With rhythm and blues against media and science

JOe Smith was an American music director who headed three big record companies in his life and once managed, as an older man in dark blue fabric and a white shirt and matching tie, to sign the Grateful Dead rumors, which were exactly the same We were looking for a trusted little guy because the father The perfectly dyed drummer looked like he had run away with all of the band’s money. Joe Smith was a little stranger to what was going on in the eccentric pop scene, yet he was amazed when Northern Irish singer Van Morrison only wanted to meet him at a London hotel in disguise after many years of dating. Morrison appeared with his hat pulled down across his face, collar up and sunglasses, first wandering the anonymous hallway in the glamor of his secret agent and then wanting to be addressed like Mister Johnson before going into the room.

So it’s by no means a very big realization that the seventy-five-year-old has lost one wheel or the other on his roll. He hates journalists, that he loves conspiracy theories, that he exposes himself to spiritual experiences that are not good for everyone, that he murmurs, tears, and rebukes the rest of the world with earnestness of unbridled beer, which does not share his point of view in the unseen. But since the beginning of the epidemic, the maniac has turned into a hard-headed side thinker who attacks the attractors of threads in a global conspiracy and its followers, the media and scholars, with various publications and wants to expose them through rhythm. And whispers driven by the blues.

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Old music turned into sound

And now there is also a double album that tries to balance the heartbreak of Walchumers, between grief and disgust for future generations: “Stop being brave, do something”, and the descendants of the swing revolutionaries should be asked, “Where have all the rebels gone?”, A question Van Morrison replied to some songs later with a question. Another: “Why are you on Facebook?” At the same time as bullied teenagers in his hometown Belfast, street fighting-like demonstrations of the “Black Lives Matter in America or unrest in Myanmar or Belarus, Van Morrison identifies everything smaller than him, plastered” Behind a cell phone screen, at the mercy of the machinations of a secret digital society.

But what defines “pop” music is not only a guarantee of contradictions and contradictions, but also that it withstands pressure. The Latest Project Record, Volume 1, will be released soon (BMG / Warner MusicSet a good example. The 28 songs appeared, most of them new, and some hit songs like “It Hurts Me Too” among them, as well as two adorable songs by composer and songwriter Don Black, as Morrison’s material is as well-known as it has been long ago. The time I first listened to their cult, an ancient voice appeared, as County Down and Belfast were being haunted in Mississippi and now occupying the same place as the birthplace of historical pop music, Memphis and New Orleans. But with each new listener, most of these songs grow – but not Morrison’s disastrous failed attempt at the “Latest Standard Project” irony! – In addition to their sometimes sparse and sometimes stupid texts.

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What looked old a moment ago might be a classic after all. The background chorus allows you to sink to your knees. Almost every single song from guitar to saxophone to harmonica is so artistic, perfectly scaled down and correct like a textbook, one is finally ready to consider Van Morrison’s exercise in matters of intolerance as well. If he sings every now and then with a touch of self-irony and doesn’t make every single remark from our self-righteous rostrum on us … but that’s probably asking for a lot. We learn from Morrison, “No good deed goes unpunished.” This is how he sees the world, doing good and suffering from it, and we, his fans, who we criticize him, will not change it anymore. For better or worse: a new album by Van Morrison.

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