Kay’s brief martial drums on “Madame George” still exist in the background, but they’re easier to hear and more striking. On “Cypress Avenue,” Jay Berliner’s guitar is more dynamic, while each harpsichord string in the right channel emerges with greater detail. They’re further distinguished with deeper harmonics deeper and extra weight. You fully notice the strings slowly build near the beginning of the song before they fully enter. For instance, the finger cymbals on “Sweet Thing” are more focused and hang in the air longer, and Connie Kay’s high hat is brighter and stronger. Gray also brings out other details that allow the music to more freely breathe. Richard Davis’ bass sounds larger and more impressive you can clearly hear each string being plucked. Both instruments, flat against the wall on the earlier pressings, reach further out into the room and sound more lifelike.
On the title track, the shakers in the right channel come out of the haze, and the acoustic rhythm-guitar strums are more pronounced. From the opening notes, the music feels more expansive and focused. Yet Kevin Gray’s all-analog remaster of the album, pressed by RTI on 180-gram vinyl, greatly improves what was a very good-sounding LP. A second pressing, from 1969, has an olive label with a Warner Brothers keystone instead of the 7 Arts logo. Then again, a movie could probably be written around the album itself.įor many years, the original 1968 Warner Brothers/7 Arts pressing of Astral Weeks from was the version to have.
Music from this album would be a great soundtrack to this movie:Īn updated version of A Walk on the Wild Side, the film version of Nelson Algren’s 1956 novel. I can’t imagine doing anything else while listening to this record, which demands and rewards careful listening. Nothing- Astral Weeks is singular and unlike any other album, by Van Morrison or any of his peers. Review By Joe Taylor When listening to this album I think of this band or music:
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