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| |
| Artist : Van Morrison |
| Album : Pay The Devil (Advance) |
| Bitrate : VBR kbps |
| |
+-------------------------------[Release Info]-------------------------------+
| |
| Label : Lost Highway |
| Year : 2006 |
| Genre : Rock |
| Rip date : Jan-20-2006 |
| Store date : Mar-07-2006 |
| Size : 68,4 MB |
| |
+--------------------------------[Track List]--------------------------------+
| |
|Track Listing: |
| |
| 01 - There Stands The Glass 02:16 |
| 02 - Half As Much 02:36 |
| 03 - Things Have Gone To Pieces 03:11 |
| 04 - Big Blue Diamonds 02:56 |
| 05 - Playhouse 04:14 |
| 06 - Your Cheatin Heart 02:32 |
| 07 - Don't You Make Me High 02:47 |
| 08 - My Bucket's Got A Hole In It 02:22 |
| 09 - Back Street Affair 02:49 |
| 10 - Pay The Devil 03:03 |
| 11 - What Am I Living For 03:57 |
| 12 - This Has Got To Stop 04:44 |
| 13 - Once A Day 02:52 |
| 14 - More And More 02:46 |
| 15 - Till I Gain Control 05:59 |
| |
| ───── |
| 49:04 min |
| |
+-------------------------------[Release Notes]------------------------------+
| |
| Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van |
| Morrison is among popular music's true innovators, a restless seeker |
| whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and |
| Celtic folk produced perhaps the most spiritually transcendent body of |
| work in the rock & roll canon. While a notoriously difficult and |
| eccentric figure whose steadfast rejection of commercial trends and |
| industry fashions kept him absent from the pop charts for decades at a |
| stretch, Morrison nevertheless enjoyed a massive cult following that |
| grew exponentially throughout the course of his lengthy and prolific |
| career. Subject only to the whims of his own muse, his recordings cover |
| extraordinary stylistic ground yet retain a consistency and purity |
| virtually unmatched among his contemporaries, connected by the mythic |
| power of his singular musical vision and his incendiary vocal delivery: |
| spiralling repetitions of wails and whispers that bypassed the confines |
| of language to articulate emotional truths far beyond the scope of |
| literal meaning. |
| |
| George Ivan Morrison was born in Belfast, Northern Ireland, on August |
| 31, 1945; his mother was a singer, while his father ardently collected |
| classic American jazz and blues recordings. At 15, he quit school to |
| join the local R&B band the Monarchs, touring military bases throughout |
| Europe before returning home to form his own group, Them. Boasting a |
| fiery, gritty sound heavily influenced by Morrison heroes like Ray |
| Charles and Little Richard, Them quickly earned a devout local following |
| and in late 1964 recorded their debut single "Don't Start Crying Now." |
| The follow-up, an electrifying reading of Big Joe Williams' "Baby Please |
| Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major |
| hit upon its original release, Them's Morrison-penned "Gloria" endures |
| among the true classics of the rock pantheon, covered by everyone from |
| the Doors to Patti Smith. Lineup changes plagued the band throughout its |
| lifespan, however, and at the insistence of producer Bert Berns, over |
| time session musicians increasingly assumed the lion's share of |
| recording duties. A frustrated Morrison finally left Them following a |
| 1966 tour of the U.S., quitting the music business and returning to |
| Belfast. |
| |
| After Berns relocated to New York City to form Bang Records, he |
| convinced Morrison to travel stateside and record as a solo artist; the |
| sessions produced arguably his most familiar hit, the jubilant "Brown- |
| Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in |
| the summer of 1967. By contrast, however, the resulting album, Blowin' |
| Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. |
| Sheets"; when Berns released the LP against Morrison's wishes, he again |
| retreated home to Ireland. After Berns suffered a fatal heart attack in |
| late 1967, the singer was freed of his contractual obligations and began |
| working on new material. His first album for new label Warner Bros., |
| 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of |
| the greatest records ever made. A haunting, deeply personal collection |
| of impressionistic folk-styled epics recorded by an all-star jazz |
