foreword, introduction, and selections from van morrison's lit up inside

8112019 Foreword Introduction and Selections from Van Morrisons Lit Up Inside

httpslidepdfcomreaderfullforeword-introduction-and-selections-from-van-morrisons-lit-up-inside 131



Lit Up

Inside



Lit Up

InsideSELECTED LYRICS

VAN MORRISON

City Lights Books | San Francisco



Contents

Foreword by David Meltzer xiForeword by Ian Rankin xiiiIntroduction by Eamonn Hughes xvii

Te Story of Tem 983089Gloria 983092My Lonely Sad Eyes 983094Mystic Eyes 983095

Philosophy 983096Brown Eyed Girl 983097B Sheets 983089983089Spanish Rose 983089983091 Who Drove the Red Sports Car 983089983093Send Your Mind 983089983094Te Back Room 983089983096 Joe Harper Saturday Morning 983090983089

Madame George 983090983091Slim Slow Slider 983090983094Te Way Young Lovers Do 983090983095Moondance 983090983097Into the Mystic 983091983089Brand New Day 983091983090Crazy Face 983091983092

Irsquove Been Workinrsquo 983091983093Blue Money 983091983095Street Choir 983091983097upelo Honey 983092983089 When that Evening Sun Goes Down 983092983091 Jackie Wilson Said (Irsquom in Heaven When You Smile) 983092983092Gypsy 983092983094Listen to the Lion 983092983096



Saint Dominicrsquos Preview 983093983088Snow in San Anselmo 983093983091 Warm Love 983093983092Hard Nose the Highway 983093983094 Wild Children 983093983096Te Great Deception 983093983097Bulbs 983094983089Comfort You 983094983091Come Here My Love 983094983092Cul-de-Sac 983094983093It Fills You Up 983094983094

Cold Wind in August 983094983096Kingdom Hall 983095983088 Wavelength 983095983091Bright Side of the Road 983095983093Rolling Hills 983095983095 And the Healing Has Begun 983095983097 You Know What Teyrsquore Writing About 983096983090Summertime in England 983096983093

Celtic Ray 983097983090Dweller on the Treshold (Van Morrison

and Hugh Murphy) 983097983092Beautiful Vision 983097983094She Gives Me Religion 983097983096Cleaning Windows 983089983088983088Higher Tan the World 983089983088983090

River of ime 983089983088983092Cry for Home 983089983088983093Rave on John DonneRave on Part wo 983089983088983095ore Down agrave la Rimbaud 983089983089983089Got to Go Back 983089983089983091In the Garden 983089983089983093One Irish Rover 983089983089983095Foreign Window 983089983089983096



ir Na Nog 983089983090983088I Forgot that Love Existed 983089983090983090Someone Like You 983089983090983091 Alan Watts Blues 983089983090983093Did Ye Get Healed 983089983090983095Irish Heartbeat 983089983090983097 Whenever God Shines His Light 983089983091983089Have I old You Lately that I Love You 983089983091983091Coney Island 983089983091983093Orangefield 983089983091983094Tese Are the Days 983089983091983096

So Quiet in Here 983089983091983097In the Days Before Rock rsquonrsquo Roll (Van Morrison and

Paul Durcan) 983089983092983089Memories 983089983092983091 Why Must I Always Explain 983089983092983093See Me Trough Part II (Just a Closer Walk with Tee) 983089983092983094ake Me Back 983089983092983096 All Saints Day 983089983093983089

Hymns to the Silence 983089983093983090On Hyndford Street 983089983093983092oo Long in Exile 983089983093983094 Wasted Years (Duet with John Lee Hooker) 983089983093983096No Religion 983089983094983088Songwriter 983089983094983090Days Like Tis 983089983094983091

Fire in the Belly 983089983094983092Burning Ground 983089983094983094Sometimes We Cry 983089983094983096Not Supposed to Break Down 983089983094983097Madame Joy 983089983095983089Naked in the Jungle 983089983095983092Te Street Only Knew Your Name 983089983095983093Show Business 983089983095983095



