From a whisper to a roar

Press, 30 September 1988, Page 25

From a whisper to a roar

VAN MORRISON AND THE CHIEFTAINS “Irish Heartbeat” (Mercury, 834 496-1). Van Morrison’s last album was called “Poetic Champions Compose,” but it could equally apply here, in what turns out to be a discovery like the pot of gold at the end of the rainbow. It seems to be a natural thing, this tapping of the Celtic vein by Morrison, who has been making innovative, marvellous music for more than 20 years, and for The Chieftains, who this year mark their twenty-fifth anniversary of maintaining traditional Irish music. What makes “Irish Heartbeat” so good is that both Van the Man and The Chieftains have so much respect for each other. The collaboration is intense, down to both Van Morrison and Paddy Maloney, of The Chieftains, co-producing. Even allowing for the excellence of his last three albums, Morrison has never been more expansive, on vocals than on the traditional “Raglan Road.” He goes from a whisper to a roar on “She Moved Through The Fair,” a song which also shows off The Chieftains’ use of traditional instruments, particularly Derek Bell’s harp. Some songs are given the straightforward Irish treatment — “I’ll Tell Me Ma,” with Morrison and Kevin Conneff sharing

vocals, and Conneff on bodhran and Martin Fay on bones providing the necessary rhythm — they sound wonderful. “Marie’s Wedding,” a well-worn tune, sounds fresh here as well.

Two of the tracks are Morrison’s own. “Celtic Ray,” from “Beautiful Vision,” shows more reliance on traditional instruments and at the same time Morrison extends his vocals more. But it is “Irish Heartbeat,” from "Inarticulate Speech Of The Heart,” that really captures the essence of what are essentially two opposites on the musical scale. The song shows off Morrison’s own ability to

wax lyrical in what some would describe as a touch of the Blarney. In some instances his songs, such as “Irish Heartbeat,” can be seen as extending the Irish music tradition. At least it has the same spirit as the boisterous "Star Of The County Down.” But, it is not a case of having loved and lost, as many of the songs are about, but rather a labour that can make music come alive. If, at times Morrison appears to make things too complicated for his own good, here he has kept it simple and marvellous; this is an alburn that is simply marvellous. -NEVIN TOPP.

“The Shouting Stage” (A and M, TVL 93278). After a two-year gap, Joan Armatrading is back and still setting the standards. The new women on the block, notably Tracy Chapman and Toni Childs, have been compared to Armatrading, who has

been playing for 15 years. “The Shouting Stage” is her twelfth album, and she is just getting better. The album shows off the human, vulnerable side of Armatrading. The title track is a good example, with the lines “There is no one else, is there?” the last words sung tentatively. Mark Knopfler’s guitar suits the style of the song. "Straight Talk” takes a jazz-tinged reggae approach, with an assertive Joan and an equally-as-sertive sax from Wesley Magoogan which brightens up the song. “The Shouting Stage” ends on a particularly high note, with two of the

best songs that Armatrading has ever done. “All A Woman Needs” is a beautiful, delicate ballad, very romantic, complete with strings with advice for genuine lovers. “Dark Truths” is also a ballad, again showing Armatrading’s human touch.

Some reviewers have written off this album, but its true qualities take time to show. “The Shouting Stage” is both rewarding and a pleasure to listen to. -NEVIN TOPP.

FAIRGROUND ATTRACTION “First Of A Million Kisses” (RCA Victor, VPLI 7635).

Already listeners have been introduced to the perfect sound of Fairgrouind Attraction through the single “Perfect.” The voice is of a seductive siren called Eddi Reader, former backing singer for bands such as the Eurhythmies. The Waterboys and Gang of Four, and a part of Alison Moyet’s team. “The First Of A Million Kisses” is quite a remarkable LP. It moves easily from skiffle to New Orleans jazz, but its trademark is its apparent simplicity. “Claire” has this New Orleans touch, with as many twists as a Dashiel Hammett novel. “Fairground Attraction” takes on the sound of fairground, but an empty, forlorn one, and most enjoyable and unbeat is “Find My Love.” -NEVIN TOPP