Thanks also to Joanna Mills, Jordan Underhill, Sophia Underhill and Rhys Lonnen, while special thanks go to Clare Lynas for the little transcription that graces the front papers. Thanks and felicitations go to Fiona Talkington at the BBC, Sheila Whiteley and Russ Reising for their friendship and encouragement, to the Duke of Earl (‘Mikey’s’ is still playing) and Laura Barton, the best British writer on music currently publishing. Pearce and Anne Price in York, and Gordon Johnston, Barry King, Lance Pettitt and Neil Washbourne in Leeds. I also owe much to Phil Davis and Brian Nellist in Liverpool, Bob Crossley in Boston, Michael Bott, Mary Bryden, James Knowlson, Anna McMullan and John Pilling in Reading, Peter Eri, Csilla Vago, Istvan Geher, Brigi Jaksa, Beata Palya and Andras Torok in Budapest, Mary Eagleton, David vii Similar thanks go to Chris Hobbs and Heidi Thomas, both of whom, furthermore, were kind enough to read sections of the manuscript and offer insightful and greatly appreciated comments thanks too to Steve Godrich and our other fellow Innocents Abroad, Stuart Hilton, Martin Malone and David Skidmore. Many have been kind enough to indulge my interest in the subject, and I’d particularly like to thank those who have been willing to discuss it (and to listen to me expounding on the theme) over the past two decades or so, particularly Jonathan Lynas – who originally encouraged me to think about writing this book in that pub in Dorset way, way back in the 1980s – Jonathan Wolstenholme and John Jackson. What these good people have in common is that they were kind enough to consider and then give full and illuminating responses to my questions on a wild variety of topics. John, Gary Shearston, Ben Sidran, Bill Staines and Fiachra Trench. I’d like to thank the following very much for their help in the composition of this book, and for giving most generously of their time, insight and experience: Heidi Berry, Phil Coulter, Sid Griffin, Maria McKee, Kevin Rowland, Kate Rusby, Kate St. There have been many kindnesses and courtesies down the road and I am very grateful to everyone who took the time to consider my questions or give pause to reflect or reminisce. It’s taken a little longer than expected, young man, but here it is. In fact it has been bubbling up in my mind for over 20 years, ever since a friend mentioned during a pub lunch on the Isle of Portland in Dorset that I should write something, someday about the subject. This book has taken a long time to write and in truth much longer than the few years since it was commissioned. ‘Music is spiritual the music business isn’t.’ Van Morrison Postscript: Make It Real One More Time Again: Astral Weeks Live A Three-cornered Quartet: Van Morrison and the Art of Through-composition Down the Road: Exile, Place and the Idea of Eternal MovementĨ. On the Burning Ground: ‘Liveness’ and the Recording Studioħ. Listening to the Lion: Van Morrison as Singer and MusicianĦ. Caught One More Time: Themes and Thematicsĥ. Get the Words on the Page: Van Morrison as WriterĤ. What Makes the Irish Heart Beat?: The Irishness of Van Morrisonģ. Imagining America: Jazz, Blues, Country and the Mythologies of the WestĢ. ISBN: 978-0-8264-2976-6 (paperback) ISBN: 978-0-8264-1689-6 (hardback) Typeset by Pindar NZ, Auckland, New Zealand Printed in the United States of Americaġ. Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. Hymns to the Silence Inside the Words and Music of Van MorrisonĢ010 The Continuum International Publishing Group Inc 80 Maiden Lane, New York, NY 10038 The Continuum International Publishing Group Ltd The Tower Building, 11 York Road, London SE1 7NX Copyright © 2010 by Peter Mills All rights reserved.
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