Philosopherrsquos Stone 983089983096983088High Summer 983089983096983090Choppinrsquo Wood 983089983096983092 What Makes the Irish Heart Beat 983089983096983094 Whatrsquos Wrong with Tis Picture 983089983096983096Somerset 983089983097983088Meaning of Loneliness 983089983097983089Stranded 983089983097983091Pay the Devil 983089983097983092Tis Has Got to Stop 983089983097983093End of the Land 983089983097983095

Song of Home 983089983097983096Soul 983090983088983088Mystic of the East 983090983088983089

Acknowledgments 983090983088983091Index of itles and First Lines 983090983088983093 About the Author 983090983089983089







xiii

Foreword by Ian Rankin

On a windswept Scarborough beach I really started to get VanMorrison

Irsquod liked what Irsquod heard up to then but I hadnrsquot heardmuch Tis was 1989 and I was toiling a flat in ottenham Ishared with my wife and our cat a writing career that wasnrsquotexactly making waves a 90-minute-each-way commute to my job as a hi-fi reviewer in a dank basement in Upper NorwoodOne morning as I fought my way onto the train I felt my

heart bursting through my chest I was sweating and shakingadrenaline surging Te train left without me and I headed tothe doctorrsquos office Panic attacks he said Get out of London fora bit if you can I packed a few things including my Walkmanand a dozen Van Morrison cassettesmdashhis record company wasreissuing his early catalog and had sent review copies otten-ham Hale to Kingrsquos Cross to York where I stood on a platformstaring at the departures board Scarborough Irsquod never been

there icket train and eventually an out-of-season bed andbreakfast with no view On with the headphones and down tothe deserted seafront with Veedon Fleece St Dominicrsquos Preview Hard Nose the Highway

Tere were stories in the music and characters and com-mentary Tere was a search for the spiritual in the common-place the personal straining towards the universal I smiled at

ldquochamois cleaning all the windowsrdquo trying to think of anothergreat lyricist who would begin a song with the conjuring of suchan everyday chore But then windows do need to be cleaned orelse therersquos a lack of clarity Amidst the poetry there was roomfor disenchantment and anger too ldquoTe Great Deceptionrdquotackled politics lazy ideals and the recording industry Tis wasa music filled with beautiful visions sung with passion and im-maculate phrasing by a singer who was both of the world and



xiv

rooted in a particular upbringing and landscape My wife hadgrown up in lsquoroublesrsquo-era Belfast so I recognized some of thestreet names and the route maps through the Irish countrysideMind I wasnrsquot sure exactly what hard-nosing the highway actu-ally meant but I was getting an inkling

When Van Morrison sang of standing on the threshold Irealized he could be talking for all of us poised throughout ourlives between what we have already experienced and what maylie ahead I was trying to summon the courage to quit my joband try to write full-time to leave London and go travellingMaybe that would be the end of the panic attacksmdashI wouldnrsquot

know unless I took that first step over the threshold Mean-time I turned my collar up against the elements and when themusic stopped ejected one tape and replaced it with anotherGreat tunes and arrangements impeccable musicianship andthat inimitable voicemdashbut the words were a vital part of the whole even when the sentiment was a simple but joyous ldquoIrsquomin heaven when you smilerdquo

So anyway after a few days alone with myself I had to

return to London where my wife and I began to draw up ourescape plan Nearly 30 years on I still have those cassettes Plusthe CDs and some of the vinyl (And my wife) And Van Mor-rison has continued to write with lyricism passion and clear-headed articulation From ldquoMystic Eyesrdquo (1964ndash66) to ldquoMysticof the Eastrdquo (2012) therersquos a spiritual element throughout butthere are also stories teeming with incident and characters and

grand travelogues and an extolling of lifersquos simple pleasuresmdashlove and friendship a quiet drink silent empty spaces In 1995rsquosldquoSongwriterrdquo he implores his audience ldquoPlease donrsquot call me asageIrsquom a songwriterrdquo And so he is but not every songwriterrsquoslyrics cast such a spell when stripped of the accompanying mu-sic His words chart his life from Belfast to Boston and beyond Yoursquoll feel you know him more deeply after reading them Better



xv

still theyrsquoll lead you back into the music music to warm thesoul just as it did on a freezing beach in Scarborough one life-changing week in 1989



