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I'm pretty sure "Benediction," covered here, is a tribute to masturbation.

("There's just one thing baby / That comes from above / When push comes to shove / Thank God for self love.") ### 20. The tempo rarely speeds up much, but if you're patient, you can hear Morrison get mean with the world at large on "School of Hard Knocks," and give his manifesto on the power of music on "That's Entrainment." ### 16. (Did he really just say "Call me rain check" in the chorus of one song? ) But the title track is his most catchy single since "Jackie Wilson Said," and though there isn't much to it but a strong melody and some optimistic lyrics, it became an anthem for the Northern Ireland peace process. (2006) Having mined jazz, blues, early rock and roll, pre-rock pop, Irish folk, and some of his own greatest hits to keep up his nearly album-a-year schedule, Morrison turned to vintage country.

" The best track is "Streets of Arklow," which turns his obsession with getting lost in his surroundings into a soul-kicking feeling of autonomy, driven home by a forlorn recorder. , Morrison proved he could sing American rhythm and blues better than most actual Americans, be it on a song as gentle as "Old Woodstock" or as frenzied as "Moonshine Whisky." "Wild Night," an ode to the power of rhythm itself, is one of his crown jewels, and if there's any part of your emotional makeup that can be moved by a love-struck pop song, the title track (in which he literally sings about something sappy) should do the trick.

There's a emotional undercurrent to every song on (1970) "We were born before the wind / Also younger than the sun," Morrison croons in the opening of his seminal "Into the Mystic." From the lunar fever of the title track to the summer rain recalled in "And It Stoned Me," is full of references to the power of nature.

The eight free-flowing tracks of bear no marks of era or genre.

The lyrics effortlessly move between memory, thought, and passion, but most importantly, you can feel them.

The album itself seems like an elemental force, a whirlwind of jazzy saxophones, soulful vocals, and acoustic guitars purring like cicadas.

The above-mentioned songs are standouts, but for thirty-eight minutes and fourteen seconds, (1968) Kept out of the studio for months due to a dispute with his former label, Morrison had a backlog of great material, when he finally scored three sessions with some jazz session musicians in New York City in the fall of 1968.

That's Ry Cooder on "Full Force Gale," but you'd never know a flashy slide guitarist was on board, since the track is so overall thick and energetic.

When Morrison sings of "the slipstream between the viaducts of your dream where immobile steel rims crack," he doesn't sound like a poetry student trying to wow a professor, but a man lost on some psychic plane, trying to navigate his way home.

There are a lot of descriptive details on , and it wouldn't fully articulate their effect to say Morrison made Cypress Avenue seem like a real place or Madame George like a real person.

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