calm, he thought, and new misgivings began to blend into his now thorough confusion.  Also, he noticed, it was not really she who was gray, but simply the grayness of the day reflected on her face.  This made him wonder anew if she had ever really been ill at all.  His apprehension increased with each heartbeat, for his love for her never seemed so desperately important, nor her approval so necessary for his mind to be once again at peace.  His very life seemed to depend upon the words that were forming on her lips.

He felt suddenly exhausted, weakened, chilled, burning.  His doubts and passions, raging unchecked, had disfigured and banished the once gleaming image that he had come to regard as himself, and now he felt only an overwhelming, light-headed emptiness, vague yet dizzying.  He sank wholly into listening to her then, and this is what she said: “I have watched you learning an alien tongue, and I have listened to you measure the qualities of the rose and of other men, and of yourself.  In the sighs of our love making I have heard the analization of our gifts to each other, and because you had forsaken the act of giving, you cannot respect or desire me knowing that I am foolish enough to still believe in giving after you have told me that it is imprudent.

“I was sick at heart because of this, my beloved, and the clouds have come to the town because I am not alone in my sickness.  For all people of your village feel just as I have – they cannot really understand why you ask them to buy gifts that were lovingly given to them not so long ago, and that the silver that they have paid you is guarded from only them by your grotesque soldiers.  Yes, we have all felt the same sickness, my beloved, and the sky could not defy us, for we have keen sincere in our grief.

“And, YES, my beloved, you have cured my sickness by giving.”

The young man was jolted afresh by the simultaneousness of his lover’s smile and the sunlight breaking through the clouds.

“But you did not react to my gifts, you did not show delight or even approval,” the young man protested.

“It is not my nature to regard your gifts the same way I would a bouquet of roses, for the roses are a gift from your reasoning mind, and I in turn can exclaim in delight about their perfectness and aroma, where the other is a gift from your soul and beyond – your essence, the pure flow of your Spirit – which, because my love for you is so great, I can neither accept nor reject, enjoy nor disapprove of.  Your gifts reach so deeply into the silences of my heart that a word, an expression, a smile, a tear…none of these things could ever begin to describe their effect upon me; they would only seek to categorize what is not a wave but the sea itself.

“What can I say, what expression can my face adopt that can ever truly express how your beauty touches me?  It is my unbearable burden that I may never be able to tell you of the stirring you have caused in my soul, of the feeling of movement there after centuries of stillness.  But above all else I shall never allow myself to limit the expression of my love by names or superficial praise.  I could never praise you, but I could contemplate you as a hymn of all-creation for all-Eternity.  Do you see now, my love, that you have given your gifts to me and I am well.  But what of the people in the town who still suffer?  And what of the longings in your own heart?  I am really a very small part of you, and need little protection, for I dwell in the armor of love, which knows no dangers of death or poverty or disfigurement.

“But you have a harder path to tread than I, my love.  Who will quiet the aching in YOUR heart, the ache which you have quieted in mine?  Who possesses the gift to free YOUR soul, just as you are in the possession of the gifts that free the people of your village?  Who can help you, beloved, and what will be the nature of his gifts?  And what will be the price that HE will ask of YOU?”

The young man remained quiet for a very long while.  His hands and breath were quiet, his eyes lowered in deep contemplation.  Then, as the sun began to set, he and his beloved went out into the garden to await the coming of the moon.
__________________________________________________

veedon fleece

Van Morrison stole the highlights and got down to the real soul with this rapturous golden epiphany.  The lukewarm response to his previous studio album 'Hard Nose the Highway' had given way to universal praise for the double live extravaganza 'It's Too Late to Stop Now'.  In the wake of his divorce from Janet (Planet) Rigsbee, Morrison found himself at a crossroads.  He returned to Ireland for a three week holiday with his (then) fiancee Carol Guida.  It had been six years since he had left his native land and the effect was inspirational.  

Morrison revealed:  "'Veedon Fleece' was a bunch of songs that I wrote and then I just recorded it about four weeks after I wrote it. When you make an album you write some songs; you might have four songs and maybe you write two more, suddenly you've got enough songs for an album."

 'Veedon Fleece'  was recorded at Caledonia Studios in California and Mercury Studios in New York.  Morrison did the arrangements and produced the sessions with engineers  Jim Stern, Dahaud Shaar (David Shaw), Jean Shaar, and Elvin Campbell.  The album credits  Van Morrison on vocal and guitar;  Ralph Walsh on guitar;  John Tropea on guitar on "Bulbs" and "Cul de Sac";  David Hayes on bass;  Joe Macho on bass on "Bulbs" and "Cul de Sac";  Dahaud Shaar (David Shaw) on drums;  Allan Schwartzberg on drums on "Bulbs" and "Cul de Sac";  Nathan Rubin on violin;  Terry Adams on viola;  James Rothermel on flute and recorder;  Jack Schroer on soprano saxophone;  James Trumbo on piano;  and Jef Labes on string and woodwind arrangements, and piano on "Bulbs" and "Cul de Sac".  