xvii

Introduction

Any significant writer creates their own world Van Morrisonhas certainly done this through his music which as the play- wright Stewart Parker put it is an ldquoamalgam of urban styles which Morrison has made his ownrdquo Tis book exists becauseMorrison has also created a world through his words It is a world of back streets and mystic avenues memories of child-hood wonder and of adult work suffuse it it is a place wherethe chime of church bells and the playing of the radio break a

silence that can be sometimes stifling at other times spiritualIt is a world generously peopled (in all senses of that phrase)but solitude and the benefits of being ldquocloud-hiddenrdquo are neveroverlooked Here love exists but may not last in either its divineor earthly forms It is a place of sharp dealing but also of con-solation comfort and even grace It is a world bounded by theriver and the railway line though these are means of passage asmuch as boundaries Te river and the railway are key features

of the lexicon of twentieth-century popular music but in theiropposition of the natural and the man-made they also echothe famous definition by Louis MacNeice (himself influencedby various forms of popular music) of Belfast being located be-tween the ldquomountains and the gantriesrdquo Belfast is then as gooda name as any for the world that we find in Morrisonrsquos wordsbut as with MacNeicersquos poetry and Parkerrsquos plays though Bel-

fast may begin as a real place it is ultimately more important asa site of the imagination As such it is not confined to the actualcity of that name but is instead a terrain that can expand andcontract as creative needs dictate

Tis volume is made up of about a third of Morrisonrsquos workover a fifty-year career and it aims to be a representative selec-tion of that work It begins and ends with versions of BelfastldquoTe Story of Temrdquo and ldquoMystic of the Eastrdquo Tese are rooted



xviii

in the city in which Morrison was born and grew up and to which he has returned Tose bare biographical facts tell us lit-tle however about how Belfast is made and remade throughouthis writing Te Belfast that has appeared in so many headlinesduring Morrisonrsquos life has also generated more than its share ofremarkable writers over the last fifty years but Morrison canstand shoulder to shoulder with them as someone who has notmerely described his city but rather shaped and moulded it tohis own artistic ends

ldquoTe Story of Temrdquo one of the earliest lyrics gatheredhere demonstrates just how soon he was doing this and with

what degree of originality It provides a map of the city likeno other before it (and few since) Tis is a lyric written from within the moment and presents a version of Belfast recordednowhere else itrsquos a Belfast in which the move from the SpanishRooms on the Falls to the Maritime Hotel just off the city cen-ter acknowledges no sectarian division Instead in this versionof Belfast it is long hair and perceived scruffiness that are themarkers of difference this is a city mapped by music While this

may seem unremarkablemdashpopular music in all its forms hasafter all consistently used place namesmdashin the postwar years when America began to export new and exciting forms of mu-sic it was hard on the eastern seaboard of the Atlantic not toassociate the originality and excitement of that music with theplaces in which it was set So the names roll through the musicas it develops from Mississippi to Chicago from Kansas City

to Broadway from Memphis to Detroit from New Orleans toNew York What Morrison understood before almost anyoneelse was that such places were not remote for those writing aboutthem these were the streets rivers cities and landscapes out-side their doors Tis involved recognizing the places of popularmusic not as the exoticized landscapes of a glamorously foreign America but rather as the often ambivalently welcoming places within which lives are lived and find expression Given this the



xix

blues can then roll down Royal Avenue just as readily as alongthe Mississippi and into Chicago Morrison was therefore aheadof many of his contemporariesmdashLennon and McCartney RayDavies Jagger and Richardsmdashin making lyrical use of his ownplace (Chuck Berry after all wrote about Liverpool before theBeatles did) o say that Morrison invented a Lagan Delta mayseem improbable until one remembers that Belfast is a city ofmany riversmdashthe Beechie the Connswater and the Lagan areall named in his songsmdashand these are matched by the varietyof music that flows through its streets in his imagining of itTis intuition about place is all the more remarkable when one

thinks of the history of poetry in Belfast and Northern IrelandTe story of that poetry often involves a search for predeces-sors who can in the face of pressure from metropolitan centersenable the use of a local territory for imaginative purposes soSeamus Heaney looks back to Patrick Kavanagh just as PaulMuldoon looks back to Heaney Morrison under the consider-able cultural pressure of the emergence of a new American-ori-ented popular culture and operating on his own terms comes

early to an understanding of the value of his own place and is inturn then able to give expression to the experience of that place

