Inarticulate Speech of the Heart (Remastered) Van Morrison
Label: Legacy Recordings
Subgenre: Folk Rock
Artist: Van Morrison
Album including Album cover
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- 1Higher Than the World03:43
- 3River of Time03:03
- 4Celtic Swing05:04
- 5Rave on John Donne05:19
- 6Inarticulate Speech of the Heart, No. 104:55
- 7Irish Heartbeat04:41
- 8The Street Only Knew Your Name03:37
- 9Cry for Home03:45
- 10Inarticulate Speech of the Heart, No. 203:55
- 11September Night05:17
- 12Cry for Home (Alternate Take)03:52
- 13Inarticulate Speech of the Heart, No. 2 (Alternate Take)04:46
Info for Inarticulate Speech of the Heart (Remastered)
Inarticulate Speech of the Heart is the fourteenth studio album by Northern Irish singer-songwriter Van Morrison, released in 1983. Morrison said he arrived at the title from a Shavian saying: "that idea of communicating with as little articulation as possible, at the same time being emotionally articulate".
"Almost a forgotten album, Inarticulate Speech of the Heart takes listeners to the deepest, most inward areas of Van Morrison's renegade Irish soul, the culmination of his spiritual jazz period and also -- perhaps not coincidentally -- the last record he made for Warner Bros. Four of the 11 tracks are moody instrumentals, which might partly explain the indifference of many rock critics toward the album, although the album's very title gives a clue to their presence. The mood is predominantly mellow but never flaccid or complacent; there is a radiance that glows throughout. "Higher Than the World" is simply one of the most beautiful recordings Morrison ever made, with Mark Isham's choir-like synthesizer laying down the lovely backdrop. The instrumental "Connswater" is the most Irish-flavored piece that Morrison had made up to that point, and would continue to be until he recorded with the Chieftains in 1988. "Rave on, John Donne" -- in part a recitation invoking a roster of writers over a supple two-chord vamp -- seems to have had the longest afterlife, reappearing in Morrison's live shows and greatest-hits compilations. "The Street Only Knew Your Name" is the only piece that could be classified as a rocker, tempered even here by the synthesizer overlays. The record sold poorly, but many of those who bought it consider it one of the most cherished items in their Van Morrison collections." (Richard S. Ginell, AMG)
Van Morrison, guitar, piano, Fender Rhodes, alto saxophone, vocals
Mark Isham, synthesizer, trumpet
Chris Michie, guitar
Arty McGlynn, acoustic guitar
Davy Spillane, Uilleann pipes, alto flute
John Allair, Hammond organ, piano, Fender Rhodes
Pee Wee Ellis, tenor saxophone, soprano saxophone, flute
David Hayes, bass
Tom Donlinger, percussion, drums
Peter Van Hooke, drums, tambourine
Mihr Un Nisa Douglass, backing vocals
Stephanie Douglass, backing vocals
Pauline Lozana, backing vocals
Annie Stocking, backing vocals
Bianca Thornton, backing vocals
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.
This album contains no booklet.