| backing unit including bassist Richard Davis and drummer Connie Kay, its |
| poetic complexity earned critical raves but made only a minimal |
| commercial impact. The follow-up, 1970's Moondance, was every bit as |
| brilliant; buoyant and optimistic where Astral Weeks had been dark and |
| anguished, it cracked the Top 40, generating the perennials "Caravan" |
| and "Into the Mystic." |
| |
| The first half of the 1970s was the most fertile creative period of |
| Morrison's career. From Moondance onward, his records reflected an |
| increasingly celebratory and profoundly mystical outlook spurred on in |
| large part by his marriage to wife Janet Planet and the couple's |
| relocation to California. After His Band and the Street Choir yielded |
| his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, |
| a lovely, pastoral meditation on wedded bliss highlighted by the single |
| "Wild Night." In the wake of the following year's stirring St. Dominic's |
| Preview, he formed the Caledonia Soul Orchestra, featured both on the |
| studio effort Hard Nose the Highway and on the excellent live set It's |
| Too Late to Stop Now. However, in 1973 he not only dissolved the group |
| but also divorced Planet and moved back to Belfast. The stunning 1974 LP |
| Veedon Fleece chronicled Morrison's emotional turmoil; he then remained |
| silent for three years, reportedly working on a number of aborted |
| projects but releasing nothing until 1977's aptly titled A Period of |
| Transition. |
| |
| Plagued for some time by chronic stage fright, Morrison mounted his |
| first tour in close to five years in support of 1978's Wavelength; his |
| performances became more and more erratic, however, and during a 1979 |
| date at New York's Palladium, he even stalked off-stage in mid-set and |
| did not return. Into the Music, released later that year, evoked a more |
| conventionally spiritual perspective than before, a pattern continued on |
| successive outings for years to come. Albums like 1983's Inarticulate |
| Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No |
| Method, No Teacher are all largely cut from the same cloth, employing |
| serenely beautiful musical backdrops to explore themes of faith and |
| healing. For 1988's Irish Heartbeat, however, Morrison teamed with |
| another of his homeland's musical institutions, the famed Chieftains, |
| for a collection of traditional folk songs. Meanwhile, Avalon Sunset |
| heralded a commercial rebirth of sorts in 1989. While "Whenever God |
| Shines His Light," a duet with Cliff Richard, became Morrison's first |
| U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You |
| Lately That I Love You" emerged as something of a contemporary standard, |
| with a Rod Stewart cover cracking the U.S. Top Five in 1993. |
| |
| Further proof of Morrison's renewed popularity arrived with the 1990 |
| release of Mercury's best-of package; far and away the best-selling |
| album of his career, it introduced the singer to a new generation of |
| fans. A new studio record, Enlightenment, appeared that same year, |
| followed in 1991 by the ambitious double set Hymns to the Silence, |
| widely hailed as his most impressive outing in years. |
| |
| Following the uniformity of his 1980s work, the remainder of the decade |
| proved impressively eclectic: 1993's Too Long in Exile returned Morrison |
| to his musical roots with covers of blues and R&B classics, while on |
| 1995's Days Like This he teamed with daughter Shana for a duet on "You |
| Don't Know Me." For the Verve label, he cut 1996's How Long Has This |
| Been Going On, a traditional jazz record co-credited to longtime pianist |
| Georgie Fame, while for the follow-up Tell Me Something: The Songs of |
| Mose Allison, he worked with guest of honor Allison himself. Morrison |
| continued balancing the past and the future in the years to follow, |
| alternating between new studio albums (1997's The Healing Game, 1999's |
| Back on Top) and collections of rare and live material (1998's The |
| Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again). |
| It wasn't until 2002 that an album of new material surfaced, but in May |
| his long-anticipated Down the Road was released. Three years later, |
| Morrison issued Magic Time. |
| |
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