Mark Ellen remarked on the Word In Your Ear podcast recently that there are two types of people in the world: those who like Van Morrison, and those who have met him. Lest we forget, this is the man who once played a celebratory gig on Cyprus Avenue in Belfast for his 70th birthday… and refused to play the song he actually wrote about the street.
So yes, the irascible old boy remains gloriously, stubbornly himself.
Which is precisely why Somebody Tried To Sell Me A Bridge does not take the easy option. These are not polite, polite-applause blues standards dusted down for a heritage audience. Instead, Morrison digs deep into rhythm and blues, early jazz, folk and groove, surrounds himself with musicians who get it, and sounds utterly content doing exactly what he wants.
The album mixes covers with four new Van originals, and the supporting cast is frankly ridiculous: Taj Mahal, Buddy Guy, Elvin Bishop and John Allair among them. This isn’t about reinvention. It’s about instinct, feel and authority.
“Kidney Stew Blues” opens the set with classic, timeless R&B. The playing is loose but laser-focused, the vocal phrasing effortless. These aren’t the same old standards wheeled out for comfort — they’re lived-in, deeply felt performances.
“King For A Day Blues” has the laid-back intimacy of a prohibition-era jazz club, all smoke and understatement, while “Snatch It Back And Hold It” swings hard enough that you briefly wonder if Van might actually dance (before dismissing the idea entirely).
There’s real strut and confidence in “Deep Blue Sea”, and “Ain’t That A Shame” builds beautifully from an almost country-leaning place into something richer and more assured. “Madame Butterfly Blues” is all about musicianship — immaculate harmonies, perfectly judged backing vocals, and a band locked in.
“Can’t Help Myself” searches for happiness with a jaunty harmonica leading the way, before “Betty And Dupree” reminds you this is all about feel rather than polish. Taj Mahal guests here, and you can hear the smiles in the room. This is one of the Van-penned originals, and it fits seamlessly.
“Delia’s Gone” is unhurried, relaxed, and confident enough to take its time. “On A Monday” features a gorgeous accordion solo, while “Monte Carlo Blues” sounds like it was played live, late at night, with no one checking the clock — another original, and another highlight.
“When It’s Love Time” finds Elvin Bishop in fine form, and “Loving Memories” proves that when Van slows things down, it still hits hardest. This is another Morrison original, and it’s quietly perfect.
“Play The Honky Tonks” does exactly what it says on the tin — and yes, it bloody well sounds like a honky tonk. “(Go To The) High Place In Your Mind” features John Allair, who wrote the song, and has a wonderfully communal, almost gang-like feel.
“Social Climbing Scene” is gentle, relaxed and deeply comfortable in its own skin, the lyrics feeling unmistakably personal. The title track, “Somebody Tried To Sell Me A Bridge”, finds Morrison suffering no fools whatsoever — sharp, wry, and unmistakably self-penned.
“You’re The One” feels like a song that would grow and mutate in a live setting, while “I’m Ready” confirms that Van Morrison is very much still up for the fight. The album closes with B.B. King’s “Rock Me Baby”, featuring an absolute masterclass of a solo from Buddy Guy. Whatever else he may be, Van Morrison is not ready for the rocking chair just yet.
Coming so soon after this summer’s instantly beloved “Remembering Now”, this feels less like a follow-up and more like an 80th birthday present to himself. No compromises. No smoothing of edges. Just a master doing what he’s always done — on his own terms.
Rating: 8.5/10
If you want, I can tighten it further, add a more personal Van anecdote at the top, or MV-ify it even harder with one of your trademark closing lines.
