Customer Reviews
Not one of Van's better albums, that's for sure 
2008-09-04
Despite my Van Fandom (and I am a Van Fan, lest anyone think otherwise - Astral Weeks, Moondance, Saint Dominic's Preview, Tupelo Honey and the criminally underrated Veedon Fleece are all classics in my book, combinations of brilliant singing, great songwriting, and unforgettable genre crossbreeding), I could never really get into Wavelength. Van sounds like he's off the top of his game here. A couple of these tracks really cook, and only one is bad, but overall, Wavelength leaves much to be desired.
First off, the good. The title cut is the only real Van classic found in the track list. It was a small hit, and deservedly so. Like with most of Van's best work, here he mixes genres you wouldn't otherwise hear together - in this case, R&B and arena rock. It shouldn't work, but it does, and fantastically. "Natalia" and "Kingdom Hall" are pretty good as well, in the same way that something like "Slim Slow Slider" or "These Dreams of You" would be considered pretty good. And "Beautiful Obsession" has some of Van's strongest vocals, although "Santa Fe" (attached to it) is a lush but dull synthscape.
It's a shame about the rest, it really is. Van's in great voice throughout, even on the album's worst track, the seven-minute calypso experiment "Venice U.S.A.," which is loaded with annoying gimmicks such as a prominent accordion and sappy backup vocalists. But his songwriting took a huge hit (and not just here - the fragments of 1977's A Period of Transition I've heard are similarly decent but uninspired), and the overall sound isn't very interesting. It's a conventional pop record, and it seems that for the first time in his career Van wrote an album for somebody besides himself. I couldn't tell you how "Checkin' it Out," "Hungry for Your Love," or "Lifelines" went just by looking at the tracklist, and usually that isn't a good sign.
Then there's the issue of the album-closing "Take it Where You Find It." It could have worked. It has fine singing, and a lot of nice acoustic guitar playing. But in the end, it's just a long, dull song. The singing and acoustic work can't carry it through its nine minute length. Unlike Van's other extended works, it doesn't really have a clear direction or a good atmosphere. Whatever mood it could've had is broken by the "lost dreams and found dreams in America" part, a lame lyric by itself accompanied by a brass pad fanfare. It's not a bad song, but in the end, I could've done without it.
Wavelength is pretty far from being Van's worst album. I can't really say I regret spending my ten bucks on it, because there's some good stuff here. So if you're curious, pick it up. But don't expect much.
One of those that grows and grows on you 
2008-08-20
This was pretty much sneered at in the British music press back in '78 when it was released. 'Too American' they wrote, 'Too MOR', 'Too mediocre'. Well there is nothing mediocre about an album that seems to sound better and even fresher than it did when it was made, 30 years later. It has such a warm and happy vibe to it and feels much lighter than his masterpiece albums of the era, and this has to be because at last the man was beginning to lighten up and not take the false and shallow music industry so seriously, following a pretty rankorous parting with his label and a solid 3 year exile from making music in the mid '70s.
A lovely and catchy album.
The usuual Van the Man 2008-05-09
Typically Van Morrison, good music, hard to understand words. But at the price I was willing to try it. I still think Van Morrison is good, don't get me wrong, but because of his vocalization (hard to understand words because of his singing style) he is still not as good as some of the other vocalists available. He is an exceptional musician, and if you don't believe me, just look at his credits for instruments he plays. I did like the album, but rated it 3 because of the vocal "problem".
THE EMPEROR'S NEW, AND ONLY PARTIALLY-REMASTERED, CLOTHING 
2008-04-02
Polygram ceased production of its portion of Van-The-Man's catalog, resulting in 29 titles, two-thirds of his entire recorded output, remaining frustratingly unavailable for the past several years. Even more regrettably, sixteen of those OOP titles had been fabulously remastered and re-released in 1998. Accordingly, prices for these had soared, especially for the remastered titles.
Then, in late 2007, The Announcement! All 29 OOP titles would be re-released in 2008! With new remastering! Extra tracks! Even mini-sleeve editions from Japan!