 'Veedon Fleece' marks the end of his most fruitful and creative period, as he would take a break from the music business for three years.  Morrison would look back:    "Most of Astral Weeks and Veedon Fleece was written in Ireland and recorded [in the United States]. The songs on the other records were done mostly in this country. But nowadays I go between two places: the United States for recording, working and organizing, and Ireland – Belfast and the South – for inspiration and composing...You find that you're pulled by different things at different times. You find that something is pulling you that you have to get to because it's telling you different things about yourself. And I just kind of go where the pull is strongest at the time...I've got a few [friends], both in Belfast and Dublin. I see people I used to grow up with, people I played with in bands, and it brings back into perspective what you're doing. It brings you back to reality. In my new band, Peter Bardens was formerly with Them, and I've known him a long time. Peter Van Hooke is a Dutch drummer I worked with on an American tour. Herbie Armstrong, who's on rhythm guitar, and I used to play together with a guy named Brian Rossi a long time ago at Plaza Mecca ballroom in Belfast – and in other show bands during that period. I'm going back to my roots, really – I mean, if I turn around in the middle of a set and look at Herbie . . . I mean, how can I take this whole thing seriously?... I've gone through quite a few big changes in the last couple of years as far as how I'm relating to what I'm doing. Because in 1974 I was completely at the end of my rope. I was doing gigs, I was uptight, I wasn't getting anything out of it. I felt like I was a robot, and I had a lot of tension – there was tension in my shoulders, my neck, my feet. All this sort of stuff...And I remember I was in Belgium, sitting in my hotel room looking out the window, and I was thinking, "This isn't worth it, man." I'd done two American and two European tours in the 1973-74 period. These record-company people were always ear-bending with their line: "He never works," and I blew that one out the window. So I was just kind of sitting, thinking that I had all those people, doing these gigs, and something wasn't right. I wasn't getting off, it wasn't what I had planned my life to be like. I wasn't going to let show business control my life. So I decided to take a break, get my shit together for me, and think about what I was doing being in this music business – it was becoming oppressive. I wanted to shift out of it for a while...I didn't flip out. I've never flipped out, I'm too crazy to flip out. People who change their minds a lot don't flip out. It's those who have one kind of fixation that do that. My mind changes too much. No, it was a conscious decision. Like I was William Buckley or somebody sitting there looking at the movie, and I wanted to change the movie...The thing is, if you're not together, you can't do it. I wasn't happy in any way – I wasn't writing – so I didn't have anything to give anybody...The usual thing happened, you know: the William Morris Agency called me up every three days and said, "What are you doing?" "Doing a break, what do you think I'm doing?" I was traveling in England, Ireland, Scotland, Los Angeles, Switzerland – all over the place. I was just kind of living life as opposed to being somebody, being like Van Morrison or somebody. I was just looking at things, getting my energy together, doing things I like to do, and just living as if I were nobody instead of somebody. I have to be nobody so I can live my life."

 'Veedon Fleece' reached number fifty-three in the US, forty-three in the Netherlands, and forty-one in the UK.  The album cover was photographed by Tom Collins and features Morrison and two Irish Wolfhounds in front of the Sutton House Hotel overlooking Dublin Bay, the first place he stayed on his vacation.  

http://www.vanmorrison.com/












"Fair Play" – 6:14



"Linden Arden Stole the Highlights" – 2:37
https://www.youtube.com/watch?v=vwVW1yC2xrE
https://www.youtube.com/watch?v=dVZey3HTzWA




"Who Was That Masked Man" – 2:55
https://www.youtube.com/watch?v=fQcnepLAu0k




"Streets of Arklow" – 4:22
https://www.youtube.com/watch?v=QAzgSRlvpbQ




"You Don't Pull No Punches, But You Don't Push the River" – 8:51
https://www.youtube.com/watch?v=ZAWmVz1hJZU
https://www.youtube.com/watch?v=Oh6Ogwk3pX0




"Bulbs" – 4:18
https://www.youtube.com/watch?v=kv-HjHtxMD8





"Comfort You" – 4:25
https://www.youtube.com/watch?v=zFkAFmCjjxo




"Come Here My Love" – 2:21
https://www.youtube.com/watch?v=eyT-KjjG_D0











interview 1974




Bulbs
https://www.youtube.com/watch?v=XKJmDgxAdO8







07/29/74 - Orphanage

Setlist:
0:00:00 - Heathrow Shuffle
0:03:58 - Ain't Nothing You Can Do
0:07:13 - Warm Love
0:11:03 - Snow In San Anselmo
0:15:58 - Help Me
0:19:35 - Into The Mystic
0:24:26 - I Believe To My Soul
0:29:01 - Moondance
0:35:05 - Foggy Mountain Top
0:41:19 - Street Choir
0:46:35 - Listen To The Lion
0:55:59 - I've Been Working
1:02:02 - I Just Want To Make Love To You
1:08:47 - Interview
1:21:16 - Listen To The Lion
1:31:04 - Gloria

1:35:15 - I've Been Working




'Veedon Fleece'  
full album:  
https://www.youtube.com/playlist?list=PLWLQDGsdAqlZVnsHI9f9YKnHgjbP5aBMY

http://www.last.fm/music/Van+Morrison/Veedon+Fleece


All songs written by Van Morrison.

into the music

Van Morrison got back to his roots for the reflective renewal of this mature metaphysical musical medicine.  Morrison had reconnected with guitarist Herbie Armstrong (who had given him his start in Belfast in 1962) for the pop experments of his previous album, 'Wavelength' and stayed with him  in the Cotswold village of Epwell, England while composing the songs that would comprise 'Into the Music'.  


