Van Morrison Poetic Champions Compose by: Steve Scully Mon:20-Aug-07 Label: Mercury Year: 1987 WB rating 84 out of 100

This decade has seen traditional rock ‘n’ roll turned on its head; the ‘80s have truly been the life and death of so many great and not-so-great artists alike. While this year has already seen the demise of one of this decade’s defining rock acts, The Smiths disbanding in August, it has also been the consolidation of some striking talents: namely U2’s The Joshua Tree, and R.E.M’s fifth, and to-date best studio album, Document. Perhaps the defining characteristic of the past year or two, in terms of rock ‘n’ roll at least, has been the deconstruction of everything we thought we knew about modern music: some icons, previously reliable and seemingly immortal, have descended into the abyss of mediocrity. Bowie’s Never Let Me Down is flaccid and unremarkable, and McCartney’s Press to Play does nothing to atone for the abomination of ‘Give My Regards to Broad Street’; even Neil Young, with his new-found penchant for experimentation, seems to have lost his creative spark. Rest assured, though, that Van Morrison – aptly referred to as ‘Van the Man’ – remains unaffected.

While so many of his contemporaries are trying desperately to change with the times – to progress as the trend-setters determine necessary – Morrison seems to guide himself against the grain. Poetic Champions Compose is, in many ways, a regression to traditionalism. This record sees Morrison embracing, and revelling in his maturity. While he adopts the musical accoutrements of our time – never shying away from a synthesised-driven pop edge – his music and lyrics exude timelessness. Looking at the wordplay and musicianship, the jazzy instrumentation and lyricism steeped in soulful reminiscence, each track is quintessential Van Morrison. The maturity on show is a very firm sense of self, and a quiet confidence in the sound he has made his own.

One of the more immediately striking aspects of Poetic Champions is its track listing, each side beginning with an instrumental, which, when the record is listened to as a whole, serve as bookends. The opening track, ‘Spanish Steps’, highlights Morrison’s sax prowess and proves to be one of the album’s highlights. Over Fiachra Trench’s emotionally-charged string arrangement, the saxophone complements the quiet piano, creating a subtly-shaded piece of modern jazz. Although the wail of the instrument is not so far removed from the man’s own vocal style, by embracing a traditional, non-pop approach to songwriting, and allowing pure musicianship to pervade the album, Morrison’s message to his listeners is clear: he won’t compromise his art. It’s his elusiveness, this mystique that has made Morrison such an intriguing character, and merely by setting his vocal chords aside for a track, he has made as powerful a personal statement as any, but one that may be lost amid Poetic Champions’ understated feel.

‘Queen of the Slipstream’, full of string flourishes and smooth piano, sees Morrison in a lovestruck mood once again, and his lyrics are as much mournful and longing as they are confident and assured: “Goin’ away far across the sea/ But I’ll be back for you/ Tell you everything I know/ Baby everything is true.” Sweetly subtle, the song flows along with the grace of some of the artist’s greatest moments, and isn’t far off the lush-folk of Astral Weeks.

At the heart of all of Morrison’s music has always been a strong sense of history. On Astral Weeks, he was firmly ensconced in pastoral lyricism; on Moondance, he embraced love’s connection with nature, and touched on the spiritualism that would pervade his more recent works. With the adoption of ‘Sometimes I Feel Like A Motherless Child’, a traditional spiritual, Morrison further immerses himself in a wider cultural and historical setting. Like ‘Queen of the Slipstream’, the despair with which he sings of being “so far from home” may portray Morrison as in a state of emotional upheaval. However, as with ‘Slipstream’, there’s a balancing act going on: while he may be “a long way from home”, he ‘sometimes’ feels “freedom is here.” Morrison’s strong connection with the past, with his homeland, is echoed in this powerful song – the album and this song addressing the complex struggle to reconcile the present and the past.

‘Did Ye Get Healed’, reminiscent of Bacharach-style easy listening, is the record’s most tangible success. The sax/vocal lick, the song’s hook, is, however, only the icing on a complex jazz-pop composition. The piano and sax meld over gospel backing vocals throughout, and Morrison’s trademark growl makes the odd appearance, but there’s an overwhelming sense of ease with which he weaves his way in and out of the irrepressible grove of the track. Whether you’re tapping your foot, or shaking your head at the somewhat overt religiosity on show – “when the spirit moves me/I can do many wondrous things” – there’s no doubt that ‘Did Ye Get Healed’ is another of Poetic Champions’ unassuming gems, to be recognized as one of Morrison’s best.

While Poetic Champions Compose may not be as obvious a success as many of The Man’s albums over his long career, it may very well prove to be one of his more lasting efforts. The themes on this album transcend style or fashion: strong opuses of spirituality, love and history. While it seems to dawdle through its 11 tracks, and Morrison may not raise much of a sweat at any stage, it’s precisely this which gives the record its grace and accessibility.