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Following much backlash, Van then announced in March 2021 that he would be releasing his, well, latest record project. Latest Record Project, Volume One is a collection of 28(!) songs with a runtime of over 2 hours(!!). Van has no concept of quality control here: he simply includes every oddball idea he has on this thing. And boy, are most of these ideas atrocious.
In the first song, „Latest Record Project,“ Van asks why most fans of his don’t listen to his newest music and are instead fixated on his older material. (Just play this next to any song off of Astral Weeks and you’ve answered your own question, Van.) He then complains about the state of rock n‘ roll and computers on „Where Have All the Rebels Gone,“ before returning to his distrust and hatred of licensed medical professionals on „Psychoanalyst’s Ball.“ What a start.
The music backing these songs is truly generic and uninspired. Even if you took these awful lyrics away, you would still have basic, often blues-based instrumentals that are so sterile and unmemorable. There’s some decent organ parts and competent solos here and there, but nothing to write home about. Again, compare this to any of Van’s classic output and one can easily tell why those albums are so revered.
I won’t go through every song’s lyrics on here, but so many of them are cringe-inducing in their own ways. A common theme is Van’s generalized distrust of „the media,“ parroting the voices of the alt-right that are trying to delegitimize the important work of journalists. This theme culminates in „They Own the Media“, where Van indulges in conspiracy theories and flirts with anti-Semitism. Van also continues his complaints about lockdowns in „Deadbeat Saturday Night“ and „Blue Funk.“ Of course, don’t look too much into any of these lyrics: Van literally tells people not to take any of his words seriously in „Only a Song.“
The last set of tracks is by far the worst. „Stop Bitching, Do Something“ is completely ironic, considering most of what Van does on this record project constitutes „bitching.“ „Western Man“ is outright xenophobic and critical of immigrants, only to be followed by the anti-Semitic „They Own the Media“ as discussed above. „Why Are You on Facebook?“ has the worst title of the bunch, and it’s exactly what one would expect an out of touch 75-year-old musician’s criticism of social media to sound like. Finally, Van Morrison gets back at his „haters“ with the song „Jealousy.“ Instead of thinking deeply about why his anti-lockdown comments received such criticism, Van proclaims that the only reason why people made such critiques is because they are jealous of him. Sick burn, Van. That’ll really show them.
To be fair, not every song is as bad as the ones I discussed above. „Diabolic Pressure“ is probably the best cut on this album, but it still is leagues below Van’s classic work. Essentially, any song on here that involves more traditional lyrical themes is better than Van’s rambling conspiratorial nonsense, by default. These more „traditional“ songs are few and far between, however. And still, even where the listener gets a break from Van’s barrage of cringe, you’re still stuck with the same generic and over-polished instrumentals with cheesy and unmemorable choruses.
In sum, Van Morrison’s Latest Record Project is easily the worst album of his, in addition to being one of the worst albums ever made by an artist of his stature. It is truly painful to sit through two hours of this garbage. And this is only Volume One! I can only presume that Van is planning on making hours more rubbish music like this, and that’s a painful thought. I ultimately think Van’s legacy as a gifted songwriter and talent will not be tarnished by this latest record project, but my God, Van Morrison is doing literally everything he can here to destroy his own legacy.
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Ohne Musik ist alles Leben ein Irrtum.