None of this is to say that Belfast is in any way a confinedlocation As with any deeply imagined terrain it has its specificfeatures yet can open out to encompass anything and every-thing that creativity may need to call on It can be as small asa room or a backyard or as open-ended as a threshold onto

wonder Even as he was asserting the right of the real Belfastas a fit location for his lyrics Morrison was also beginning tosee through and beyond it Belfast is the first location for thevisionary aspects of Morrisonrsquos writing as it moves from the ev-eryday into the possibility of the extraordinary from his earli-est writing back streets can turn into mystic avenues Te cityis then made to yield to a form of what we have to call urbanpastoral when transformed by everyday vision In that phrase



xx

we also have to understand that the visionary is elevating andcelebrating the everyday

Belfast is also filtered through many song styles Te con-ventions governing the lyrics of the blues are different fromthose of the soul ballad and different again from the country-and-western song to pick just three styles In this volume thesestyles are to be seen in the different shapes that the lyrics makeon the page from the brevity and repetition of ldquoMystic Eyesrdquothrough the rolling variations of ldquoSummertime in Englandrdquo andthe way in which the spoken section of ldquoSee Me Trough PartIIrdquo breaks into the regularity of the hymn form to the formality

on the page of ldquoSongwriterrdquo Each song style answers to differentimperatives satisfies different needs In each instance the writerhas to balance the need to stay close enough to the conventionto keep the style recognizable while also challenging and stretch-ing those conventions In Morrisonrsquos case the popular song in whatever form is constantly challenged and stretched the aimto adapt a phrase of Seamus Heaneyrsquos is to make it eat stuff ithas never eaten before Partly because so many of the forms in

which he works are as he knows deep-rooted Morrisonrsquos voicehas a maturity and an interest in matters that go beyond thoseusually thought of as the preserve of the song lyric

In none of this then can we say that his writing is con-fined to a specific locale In using Belfast (and later otherNorthern Irish places) Morrisonrsquos lyrics move in two direc-tions drilling down and back into origins and memories and

surging outwards in ever-expanding waves to other places andto that territory that is beyond place On the one hand the de-tails of his city are associated with the many musics first heardthere Tese were both local (Orange bands Salvation Armybands gospel and praise music hymns and folk music) and what we now think of as American (jazz blues rhythm andblues gospel and soul) But the traffic between America andBelfast is long-standing Emigrants from Ireland many carry-



xxi

ing their music with them have been settling in America forcenturies and Belfast was one of the first places where the new-ly formed post-revolutionary United States established a tradeconsulate In the postwar period as one of the war childrenthis connection was most obviously experienced by Morrisonthrough records (and his fatherrsquos collection has achieved almostlegendary status) and even more particularly through the ra-dio which is in its different guisesmdashldquowirelessrdquo ldquowavelengthrdquoand ldquoetherrdquo are some of its other names in the songsmdashone ofthe recurrent features of Morrisonrsquos writing It is always an im-mediate even comforting presence in that remarkable song

ldquoB Sheetsrdquo radio becomes the only possible consolationmdashldquoIturned on the radioIf you wanna hear a few tunes Irsquoll turnon the radio for youTere you go there you go there you gobaby there you gordquo Te radio in Morrisonrsquos writing is not thevoice of some remote central authority but rather an intimatepresence bringing music from many different places (Ameri-can music via European stations) and many of the featuresof that music far from being in opposition to the ldquoSunday-

school culturerdquo associated with local forms of music have theirroots in that culture Radio and its correlates represent formsof connection of both reception and transmission Te worldoutside comes sweeping in and is then sent rippling back outin a movement of contraction and expansion

Morrisonrsquos recognition that the music which came to himthrough records and the radio has a kinship with and owes debts

to the music of the streets churches and tin tabernacles of hischildhood enables him to distill the city into its abstract compo-nentsmdashsuch as the train and the river (to take the title of JimmyGiuffrersquos theme music from Jazz on a Summerrsquos Day )mdashand usethese to build a more expansive landscape Belfast too can betaken and rendered into symbolic even mythologized placesIn this way Belfast is a constantly expanding territory its bor-ders are tested its limits are stretched So when the scene of the



xxii

songs moves as it does to other placesmdashLondon Buffalo Bos-ton San Francisco England in summertimemdashitrsquos not that theyhave nothing new to offer so much as that they are encounteredas already familiar known in advance and accepted for whatthey might add to the imaginative terrain By the time of ldquoSaintDominicrsquos Previewrdquo for example ldquothe chains badges flags andemblemsrdquo of Belfast are seen to be on an equal footing withthe archetypal blues location of the crossroads and the cryingrailroad trains of country music ldquoAnd for every cross-countrycornerFor every Hank Williams railroad train that criesAndall the chains badges flags and emblems rdquo