Well, fellow audiophiles and mini-sleeve aficionados, the hyperbole is unfortunately only half-true: Those 16 1998 remastered titles? Except for the bonus tracks, the 2008 re-releases are the EXACT same remasters, right down to the `98 silkscreen scheme on each disc, and the `98 booklets, with only minimally text-modified for the bonus material and production credits.
The `98 mastering work was performed by Ian Cooper at Metropolis Mastering in London. The `08 booklets credit another Metropolis engineer, Tim Young, for the new editions. However, the only effort Mr. Young expended on the sixteen 1998 titles was to sonically match the minute bonus content to the pre-existing `98 mastering.
So, in this first 7-CD set (Tupelo Honey, It's Too Late To Stop Now, Wavelength, Into The Music, A Sense Of Wonder, Avalon Sunset and Back On Top) of four 2008 scheduled catalog re-releases, only Avalon Sunset and Back On Top have been newly-remastered. As the Japan `sleeve version of Back On Top was delayed until April, I haven't had the opportunity to A/B that disc. The result of remastering the 20-year-old Avalon Sunset could certainly be more pronounced than redoing 1999's Back On Top, so that remains to be quantified. The Japanese also floated something called "high-quality SHM-CD format" on the mini-sleeve versions (which are always my CD's of choice), but I can't discern any audible improvement in that department, either.
(Although I have referred to my A/B set-up in other Amazon reviews, due to the subject matter herein, I should probably reiterate that my comparisons are made on two Sony XA7 transports, simultaneously running into a Camelot Uther DAC via matching Acoustic Zen coax cables, and monitored thru Sennheiser 590's).
This same existing-remaster+bonus-tracks scenario will apply for the other 1998-remastered titles to be released later this year: Saint Dominic's Preview, Hard Nose Down The Highway, Veedon Fleece, Period Of Transition, Beautiful Vision, Inarticulate Speech, Common One, Live/Belfast, No Guru, Poetic Champions Compose and Irish Heartbeat.
Don't get me wrong, these all sound glorious. Yes, it is wonderful to have these fantastic recordings readily available once more, and again, yes, it's great to finally have a newly-remastered Avalon Sunset. By the end of 2008, it will also be especially joyous to own the other 13 never-before remastered titles.
However, speaking for myself, who already owned all the remastered `98's, the mastering sleight-of-hand was NOT appreciated, especially at mini-sleeve premium prices. There is also Polygram's deplorable Enron-like tactic of taking the entire series out of production for an extended period of time to create demand, years longer than just the clearing of the older releases in the retail channel via sell-off would have required. As a retailer acquaintance once sagely observed: "Nobody wants to buy anything until it's deleted", a lesson the financially-struggling Universal Music Group (Polygram's odious parent) is obviously applying in spades here. The record labels bemoan the loss of CD sales, but it is exactly this kind of manipulative marketing ka-ka that provides impetus to consumer alienation.
So, if like me, you already owned the `98's, the only decision in reinvesting in the `08's are the a.) meager-two-tracks-per-disc "bonus" material, and b.) to-buy-or-not-to-buy the more expensive Japan `sleeve editions. The bonus tracks could have been released as a separate set (A "Philosopher's Stone Volume 2", perhaps?), but then, of course, Polygram wouldn't net the possible re-sale of 16 additional CD's per VanFan.
As for the desirability of the bonus tracks themselves, I'll leave it to others to opine on whether the return on such a substantial reinvestment is either a worthwhile, or foolhardy, expense.
WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?
Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.
Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 13.5MM X 13.5MM cardboard-sleeve, precision-miniature replica of the original classic vinyl-LP album. Also, everything else packaged with the original LP is precisely replicated and included, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and die cuts. An English-language lyric sheet is also included, even if the original LP did not have printed lyrics.
Then, there's the sonic quality: Often (but not always), mini-sleeves have Japan-dedicated remastering (20-Bit, 24-Bit, DSD, K2 or K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.
Each Japan mini-sleeve has an "OBI" ("oh-bee"), a Japan-language promotional strip. The OBI often also lists the original album's release date, the Japan street date of that particular disc, the catalog number, and mastering info. Bonus tracks are always only listed on the OBI, maintaining the integrity of the original LP artwork.
The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake copies of Japan `sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.
