Into The Music was among Van Morrison’s most accessible efforts; its followup is among the least. Common One plunges directly into mystic spiritual territory, and with two songs passing the 15 minute mark there’s little in the way of pop hooks. Losing pianist Mark Jordan from the Into The Music band changes the feel of the record significantly; Common One is more open sounding and jazz oriented, with more room for improvisation from Van Morrison’s vocals, and the saxophone and trumpet.
The result is arguably the most divisive album of Van Morrison’s career, as its lengthy song structures push it close to jazz (as admirers would classify it) or easy listening (as its detractors would label it); and there’s justifiable grounds for regarding Common One as a flat-out masterpiece, a noble failure, or as an outright snooze fest.
While it’s not immediately compelling, the ambient atmosphere of the longer pieces is quite unique in Van Morrison’s catalogue. A couple of the shorter pieces are accessible enough; ‘Satisfied’, which Christgau accurately categorises as “the only vaguely fast one”, could have fit nicely onto Into The Music with its punchy R&B arrangement, while ‘Wild Honey’ is concise and prettily melodic, with a sentimental arrangement and lyric (“don’t you feel my heart beat/just for you”) that rubs up nicely against the more esoteric material. The more esoteric, fifteen minute material comprises of ‘When Heart Is Open’, a subdued improvisational piece based on Miles Davis’ In A Silent Way, and the more urgent ‘Summertime In England’, where Van Morrison rants about T.S. Eliot and William Blake. Add in the charming opener ‘Haunts Of Ancient Peace’, and there’s plenty of really good material here.
Common One takes some effort to decode, and it’s probably the least approachable album that Van Morrison ever made, but there’s plenty to enjoy for dedicated fans.