Belfast in Morrisonrsquos imaginative encounters with it hasan expansive quality then and while by no means all of hislyrics are to be thought of as literally located in the city andits environsmdashthe room in ldquoGloriardquo or the ldquoold graveyardrdquo ofldquoMystic Eyesrdquo could be anywheremdashit remains the foundationallocation the place where music first played and thus enabledthe expansion into all other places So when Morrisonrsquos lyricsmove outwards and away from Belfast ldquoway up to Caledoniardquo

say that movement is both outwards towards a mythical pan-Scottish territory and yet carries with it the memory of Louis Jordanrsquos ldquoCaldoniardquo (which Morrison has covered) Te lyrics journey towards more recognizably American landscapes butthere is no sense of either being overawed or of simply offer-ing the scale and unfamiliarity of these places as interesting intheir own right Instead there is a near-paradoxical sense of fa-

miliarity rooted in pre-existing knowledge derived from musicand literature absorbed initially in Belfast ldquoI heard Leadbellyand Blind LemonOn the street where I was bornSonny erryBrownie McGhee andMuddy Waters I went home andread Kerouacrsquos Dharma Bums and On the Road rdquo Te songsof America as we might call them can then stand beside thedeep American pastoral of Basement Tapes ndashera Bob Dylan andthe first albums of Te Band Like them though he has come



xxiii

from much farther away Morrison understands the deep rootsof these songs and knows that the sweetness of upelo honey isgiven some of its savor by the bitterness of upelo blues

Te other element that enters the lyrics at this time de-spite the temptations of American pastoral is a hard-edged re- jection of the too-easy comforts of a counterculture peopled bythose ultimately ldquodeterminedNot to feel anyone elsersquos painrdquoTe blandishments and deceptions of the music business are afrequent and justified target of Morrisonrsquos songs distractionsfrom the real work of being a ldquoSongwriterrdquo which as withcleaning windows in his youth is a matter of being ldquoa working

man in my primerdquo Against the music businessrsquos sharp practices we have to consider the generosity of Morrisonrsquos lyrics they arerichly populated by a cast of formative influences cultural iconsand contemporaries Any reader of these words can acquire anextraordinary musical education simply by noting the names ofother musicians and singers What most of these names havein common is the fact that confronted with a sharp-edgedand often punitive world they too sought for ways to express

both the details of that world and to reach for something be-yond it Whether these figures are defined as blues or soul orrock-and-roll singers their origins are most often in forms ofsacred music Consequently in their music there is a frequentlyunresolved tension between celebrating such joys as are to befound in a hard secular world and a striving to express some-thing beyond that world Looking at the many literary names

that pepper such songs as ldquoRave on John Donnerdquo in this contextmakes one realize that these writers are named too because theyshare this irresolution between the sanctified and the sinful

No matter how specific his songs are how rooted in this world there is always that element of searching for that whichlies beyond Itrsquos there from the start in ldquoMystic Eyesrdquo (and couldthe name ldquoGloriardquo really have been chosen at random Like thegreatest of soul songs there is an aching ambiguity in many of



xxiv

Morrisonrsquos lyrics as they slide back and forth between the sacredand secular) and it continues throughout his writing Tere aresongs here that reach however uncertainly for something thatcannot be articulated Another feature of the writing is just howoften it courts silence ldquoOn Hyndford Streetrdquo (a phrase from which provides the title for these selected lyrics) is notable forits concern with not only the sounds but also the silences ofBelfast If Morrisonrsquos music is a compound of the urban soundsitemised heremdashthe wireless playing Radio Luxembourg therailway ldquoSunday six bellsrdquo ldquoDebussyrdquo ldquovoices echoing late atnight over Beechie Riverrdquomdashthen the words are trying to cap-