Also, there are older Japan mini-sleeve releases that have been supplanted with newer ones, usually with updated audio (such as JVC-Japan replacing older K2-mastered titles with new K2HD mastered releases).
All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common with some of the Japanese companies (but, again, not always). Mini-sleeve collecting can get expensive quickly, so, if you're a novice, it is highly advisable to seek the advice of an experienced `sleeve collector!
FANTASTIC JAPANESE VERSION 2008-04-01
...Really without words! really a wonderful japanese reissue! In this time in SHM-CD, a new format, better than any other US reissue! buy this instead the US 2008 version!
The Price is Y2.800 japanese yene, aprox. USD30.00. all on HMV, or CD-JAPAN, amazon the price is a absurd!
Van Morrison Returns To Ireland And Gets Down To It 2008-02-20
WAVELENGTH was a great Van Morrison record after the spotty A PERIOD OF TRANSITION, bringing him back to the sound of classics as MOONDANCE and TUPELO HONEY after A PERIOD OF TRANSITION showed him trying to play straight soul, something he had trouble doing. The title song shows the feeling of being back where you belong after being away, even though much of his best work was produced while he was living near San Francisco, California. This album has gotten some unfair criticisms, but these were clearly undeserved, as this is a great album that's finally getting the remastering treatment it deserves.
Oh, Happy Van! (as Robin Williamson might say) 2008-02-10
I was so impressed with this remastered CD, I planned to point out its best features in a long detailed review. But Mark Barry, the previous reviewer, has already done it! Excellent job, too! The only thing I would add is that the perfectly-inspired backing vocals of Ginger Blake, Linda Dillard and Laura Creamer can finally be fully appreciated on this reissue. Listen to the breakdown section of the song "Take It Where You Find It" or the fadeout of "Natalia" and you will hear what I mean. Also, you might disagree with me because Van Morrison has created so many masterpieces, but I think his singing on this record is the strongest ever. So read Mark Barry's review, buy this CD and keep an eye out for the other remasters that are on the way!
"All Inhibitions - Throw Them Away!", Ivan Advises On "Kingdom Hall" - And For This SUPERB Remaster - I Agree! 2008-02-02
This is the 3rd or even 4th re-issue on CD of "Wavelenght" (released originally on Warner Brothers Records in October 1978) and it's the best version to date.
(Can it really be 30 years since I played this record to death in a Dublin bedsit! Yikes!!)
Tracks 1 to 9 make up the original album with Tracks 10 and 11 being previously unreleased live versions of "Kingdom Hall" (the opener on Side 1 of the LP) and "Wavelenght" (the opener on Side 2 of the LP) recorded on the 26 November 1978 at the Roxy Theatre in L.A. Both tracks feature the same band as the album sessions with KATIE KISSOON adding backing vocals to a speeded up "Kingdom Hall". My heart always sinks when I see live tracks as bonus material on CDs - they're usually poorly recorded, not any better than the original and act as a cheap way of suckering fans into purchasing more of the same. But these live choices are not just apt; they're actually quite good - especially when the band let's rip on "Wavelenght". The recordings aren't exactly audiophile quality for sure, but they are as spirited as the audience's response.
The upgraded booklet contains all the lyrics, and the inner sleeve of the original album with all of its detailed session lists, but disappointingly there's no history of where the album fits in, no new liner notes, nor any photographs. Really could have done better here boys.
But the best bit is the SOUND. The original analogue master tapes have been 96K/24 Bit digitally remastered by Tim Young at Metropolis Mastering in London for this 28 January 2008 release - and the sound is warm, full and very, very LOUD! Every instrument seems to be leaping out of the speakers and the effect is to make you almost double take on every single track. Stuff appears on each track that you haven't heard before. Great! And this is not a misery-guts Van album either. From the jaunty opener "Kingdom Hall", the whole album is "up". Speaking of "Kingdom Hall", it features a wonderful Synth Solo from Garth Hudson of The Band and every one of the nine tracks features the keyboard work of PETER BARDENS from CAMEL. The punch out of the tender and lovely "Hungry For Your Love" is fantastic, the remaster bringing out the rhythm section of PETER VAN HOOKE on Drums and MICKEY FEAT on Bass - it's Steely Dan tight, but without ever swamping the loveliness of the song. And the issue is mid-price too - I picked up my copy for £6 in Central London.
