Van Morrison
Days Like This

THE REVIEW

Sure, we lost the best of Van Morrison more than twenty years ago (it was 1986 when "No Guru, No Method, No Teacher" came out), and it's true that that Van Morrison will never come back.

However, it's equally true that someone who has abundantly demonstrated skill and musical competence cannot suddenly become lackluster without a real cause. Therefore, even when inspiration slightly falters, technical-musical discipline unexpectedly emerges. This is indeed the case with Van Morrison.

The Irish author of masterpieces like "Astral Weeks" or "Into the Music", after a self-celebratory phase ("A night in San Francisco" is essentially a near-manic celebration of himself and his music), returns to the recording studio with brilliant ideas and some professional touches. The result is "Days Like This", a very interesting album, pleasantly enjoyable, but lacking the real stroke of genius that turns a good album into a masterpiece.
"Days Like This" immediately appears less genuine and effervescent compared to albums, not perfect but better, like "Beautiful Vision", and the whole seems like a decent little lesson on how music should be conceived in the era of sophisticated computerism and low-cost art. In short, almost a routine work, if not for a handful of impressive standout tracks: "Perfect Fit", "Songwriter", "Raincheck".

Very much r&b, decent rhythmic elucidations, and perhaps the most representative track of the nineties' Morrison: "Ancient Highway", a long, almost epochal ballad where Van Morrison gives vent to his irrepressible poetic and musical strength for almost 9 minutes. Excellent, as always, the musical accompaniment: beautiful rhythms, elegant sounds, effervescent horn sections brilliantly arranged (after all, under the expert eye of Pee Wee Ellis, one could expect nothing but a good job). And as always, generous like few, Morrison gives space to Shana, letting her duet with dad on a couple of blues/jazz covers, "I'll never be free" and "You don't know me".
Undoubtedly the album might raise some eyebrows among those fans who went wild listening to "Caravan" or "Come Running", but expecting a masterpiece from Morrison today is almost impossible. Having settled on a decent level but certainly not epochal, the Irish artist tries, sometimes succeeding, to captivate his audience by seducing them with gentle and delightful harmonies, making ample use of that cunning and craft that, naturally, he does not lack.

But it is admirable, despite the many flaws found in albums like "Days Like This", how Van Morrison never tries to stray and pursue trends, adapting very little (in fact, never adapting) to the false myths of modern music success (dance, continuous radio play, youthful slang) and continues, with strength, to assert his concept of serious and structured music. Perhaps risking recording some slightly useless tracks, but always flaunting, with strength and confidence, his indomitable will not to conform and not follow market rules: he is certainly recognized for a fundamental consistency and a good dose of courage. And that is not a small thing.