ture here and elsewhere a kind of living silence Anyone whohas seen Morrison perform live will know that he plays with thefull dynamic range available to him he and his band can switchfrom full-throated roar to stealth mode as if trying to play si-lence itself His words too attempt this impossibility ndash silenceruns through them Itrsquos there in the last lyric collected hereldquoMystic of the Eastrdquo ldquoI canrsquot find any reason to speakrdquo Butthis song also returns us to the streets of ldquoCleaning Windowsrdquo

in which he is earning a living and away from manual labordeveloping interests in mysticism and music and literature IfBelfast is known for political violence and prior to that forbeing an industrial city Morrisonrsquos words offer an alternativeto the first and an all too rare glimpse of the second accountsof physical labor are still remarkably rare in all kinds of writingBut what they also suggest is that even somewhere as appar-

ently unpromising as industrial east Belfast Morrisonrsquos originalstamping ground can be offered as a place of potential spiritual wonder aken as a whole Morrisonrsquos words then offer thosethings that we look for in popular song but they also offer somuch more

It is for others to interpret the details of these songs as theysee fit for others to argue the merits of those interpretationsDespite the temptations of such argument what Irsquove tried to of-



xxv

fer here is a map of the world of Van Morrisonrsquos lyrics Some willfind it useful I hope as a guide to some of the features of that world Others may well find it more pleasurable and instructivesimply to get lost in this rich expansive many-peopled place with its grittiness its visions its longing and loss and its senseof deep fulfillment Whichever way you choose to proceed wecan all in this volume follow the words as they ldquorave on onprinted pagerdquo

Eamonn HughesMay 2014



983089

Te Story of Tem

When friends were friends And company was right Wersquod drink and talk and sing All through the nightMorning came leisurely and brightDowntown wersquod walk And passers-by Would shudder with delight

MmmmmmGood times

At Izziersquos man All the cats were there Just dirty enough to say ldquoWe donrsquot carerdquoBut the management had had complaints

About some cats with long long hairldquoLook look lookrdquo And the peoplersquod stareldquoWhy you wonrsquot be allowed in anywhererdquoBarred from pubs clubs and dancing hallsMade the scene at the Spanish Rooms on the Falls And man four pints of that stuff was enough to have you

Out of your mindClimbing climbing up the wallsOut of your mindBut it was a gas all the sameMmmmmmGood times

Now just right about this time with the help of the three Js



983090

Started playinrsquo in the MaritimeTatrsquos Jerry Jerry and Jimmy And you know they were always fine And they helped us run the Maritime And donrsquot forget KitBoppinrsquo people on the head and knockinrsquo them out You know he did his bit and all Was something else thenMmmmmmGood times

Now people say ldquoWho are

Or what areTemrdquo

Tat little one sings and that big one plays the guitar with a Timble on his finger runs it up and down the stringsTe bass player donrsquot shave muchI think theyrsquore all a little bit touchedBut the people came

And that is how we made our nameoo much it wasMmmmmm Yeah good times

Wild sweaty crude ugly And mad

And sometimes just a little bit sad Yeah they sneered and allBut up there we just havinrsquo a ballIt was a gas you know LordSome good times

We are Tem take it or leave it



983091

Do you know they took it And it kept coming And we worked for the peopleSweet sweat And the misty misty atmosphereGimme another drink of beer baby Gotta get goinrsquo hereBecause it was a gasLordGood times

Blues come rollinrsquo

Down all your avenue Wonrsquot stop at the City Hall Just a few steps away You can look up atMaritime Hotel Just a little bit sadGotta walk away Wish it well



983092

Gloria

Like to tell you rsquobout my baby You know she comes around Just about five feet fourFrom her head to the ground You know she comes around here Just about midnightShe make me feel so good LordShe make me feel alright

And her name is GndashLndashOndashRndashIndashIndashIndashIGndashLndashOndashRndashIndashA ndash Gloria GndashLndashOndashRndashIndashA ndash Gloria Irsquom gonna shout it all nightGloria Irsquom gonna shout it every day Gloria

She comes around here Just about midnightShe make me feel so good LordShe make me feel alrightComes walkinrsquo down my streetComes up to my house

She knocks upon my door And then she comes to my roomShe make me feel alrightGndashLndashOndashRndashIndashA GndashLndashOndashRndashIndashA

