Morrison's best album of the '90s still casually hangs out in the spiritual world that served as his home for most of his '80s material, but the mystical touches are at least kept in check for a good deal of the time. Better still is that Morrison sings with a passion that had crawled into laziness during big, and crucial, chunks of his career (most prominently the early to mid-'80s). The songs, or more accurately (as the title makes very clear) hymns, combine the elements that have guided Morrison's best albums – R&B, folk, pop, Celtic, rock, even gospel – for a satisfying journey through the mystic and the real…

While Van Morrison is, to be kind, an erratic and temperamental live performer, he's in stellar form throughout the double album It's Too Late to Stop Now, a superb concert set that neatly summarizes his career from his days with Them…

Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon…

Van Morrison releases Latest Record Project: Volume 1 on Exile / BMG. His 42nd record and his most dynamic and contemporary album in years, Latest Record Project: Volume 1 is a 28-track delve into his ongoing love of blues, R&B, jazz and soul.

While 2002's Down the Road was the best Van Morrison release in ages – with its autobiographical allusions, cultural critiques, and new band – it could not have prepared listeners for the jolt of this, his Blue Note Records debut What's Wrong With This Picture? While the album is hardly a straight jazz record, it does take the territory he explored on Down the Road another step further into the classic pop music of the 20th century filtered through his own Celtic swing, R&B, vocal jazz, and blue-eyed soul. The title track that opens the album is as close to an anthem as Morrison's ever written; he states with an easy, swinging, jazzy soul groove that he is not the same person he once was and wonders why that was so difficult for others to accept. There is no bitterness or bite in his assertions. If anything, the question is asked with warm humor and amusement as if it is indeed the listener's hangup if he/she can't accept Morrison "living in the present time." He asks, "Why don't we take it down and forget about it/'Cause that ain't me at all," as the song whispers to a close.

Still on Top - The Greatest Hits is the third compilation album to be issued by Northern Irish singer-songwriter Van Morrison in 2007. It was released October 22, 2007 in the UK in a 2CD album with 37 tracks and with a 3CD Digipak limited edition box set also available on initial release of the album in the UK. On October 29, 2007 it was listed at #2 on the U.K. Official Top 75 Albums, his highest charting ever. The album also charted at #3 on the Top 75 Albums in Ireland, his highest debut in that country. In its second week of release it topped the Swedish albums chart, and has since been certified gold.

Pay the Devil, an album-long foray into country music, shouldn't come as a surprise to Van Morrison fans. It's a logical extension of his love affair with American music. Certainly blues, R&B, soul, and jazz have been at the forefront, but one can go all the way back to the Bang years and find "Joe Harper Saturday Morning," or songs on Tupelo Honey that touch country. More recently, You Win Again, with Linda Gail Lewis, offered two Hank Williams tunes and "Crazy Arms." The Skiffle Sessions with Lonnie Donegan offered traditional Southern tunes including Jimmie Rodgers' "Mule Skinner Blues." Morrison's lyrics have also referenced country music blatantly. Pay the Devil comes from direct sources of inspiration: his father's skiffle band and Ray Charles' historic forays into country on the two volumes of Modern Sounds in Country and Western Music in 1962. The evidence lies in three cuts on this disc, all of which Charles recorded: Curley Williams' "Half as Much," Art Harris and Fred Jay's "What Am I Livin' For," and Hank Williams' "Your Cheatin' Heart."