Poetic Champions Compose (Remastered) Van Morrison
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- 1Spanish Steps05:24
- 2The Mystery05:18
- 3Queen of the Slipstream04:57
- 4I Forgot That Love Existed04:19
- 5Sometimes I Feel Like a Motherless Child04:28
- 6Celtic Excavation03:19
- 7Someone Like You04:09
- 8Alan Watts Blues04:27
- 9Give Me My Rapture03:46
- 10Did Ye Get Healed04:08
- 11Allow Me03:52
Info zu Poetic Champions Compose (Remastered)
"Poetic Champions Compose" is the seventeenth studio album by Northern Irish singer-songwriter Van Morrison, released in 1987 on Mercury Records. It received generally positive reviews from critics, most of whom viewed it as adequate mood music.
"If the title didn't tip you off, the opening five-minute jazz instrumental "Spanish Steps" certainly reveals that Poetic Champions Compose is an art record. Of course, Van Morrison has been making art records since at least Inarticulate Speech of the Heart, perhaps Common One, so that shouldn't come as a surprise. What is a bit of a shock is that Morrison begins to shake off his self-conscious straitjacket here, letting a little more grit into the music, even if the record still is firmly ensconced in mid-tempos and ballads, with only Van's voice (soulful, yet not histrionic) to pull you in. Much of this tends to float by, with only the occasional song ("I Forgot That Love Existed," "Did Ye Get Healed?") distinguishing itself. The overly mellow atmosphere and Van's arch artiness may not make it universally appealing, yet this record is warmer, stronger than many of its predecessors, one of his highlights from the '80s." (Stephen Thomas Erlewine, AMG)
One of music’s true originals Van Morrison’s unique and inspirational musical legacy is rooted in postwar Belfast.
Born in 1945 Van heard his Shipyard worker father’s collection of blues, country and gospel early in life.
Feeding off musical greats such as Hank Williams, Jimmie Rodgers, Muddy Waters, Mahalia Jackson and Leadbelly he was a travelling musician at 13 and singing, playing guitar and sax, in several bands, before forming Them in 1964.
Making their name at Belfast’s Maritime Club Them soon established Van as a major force in the British R&B scene. Morrison’s matchless vocal and songwriting talents produced instant classics such as the much covered ‘Gloria’ and ‘Here Comes The Night’.
Those talents found full astonishing range in Van’s solo career.
After working with Them’s New York producer Bert Berns on beautiful Top 40 pop hit ‘Brown Eyed Girl’ (1967), Morrison moved to another realm.
Recorded over 3 days with legendary jazz musicians Astral Weeks (1968) is a still singular album combining street poetry, jazz improvisation, Celtic invocation and Afro Celtic Blues wailing.
Morrison would weave these and myriad other influences into the albums that followed in quick succession.
Reflecting on new life in America on the joyous Sinatra soul of Moondance (1970) and the country inflected Tupelo Honey (1971) he summoned old spiritual and ancestral life in the epic St Dominic’s Preview (1972) closer track Listen To The Lion.
Double live album Too Late To Stop Now (1973) highlighted Morrison’s superlative performing and bandleader skills. Mapping out a richly varied musical course throughout the 70s he shone among an all-star cast including Bob Dylan and Muddy Waters on The Band’s Last Waltz.
Indeed, borne of his Irish Showband instincts, the magic of the live performance has been a consistent feature of Morrison’s career.
Settling back into life in the UK in 1980 he released Common One an album centring on Summertime In England an extraordinary invocation of literary, sensual and spiritual pleasure the song would often become a thrilling improvised centrepiece to his live shows.
Steering his own course throughout the 80s on albums such as No Guru, No Method, No Teacher he claimed Celtic roots with The Chieftains on Irish Heartbeat. Teaming with Georgie Fame brought new impetus to his live show while Avalon Sunset saw him back in the album and single charts by the decades end.
Van Morrison continued to advance on his status as a game- changing artist through the 90s and into the 21st century.
Awards and accolades - a Brit, an OBE, an Ivor Novello, 6 Grammys, honourary doctorates from Queen’s University Belfast and the University of Ulster, entry into The Rock n Roll Hall of Fame and the French Ordres Des Artes Et Des Lettres - attested to the international reach of Van’s musical art.
Yet there was never any suggestion that Morrison, one of the most prolific recording artists and hardest working live performers of his era, would ever rest on his laurels.
Collaborations with, among others, John Lee Hooker, Ray Charles, Lonnie Donegan, Mose Allison and Tom Jones confirmed the breadth of his musical reach.
Morrison’s visionary songwriting and mastery of many genres continued to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots.
The influence of the musical journey that began back in Post War Belfast stretches across the generations, and Morrison’s questing hunger insures that the journey itself continues.
Constantly reshaping his musical history in live performance, Morrison reclaimed Astral Weeks on 2009’s album Live At The Hollywood Bowl.
The subtitle of Van Morrison's latest album, Born to Sing: No Plan B, indicates the power that music still holds for this living legend. "No Plan B means this is not a rehearsal," says Morrison. "That’s the main thing—it’s not a hobby, it’s real, happening now, in real time."
With one of the most revered catalogues in music history and his unparalleled talents as composer, singer and performer Morrison’s past achievements loom large. But, as throughout his extraordinary career, how that past informs his future achievements and still stirs excitement and keen anticipation.
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