Back on Top (Remastered) Van Morrison
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- 1Goin' Down Geneva04:27
- 2Philosopher's Stone (Remastered)06:06
- 3In the Midnight (Live)05:07
- 4Back On Top04:21
- 5When the Leaves Come Falling Down05:40
- 6High Summer (Remastered)05:13
- 7Reminds Me of You (Remastered)05:42
- 8New Biography (Remastered)05:24
- 9Precious Time (Remastered)03:48
- 10Golden Autumn Day06:40
- 11Philosopher's Stone04:51
- 12Valley of Tears05:02
Info for Back on Top (Remastered)
"Back on Top" is the twenty-seventh studio album by Northern Irish singer/songwriter Van Morrison. It was released in 1999. This album marks a slight return to the forms of music he is most known for: blues and R&B. Upon the album's release, Rolling Stone reviewed it as "one Monet and nine Norman Rockwells", the "Monet" being "When the Leaves Come Falling Down" which it called a masterpiece.
"After so many songs ranging through so many styles, it is a pleasure to have Van Morrison return to the music that suits him so well. Steeped in blues and R&B, Back on Top finds Morrison celebrating life and its pleasures to the limit. The up-tempo "New Biography" takes a sharp stab at those who say they know him just so they can see their names in print. "Golden Autumn Day" is a near perfect summation of his music up to today and provides a rare glimpse into his personal life as well. On this and other cuts, Morrison sounds like he's taken a lesson or two from tourmate Bob Dylan, and there's a thread that runs from Dylan's recent work right on through to this one. "Goin' Down Geneva" is a great blues cut, while "In the Midnight" is bedroom music, pure and simple. "Back on Top," the title track, swings along with such ease that you're tempted to check and make sure you didn't put in Moondance by mistake. The meditative "When the Leaves Come Falling Down" even will remind one of Morrison's meditations on Astral Weeks. No matter which track you pick, there's not a weak cut here." (James Chrispell, AMG)
Van Morrison, vocals, acoustic guitar, harmonica, producer
Mick Green, acoustic and electric guitars
Pee Wee Ellis, soprano, tenor and baritone saxophones, background vocals
Matt Holland, trumpet
Geraint Watkins, piano, Hammond organ
Fiachra Trench, piano
Ian Jennings, double bass
Liam Bradley, drums, percussion, background vocals
Bobby Irwin, drums
Brian Kennedy, background vocals
Irish Film Orchestra
One of music’s true originals Van Morrison’s unique and inspirational musical legacy is rooted in postwar Belfast.
Born in 1945 Van heard his Shipyard worker father’s collection of blues, country and gospel early in life.
Feeding off musical greats such as Hank Williams, Jimmie Rodgers, Muddy Waters, Mahalia Jackson and Leadbelly he was a travelling musician at 13 and singing, playing guitar and sax, in several bands, before forming Them in 1964.
Making their name at Belfast’s Maritime Club Them soon established Van as a major force in the British R&B scene. Morrison’s matchless vocal and songwriting talents produced instant classics such as the much covered ‘Gloria’ and ‘Here Comes The Night’.
Those talents found full astonishing range in Van’s solo career.
After working with Them’s New York producer Bert Berns on beautiful Top 40 pop hit ‘Brown Eyed Girl’ (1967), Morrison moved to another realm.
Recorded over 3 days with legendary jazz musicians Astral Weeks (1968) is a still singular album combining street poetry, jazz improvisation, Celtic invocation and Afro Celtic Blues wailing.
Morrison would weave these and myriad other influences into the albums that followed in quick succession.
Reflecting on new life in America on the joyous Sinatra soul of Moondance (1970) and the country inflected Tupelo Honey (1971) he summoned old spiritual and ancestral life in the epic St Dominic’s Preview (1972) closer track Listen To The Lion.
Double live album Too Late To Stop Now (1973) highlighted Morrison’s superlative performing and bandleader skills. Mapping out a richly varied musical course throughout the 70s he shone among an all-star cast including Bob Dylan and Muddy Waters on The Band’s Last Waltz.
Indeed, borne of his Irish Showband instincts, the magic of the live performance has been a consistent feature of Morrison’s career.
Settling back into life in the UK in 1980 he released Common One an album centring on Summertime In England an extraordinary invocation of literary, sensual and spiritual pleasure the song would often become a thrilling improvised centrepiece to his live shows.
Steering his own course throughout the 80s on albums such as No Guru, No Method, No Teacher he claimed Celtic roots with The Chieftains on Irish Heartbeat. Teaming with Georgie Fame brought new impetus to his live show while Avalon Sunset saw him back in the album and single charts by the decades end.
Van Morrison continued to advance on his status as a game- changing artist through the 90s and into the 21st century.
Awards and accolades - a Brit, an OBE, an Ivor Novello, 6 Grammys, honourary doctorates from Queen’s University Belfast and the University of Ulster, entry into The Rock n Roll Hall of Fame and the French Ordres Des Artes Et Des Lettres - attested to the international reach of Van’s musical art.
Yet there was never any suggestion that Morrison, one of the most prolific recording artists and hardest working live performers of his era, would ever rest on his laurels.
Collaborations with, among others, John Lee Hooker, Ray Charles, Lonnie Donegan, Mose Allison and Tom Jones confirmed the breadth of his musical reach.
Morrison’s visionary songwriting and mastery of many genres continued to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots.
The influence of the musical journey that began back in Post War Belfast stretches across the generations, and Morrison’s questing hunger insures that the journey itself continues.
Constantly reshaping his musical history in live performance, Morrison reclaimed Astral Weeks on 2009’s album Live At The Hollywood Bowl.
The subtitle of Van Morrison's latest album, Born to Sing: No Plan B, indicates the power that music still holds for this living legend. "No Plan B means this is not a rehearsal," says Morrison. "That’s the main thing—it’s not a hobby, it’s real, happening now, in real time."
With one of the most revered catalogues in music history and his unparalleled talents as composer, singer and performer Morrison’s past achievements loom large. But, as throughout his extraordinary career, how that past informs his future achievements and still stirs excitement and keen anticipation.
This album contains no booklet.