Jump to Content

Welcome! You’re browsing the No Depression Archives

No Depression has been the foremost journalistic authority on roots music for well over a decade, publishing 75 issues from 1995 to 2008. No Depression ceased publishing magazines in 2008 and took to the web. We have made the contents of those issues accessible online via this extensive archive and also feature a robust community website with blogs, photos, videos, music, news, discussion and more.

Close This

Miked - Live Reviews from Issue #63 May-June 2006

Van Morrison

Ryman Auditorium (Nashville, TN), March 7, 2006

The fact was, longer-time residents confirm, Van Morrison had never played Nashville before this night, ever, not in 40 years of appearing around the globe.

The fact that he was touring behind his new Pay The Devil album — full, as it is, of very Van versions of country tunes both celebrated and obscure — seemed to be the reason he made the city one of just seven U.S. stops on this tour. The mayor declared Van Morrison Day. It was reported that the entire Ryman sold out in twelve minutes — even with a lot of those hallowed Mother Church pew seats assigned for the night as the outrageous but, obviously enough, still-in-demand $135 variety.

Morrison showed up in natty shades, a fedora and a dark suit which gave immediate notice that it was not going to be “country only” tonight. His R&B big-band ensemble sometimes reached a dozen to fourteen members, what with backup singers coming and going, and the addition (when songs did call for a nod toward the rural) of Texans Cindy Cashdollar on pedal steel and Jason Roberts on fiddle.

Afro-American-inflected R&B is long since such a fully digested part of Morrison’s vocal attack that his extended, soulful excursions into country numbers such as Hank Williams’ “My Bucket’s Got A Hole In It” and Webb Pierce’s “There Stands The Glass” were more like witnessing latter-day Ray Charles or even Gatemouth Brown crossover turns on country than some “Belfast Cowboy” connection. (“It’s my fuh, fuh, fuh first one today,” Van’s playfully dramatic finish for the Webb Pierce standard went.)

A second short country-based sequence later in the show climaxed with a vocally stunning turn on Rodney Crowell’s “Till I Gain Control Again” (a closing surprise on the CD) that commanded a standing ovation.

(Standing ovations have so often, lately, become a sort of automatic, obligatory move by audiences to demonstrate to themselves that they’re having a good time, that I don’t much trust them, but this one seemed genuinely spontaneous. Three more after that, maybe not so much.)

In any case, this proved not to be, after all, predominantly a “Morrison Sounds in Country Music” sort of night. With all those horns on hand, there were inevitably instrumental jazz explorations on the likes of “Moondance”, his song that’s probably most established in those circles, with solo turns working their way across the stage. Tunes showed up, in fact, from most phases and stages of his career — Them-era “Gloria” excluded.

“I’m trying to do everything here,” he joked, halfway though the hour and a half show. “This is a workshop!”

That led into one of the evening’s many high points, a sometimes soaring, scat-filled turn on Tommy Edwards’ 1950s love ballad “It’s All In The Game”. But in truth, there were at least a few moments in an otherwise polished show where that fiddle, for one, seemed less than fully rehearsed and integrated into the full-band sound — workshop-like, indeed.

Overall, however, this was an immaculately paced performance, in a way not often seen in contemporary pop, and with the succession of songs needing no second-guessing. With that “Brown-Eyed Girl” finish, the crowd upstairs and down at the Ryman was on its feet, swaying, and providing the “sha-la-las.” There was a quiet, one-song encore, “Celtic New Year” from the recent Magic Time disc, and that was it. Van in Nashville.

Before leaving town, he headed over to see the new exhibit just opened at the Country Music Hall of Fame chronicling Ray Charles’ lifelong involvement with country music — his way. More perfect timing.

Enjoy the ND archives? Consider making a donation with PayPal or send a check to:
No Depression, 460 Bush St., San Francisco, CA 94108


Did you enjoy this article? Start a discussion about it, or find out what others are saying in the No Depression Community forum.

Join the Discussion »

Find out what's going on in roots music. Share concert photos and videos, learn about new artists, blog about the music you love.

Join the No Depression Community »

Originally Featured in Issue #63 May-June 2006

Buy our history before it’s gone!

Each issue is artfully designed and packed full of great photos that you don‘t get online. Visit the No Depression store to own a piece of history.

Visit the No Depression Store »

From the Blogs

  • Dylan, "Desire" and the (other) Story of Hurricane: A Lesson In Fatherhood
    Reading of the death of former pro boxer Rubin "Hurricane" Carter today awoke an old memory which reminded me how lucky I was to have, what in retrospect, was a pretty cool father.  I should add by "cool" I do not mean some kind of "over the hill hipster" who, in a desperate attempt at trying to stay relevant smokes pot or acts […]
  • Lachlan Bryan and The Wildes – Black Coffee (Album Review)
    After a successful solo outing, Aussie country singer Lachlan Bryan got his old band back into the studio and came up with this cracker of an album. It was released in the autumn of last year in Australia and subsequently picked up a major award as “Alternative Country” album of the year. Such acclaim means any belated praise from me is superfluous, but I’m […]
  • Album Reviews: Gord Downie & The Sadies, Bruce Springsteen, Lost & Nameless, The Annie Ford Band
    Gord Downie, The Sadies, and the Conquering Sun The lead singer of one of Canada’s most influential rock bands gets together with one of the best live bands ever for a collaborative effort and the expected results could range anywhere from confusion to straight ahead awesomeness. Thankfully (and not surprisingly, given the players involved) the semi-eponymou […]
  • Blackberry Smoke Is the Goddamn Truth
    Southern rock is a stylistic hodgepodge--a musical mutt.  Yet in this gumbo pot of a country, its impurities and cross-breeding make it the most American genre of all. And with the Allman Brothers drawing down, southern rock's current standard bearer is Blackberry Smoke, a lofty perch they hardly jeopardized during a lively set last night at Seattle […]
  • Goldie and the Gingerbreads: The First All-Female Guitar Band
    It could only happen in America: In 1947, a 7-year-old Polish-Jewish girl named Genyusha "Genya" Zelkovicz arrived in New York City's Lower East Side with her parents and a sister, speaking not a word of English. They were the only ones in their family to survive the Holocaust. Genya's mother nicknamed her Goldie, and thus began her Ameri […]
  • Wayne Kramer - Lexington (Album Review)
    Wayne Kramer is someone who's life story I'd very much like to read. From lead guitar in the Mighty MC5 to prison inmate to social activist (he recently interviewed Pussy Riot, and is constantly active in speaking out against such injustices) to new father, Kramer's life has an interesting story in every chapter. His latest record release (and […]

Shop Amazon by clicking through this logo to support NoDepression.com. We get a percentage of every purchase you make!

Subscribe To the No Depression Newsletter

Subscribe to the No Depression Newsletter