Perhaps the only Van Morrison album that has outdone Beautiful Vision in terms of mixed reviews is 1980's Common One. The addition of Mark Isham (synthesizer/trumpet) to the band added an otherworldly aura to Van's music, and Beautiful Vision provides compelling evidence of the power of his contribution. The songs flow together gracefully, and the final result is that the whole work is much greater than the sum of its parts. While the songs may not stand particularly well on their own (although some, like Cleaning Windows, can), the effect of one's listening to Beautiful Vision is like a warm, endless dream."Celtic Ray," the album's opener, essentially sets the tone as one of soothing mysticism. The listener would likely need an encyclopedia in hand to dissect the song, and ultimately the words are not necessarily even worth pick apart for meaning. At its core, the song regards Van's going back to his celtic roots to find peace in his music. The sound we are hearing is a result of his journey back to the celtic ray to find inspiration. It's a beautiful piece of music, and although the words are, at times, nonsensical, it is a pleasant introduction to an outstanding album. "Celtic Ray" is followed by "Northern Muse (Solid Ground)," which further expounds upon Van's spiritual journey into his past. The song sounds identical in rhythm and meter to its predecessor, somewhat of a musical extension. The themes interconnect wonderfully, and the songs, taken together, are two of the finest opening tracks on any Morrison album.
"Dweller On the Threshold" is next, and signals the end of a truly great trifecta of spiritual quest tunes. Van's yearning for personal peace here is unmatched throughout his entire, formidable repertoir, and the tireless beat of the cymbals echoes this notion throughout the song. The lyrics are again mystical and spiritual in nature, and the warmth of the sound could lull even the most cynical of listeners into a tranquil trance. "Beautiful Vision" follows, and is incidentally the weakest track of the bunch, despite its status as title track of the album. The musical style almost leans toward country, which sits awkwardly out of place with the rest of the album. It's not necessarily a throwaway track, yet it doesn't settle in well with the ambiance that the previous three songs had established.
"She Gives Me Religion" returns to the synth-oriented, celtic sound. The pace of the song is methodical and beautiful, and the words harken back to Van's youth as a boy in Ireland. It's not your archetypal love song; the nostalgic longing, along with the pure joy of recollecting a childhood love, fuse to give the song a very pleasant lyrical aura. "Cleaning Windows" provides the listener with a vast, yet lovely, departure from the dreamlike trance of the preceeding songs. It's a plodding, and very addictive blues number. The verses are almost in spoken word, while the ever-famous chorus of "what's my line?" grooves along nicely with the bluesy guitar.
With "Vanlose Stairway," we return to the established trance of the first half of Beautiful Vision. It has become a concert staple for over two decades; indeed, it seems to be a personal favorite of Van's, which is evident in his passionate yet restrained delivery on the album. "Aryan Mist" isn't one of the stronger tracks on the album, but it carries the dreamlike vibe along nicely enough until we reach "Across the Bridge Where Angels Dwell." This song, almost like an Irish lullaby, provides immensely pleasant listening. The flute that ushers in the opening of the song is sleepy yet happy, and the overall tone of the song is very peaceful. "Close your eyes in fields of wonder/close your eyes and dream," repeated throughout the chorus, is delivered softly by Van, as if he is trying to lull the listener to sleep. And what a peaceful sleep it would be!
Beautiful Vision closes with the trancelike "Scandinavia." Perhaps the strongest of Van's instrumental numbers, it has all the qualities of an award winning film score. The bits of piano sprinkled among the flush of synthesizers and bass suggests that perahps the spiritual peace for which Van has been striving throughout the album has, at once, come to fruition.
This album, though a favorite among Van fans, has left critics puzzled long since its release decades ago. Some have panned the album, and some have praised it. Rolling Stone magazine even went so far as to recently decree Beautiful Vision as "one of the worst albums by one of the best bands in music." It's evidently not a collection of songs that everyone can appreciate; still, for those who have embarked on any spiritual journey akin to Van's, this can be an immensely rewarding listen.
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