All in all, a great sounding re-issue and one I urge fans and the uninitiated to get stuck into pronto.
PS:
Like "Wavelenght", 28 other Van Morrison albums are to be re-issued in remastered form throughout 2008 and into early 2009. Each will contain upgraded booklets, previously unreleased material and all will be at mid-price. They'll be released in 4 batches as follows (29 in total):
January 2008 (7 titles)
Tupelo Honey (1971), It's Too Late To Stop Now (2 CD Live Set) (1974),
Wavelenght (1978), Into The Music (1979), A Sense Of Wonder (1985),
Avalon Sunset (1989) and Back On Top (1999)
June 2008 (8 titles)
Veedon Fleece (1974), Common One (1980), Inarticulate Speech Of The Heart (1983), Live At The Grand Opera House, Belfast (1984), No Guru, No Method, No Teacher (1986), Enlightenment (1990), A Night In San Francisco (2CD Live Set) (1994) and The Healing Game (1997)
November 2008 (7 titles)
Saint Dominic's Preview (1972), A Period Of Transition (1977), Beautiful Vision (1982), Poetic Champions Compose (1987), Hymns To The Silence (2CD Studio Set) (1991), How Long Has This Been Going On (Live At Ronnie Scott's) (1995), Tell Me Something - The Songs Of Mose Allison (1996)
January 2009 (8 titles)
Hard Nose The Highway (1973), Irish Heartbeat (with The Chieftains) (1988),
Too Long In Exile (1993), Days Like This (1995), The Story Of Them (2CD Set) (1999), The Skiffle Sessions - Live In Belfast (with Lonnie Donegan & Chris Barber) (2000), Down The Road (2002) and What's Wrong With This Picture? (2003)
PPS:
Those hoping to see desperately needed sonic upgrades of his 1st and 2nd album masterpieces on Warner Bothers "Astral Weeks" (1968) and "Moondance" (1970) or even "His Band & The Street Choir" (late 1970) will be disappointed to hear that they're NOT in this re-issue campaign. Apparently there is still some dispute between the record label and Van that remains unresolved. A damn shame! "Astral Weeks" and "Moondance" in particular have both been languishing around on crappy-sounding non-remastered CDs for over 20 years now and they're glaringly obvious omissions in this supposedly 'extensive' re-issue campaign. These universally recognized masterpieces deserve 2CD DELUXE EDITION treatment and soon. (Some tracks in remastered form are available across the 3 volumes of "Best Of"). Let's hope they sort their differences and soon!
Also, Van's new studio album "Keep It Simple" is due on 17 March 2008 in the UK and 1 April 2008 in the USA and customers/fans tell me that two tracks have already been aired on certain radio stations - and are the best songs they've heard by him in years!
(For those interested in this re-issue series, I've done separate reviews for almost all of Batch 1 and 2)
Masterpiece enhanced 2008-01-30
Wavelength is a work of melodic rock and soul that ranks amongst Van Morrison ten best to this listener. The 1978 album has been enhanced by the addition of live versions of the title track and Kingdom Hall, recorded that same year at The Roxy in LA. The track Kingdom Hall is a full bodied rock song with a great hook and rousing vocals, Checkin' It Out a lilting mid-tempo ballad with baroque instrumental passages, Natalia a meandering love song.
Venice USA has a bouncy reggae rhythm, lovely organ and an addictive sing-along chorus, the slow ballad Lifetimes with its unusual instrumental mix is an extraordinary sonic experience whilst the title track with its handclaps and R&B vocals represents the artist at his most soulful. I love the guitar textures on Santa Fé/Beautiful Obsession, the brooding vocals on Hungry For Your Love and the intricate piano rolls on the mournful Take It Where You Find It, the most spiritual song here.
Because it is not experimental or any form of radical stylistic departure, Wavelength may not be considered a classic in the league of Astral Weeks, Moondance or Tupelo Honey, but it still deserves its five stars through and through. The two added tracks provide a window on Van at his live, atmospheric best. Other recent re-releases include A Sense of Wonder and the aforementioned Tupelo Honey both worth acquiring. These enhanced albums all include the lyrics and the original artwork.
