Van Morrison’s revival of positivity and classic roots on a refreshed studio outing
Over a fifty-year span, Van Morrison has kept a steady editorial pace, and recent months show him more active than ever. This year marks a second album of new material for Morrison, and it’s the third if one counts a collection of unreleased instrumental tracks gathered from Beyondwords. Moving On Skiffle, released in March, leans into the mid-20th-century mixed-race Americana sound that found footing in the United Kingdom, yet the newest project broadens that frame. It also nods to transatlantic rhythms that recall Morrison’s own childhood and early musical experiences, stitching together past and present in a way that feels both forward-looking and richly familiar.
party and romance
What lands with this release is a bold, upbeat cover interpretation that highlights the artist’s enduring craft. The album’s title signals a return to earlier, formative moments, such as 1944 collaborations that included Bing Crosby and the Andrews Sisters, while also presenting a message of hopeful resilience. Morrison’s public persona had faced controversy during the pandemic, when his remarks about social media and political conspiracies drew attention. The new work shifts focus toward entertainment value and the vitality of musical resources that can lift spirits and spark joy among listeners.
The record leans into swing, rhythm and blues, and early rock and roll, offering a satisfying array of textures. The opening track, a buoyant take on Jimmie Davis’ classic “You Are My Sunshine,” sets a lively mood. In Flip, Flop and Fly, Morrison channels party energy and a warm invitation to dance, wrapping the Louis Jordan vibe in shimmering, refined guitar textures. A bold decision to reimagine Johnny Kidd & The Pirates’ “Shakin’ All Over” adds a twistier, darker edge compared to previous studio versions.
George Ivan Morrison’s voice continues to traverse varied musical landscapes, from rock and roll staples to more austere, distinctive tones. The performance of “Two Hound Dogs,” a Bill Haley cover, sits alongside a compact, expressive rendition of “Bye Bye” featuring Taj Mahal on guitar. The tracks also dip into collaborations with legendary artists, including Chris Farlowe sharing vocals on “The Lonesome Train,” while a powerful guitar solo from the late Jeff Beck graces the arrangement.
While this project does not aim to supplant Morrison’s landmark catalog, it offers a refreshing perspective on the artist’s repertoire. It serves as a bridge to the open, celebratory mood found on classic recordings and invites listeners to reexamine the familiar material through a renewed, positive lens. For those curious about the evolution of Morrison’s sound, the album stands as a vibrant testament that history can be revisited without losing its vitality. It situates the artist within a broader musical tradition, one that embraces joyous performance and communal moments, rather than lingering on the grittier aspects of recent public discourse.