Irsquom gonna shout it all nightIrsquom gonna shout it every day



983093

Yeah yeah yeah yeah yeahItrsquos so good Alright Just so good Alright



983094

My Lonely Sad Eyes

Fill me my cup And Irsquoll drink your sparkling winePretend that everything is fineill I see your sad eyesTrow me a kiss Across a crowded roomSome sunny windswept afternoonIs none too soon for me to miss my sad eyes

Not bad eyes or glad eyesBut you my sad eyes

Fortunate and free And there go you and IBetween the earth and sky But who are you and I wonder why we do soMy sad eyes

Lonely

Oh what a story Te moon in all its glory the song I sing and everything For you my sad eyes

Yoursquod better

Fill me my cup And Irsquoll drink your sparkling winePretend that everything is fineill I see your sad eyesNot bad eyes or glad eyesBut you my sad eyesMy lonely sad eyes



983095

Mystic Eyes

One Sunday morninrsquo We went walkinrsquoDown by the old graveyardIn the morninrsquo fog And looked into Yeah

Tose mystic eyes mystic eyes mystic eyes mystic eyes

Mystic eyes mystic eyes mystic eyes mystic eyes



983096

Philosophy

old you darling all along I was right and you were wrong Pleasinrsquo you is so hard to doried all night long to be true

Canrsquot sow wild oats rsquospect to gather cornCanrsquot take right and make it wrong old you darlinrsquo long time ago

You gotta reap what you sow And what you sow yeahGonna make you weep someday someday someday Yeah what you sow Gonna make you weep

ried to keep you satisfiedBroke my heart hurt my pride

Itrsquos all over now srsquofar as I can seeItrsquos a lonely road and a memory Of daily walkinrsquo and talkinrsquo about you and me canrsquot you seeI said daily walkinrsquo and talkinrsquo

Canrsquot sow wild oats rsquospect to gather cornCanrsquot take right and make it wrong

old you darlinrsquo long time ago You gotta reap what you sow And what you sow yeahGonna make you weep someday someday someday Yeah what you sow yeahGonna make you weepSomeday



983097

Brown Eyed Girl

Hey where did we go days when the rains cameDown in the hollow playing a new gameLaughing and a-running hey hey Skipping and a-jumping In the misty morning fog with our our hearts a-thumping And you my brown eyed girl You my brown eyed girl

Whatever happened to uesday and so slow Going down the old mine with the transistor radioStanding in the sunlight laughing Hiding behind a rainbowrsquos wallSlipping and a-sliding all along the waterfall With you my brown eyed girl You my brown eyed girl

Do you remember when we used to sing Sha la la la la la la la la lala dee dah Just like thatSha la la la la la la la la lala dee dahLa dee dah

So hard to find my way now that Irsquom all on my own

I saw you just the other day my how you have grownCast my memory back there LordSometimes Irsquom overcome thinking aboutMaking love in the green grass behind Te Stadium With you my brown eyed girl You my brown eyed girl

Do you remember when we used to sing



983089983088

Sha la la la la la la la la lala dee dahLaying in the green grassSha la la la la la la la la lala dee dahDee dah dee dah dee dah dee dah dee dah deeSha la la la la la la la la la la la la Dee dah la dee dah la dee dah la



Lit Up

Inside



Lit Up


VAN MORRISON




Contents































xiii










xiv









xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




Lit Up


VAN MORRISON




Contents































xiii










xiv









xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




Contents































xiii










xiv









xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088



























xiii










xiv









xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xiv









xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xv




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xvii

Introduction








xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xviii








xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xix








xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xx









xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xxi








xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xxii







xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xxiii









xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xxiv








xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




xxv





983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983089

Te Story of Tem


MmmmmmGood times







983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983090



Or what areTemrdquo








983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983091






983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983092

Gloria








983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983093




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983094

My Lonely Sad Eyes




Lonely


Yoursquod better




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983095

Mystic Eyes






983096

Philosophy










983097

Brown Eyed Girl









983089983088




983096

Philosophy










983097

Brown Eyed Girl









983089983088




983097

Brown Eyed Girl









983089983088




983089983088


foreword, introduction, and selections from van morrison's lit up inside

Documents