Morrison produced the sessions at the Record Plant in Sausalito, California with Mick Glossop as engineer and assistant producer.  'Into the Music' features Van Morrison on vocals, guitar, and harmonica;   Herbie Armstrong on guitar and backing vocals;  Pee Wee Ellis on tenor saxophone and horn arrangements;  David Hayes on bass;  Mark Isham on trumpet, flugelhorn, piccolo trumpet, and the horn arrangement for "Troubadours";  Mark Jordan on piano;  Katie Kissoon on backing vocals;  Toni Marcus on mandolin, violin, viola, and stroviola;  and Peter Van Hooke on drums;    with John Allair playing organ on "And the Healing Has Begun"; Ry Cooder adding slide guitar on "Full Force Gale"; Zakir Hussain contributing tabla on "Bright Side of the Road" and "Steppin' Out Queen"; Robin Williamson playing penny whistle on "Troubadours" and "Rolling Hills"; and Kurt Wortman sitting in on drums for "Troubadours". 


Morrison would reflect:   "I think seriously about being of some help to somebody. In order to get to that point, you have to go through quite a bit. I'm doing it in my music, right?   Music is like a healing thing, and we're all being healed. I'm being healed. That's what I know, what I feel. It's what I'm going through and we all go through. Any kind of art or music is involved in healing, whether it's rock 'n' roll or classical music, it's all healing. People go to a rock and roll show and they come away feeling better. All this is just the foreground, but the background is something else.   Like the image thing is all foreground. You get images relating to images. When you're up there on the stage and the audience is miles away, then there's no way that can become a meaningful experience, unless the music and p.a. are so together, and you're so together you can transcend all that and reach the people at the back of the hall, who can't even see you ... The message is not in actual lyrics, because lyrics are different every time. And the message is not really in songs. The message is behind the whole thing, which is getting very, very quiet. And when you get very, very quiet you can actually hear yourself. That's what I was trying to say. I was trying to show the dynamics in the music. There's not enough education about what music is today. Kids aren't taught what it is, and I was trying to do a little teaching about it: these elements are in music because they exist in ourselves and society. Anger is in rock and roll, love is in there. There's a lot of different energy. But if you go out and you don't know what you're doing with it--you're just *blasting* this energy--then it becomes destructive. I was trying to show people, "this is energy and *this* is energy, but ultimately the real energy that we're dealing with is the energy that's inside you that you can only hear when you get quiet. And the whole purpose of that was to make people listen to themselves."

'Into the Music' went to forty-three in the US and twenty-one in the UK.  

http://www.vanmorrison.com/






"Bright Side of the Road"
https://www.youtube.com/watch?v=pvS2OtG2SHc


From the dark end of the street
To the bright side of the road
We'll be lovers once again on the
Bright side of the road

Little darlin', come with me
Won't you help me share my load
From the dark end of the street
To the bright side of the road

Into this life we're born
Baby sometimes we don't know why
And time seems to go by so fast
In the twinkling of an eye

Let's enjoy it while we can
Won't you help me sing my song
From the dark end of the street
To the bright side of the road

From the dark end of the street
To the bright side of the road
We'll be lovers once again
On the bright side of the road

We'll be lovers once again on the bright side of the road





'Into the Music'
full album:



Side one
"Bright Side of the Road" – 3:47
"Full Force Gale" – 3:14
"Steppin' Out Queen" – 5:28
"Troubadours" – 4:41
"Rolling Hills" – 2:53
"You Make Me Feel So Free" – 4:09
Side two
"Angeliou" – 6:48
"And the Healing Has Begun" – 7:59
"It's All in the Game" (Charles Dawes, Carl Sigman) – 4:39
"You Know What They're Writing About" – 6:10







live at Capitol Theatre, Passaic, NJ 1979

http://www.paste.com/video/van-morrison/-1462064002

http://www.concertvault.com/van-morrison/capitol-theatre-october-06-1979.html

http://www.amazon.com/Live-Capitol-Theatre-Passaic-1979/dp/B009DTI4Y8



1 Kingdom Hall 03:30 
2 Bright Side Of The Road 03:51 
3 Here Comes The Night 04:12 
4 Into The Mystic 03:12 
5 You Make Me Feel So Free 04:27 
6 Warm Love 02:57 
7 Call Me Up In Dreamland 04:18 
8 It's All In The Game 06:41 
9 Ain't Nothing You Can Do 04:10 
10 Angeliou 09:03 
11 Full Force Gale 02:54 
12 Moondance 04:24 
13 Moonshine Whiskey (Incomplete) 04:05 
14 Wavelength / Tupelo Honey 13:36 
15 I've Been Working 03:44 
16 Troubadours 05:12 
17 Brown Eyed Girl 04:19 
18 Gloria 04:01