No matter which way you look at it, Van Morrison’s Moondance may well be the most relaxingly intimate album experience of all time.
Released in 1970, Moondance is Morrison’s third studio album, and while many may disagree, citing 1968’s Astral Weeks as a far more essential release in Morrison’s celebrated catalogue, I’d argue that Moondance is his magnum opus. The higher production values, alone, make this a much stronger release, for Astral Weeks is akin to a demo by comparison; a bold statement, yes, but a valid perspective nonetheless. Morrison’s signature sound, and uniquely compelling vocals, also ring out greater on Moondance, thereby making it not only a timeless classic, but a release that appeals to a broad range of music lovers.
Blending rhythmic blues rock with jazz and pop elements, along with singer/songwriter sensibilities, Moondance has taken on a life of its own and is not only amongst the greatest albums in all of recorded music history, but is delivered with one of the most iconic album artwork designs of the 20th Century. Thankfully, the sonic presentation is right in line with the compelling artwork, and as it pertains to the Hi-Res Lossless Apple Digital Master, as heard via Apple Music, that edition has a delicate clarity that doesn’t detract, but enhances the overall smoothness of the recording.
Being one of the most iconic releases of the 70s, Moondance has seen numerous reissues, but the stream, which is based on the highly regarded 2013 remaster, can be best described as detailed, sultry, and lush. While I’ve not heard an original release, and cannot categorically declare this as the pinnacle of sonic quality, the most telling statement I can offer is that it simply sounds right. There’s no need to consider EQ adjustments, and it plays beautifully at all volume levels, thereby leading to a thoroughly pleasing musical experience.
Despite being recorded over five decades ago, Moondance has a modern feel to it, and while the stereo recording is extraordinarily pleasing, in its own right, the Dolby Atmos mix takes the album to another level of enjoyment for those who are fortunate enough to have a surround sound setup. Thankfully, streaming has given everyone the ability to sample multi-channel music, but provenance is still a problem.
If we look at the most recent Blu-ray Audio reissue, from 2023, it becomes clear that the stream must be from the Steven Wilson remastered Atmos remix from 2023, rather than the 2013 5.1 surround mix as the publishing date on Apple Music would otherwise indicate. Interestingly, Wilson also did a 2023 stereo remix that is included on the disc but absent from Apple Music et al. Confusing, yes, but one advantage of the Blu-ray Audio release is that particular edition features both the newest Dolby Atmos mix and the 2013 5.1 surround mix for those who would like to appreciate both interpretations. I could digress further, but may I suggest you check out Life In Surround, as Mike not only delves far deeper into the surround options than I do, but as it’s his primary focus, he’s far more qualified to offer an opinion.
What I will say about the Dolby Atmos stream on Apple Music, however, is that it’s highly appealing, so much so that it will make you sit up and question which edition, stereo or surround, you prefer. Morrison’s vocals are smack bang in the middle, while the musical elements are delivered in a spacious manner that makes you further appreciate the layered musicality of the recording. The presentation is also smoother, fuller, and more relaxed, compared to the stereo mix; a remarkable aspect given just how laid-back the album is in general. So, which version do I prefer? Well, let’s just say that when listening back via my Atmos-compatible setup, I’ll be listening to the surround sound version moving forward, but for all other times, the stereo mix and presentation are simply stunning.
And It Stoned Me launches the album with a sense of storytelling wonderment set atop a simply beautiful musical bed that immediately sets the tone for the entire album. The saxophone elements are of particular note, as the song would be significantly lacking had it not been for Jack Schroer and Collin Tilton’s inclusion; for as solid as the rest of the music is, and as exceptional as Morrison’s vocal is, it is the culmination of all aspects that truly make “And It Stoned Me” the song that it is.
Moondance is one of the most incredible jazz-styled numbers you’re ever likely to hear. It’s accessible, smooth, and knows few peers. You’ll be toe-tapping, head-bopping, or gliding across the floor, perhaps with your significant other, as this masterpiece plays, for it’s impossible to listen to and not jazz along to (pun, most certainly, intended).
Crazy Love is a gorgeous romantic ballad. For fans of the Motown sound, you’ll most certainly enjoy “Crazy Love”, for the composition and backing vocals are perfectly suited to the style, the era, and Morrison’s vocal presentation.
Caravan sees Morrison deliver a bolder vocal than that heard on “Crazy Love”, but that isn’t a detrimental aspect, as his somewhat strained vocals, certainly by comparison to the previous track, are the ideal delivery method for an otherwise exceptional tune. While it may not be a standout, “Caravan” is, as many of the songs are on this release, an ideal album-only number that ensures Moondance is an album experience first and foremost.
Into The Mystic is amongst the album’s most well-known tracks, and for good reason, as its laid-back, free-flowing style, similar to that of many John Denver tunes, offers a highly rewarding listening experience for those seeking a more subtle Van Morrison recording.
Come Running would have been the first song on side two of the album, but as digital delivery methods, from the CD onwards, allow for a more fluid musical experience, it can be suggested that “Come Running’ presents a jolt to the system. While I believe that to be true, once you’ve settled into the song, it too sets the tone for the second half of Moondance, as despite being a cohesive album experience, it can most certainly be appreciated in two parts.
These Dreams Of You is another compelling musical exploration that is not only perfectly suited to Morrison and the album, but also to the era in which it was released. The subtle musical backing allows Morrison’s vocals to soar, but the playful instrumentation ultimately makes the song what it is.
Brand New Day is one of those songs that remind me of why there’s so much appreciation for singer/songwriters. Yes, it’s one of many exceptional tunes, particularly from this release, that could be highlighted as such, but each time “Brand New Day” plays, I sit in contemplation and ponder just how extraordinarily creative the human mind can be and how some individuals are so blessed as to create something so beautiful, from seemingly nothing.
Everyone is the black sheep of the song selection from Moondance as it shifts its tone significantly and is, unfortunately, the weakest song from the album. It isn’t so bad as to tarnish the record, but it also doesn’t quite fit the flow and overall feel.
Glad Tidings is a quintessential closing tune that not only compels me to spin the album again, but also allows for contemplation of the music that’s just been heard, as it offers a culmination of musical elements from across the entire record.
Moondance is one of those rare albums that not only meets expectations but, upon repeat listens, exceeds them. While some may have been perturbed by Morrison’s stylistic shift, from his earlier releases, Moondance is the album that he was meant to make; certainly from a music lover’s perspective. While the timeless masterpiece statement is thrown around too easily, particularly here at Subjective Sounds (given the site’s positive approach), Moondance certainly qualifies for that statement, as few albums, of any era, are as transformative as Moondance was to Morrison and the music-loving public.