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**Van Morrison - It's Too Late to Stop Now**
★★★★★

Van Morrison has crafted many masterpieces throughout his storied career, but none capture the raw, transcendent power of his live performances quite like "It's Too Late to Stop Now." Widely regarded as one of the greatest live albums ever recorded, this 1974 double LP stands as Morrison's crowning achievement and arguably the finest document of his artistic genius in full flight.

By the time Morrison stepped onto the stages of the Rainbow Theatre in London and the Santa Monica Civic Auditorium in 1973, he had already established himself as one of music's most enigmatic and spiritually driven artists. Following his breakthrough with Them in the mid-60s and the commercial success of "Brown Eyed Girl," Morrison had evolved into something far more complex and mystical. Albums like "Astral Weeks" and "Moondance" had showcased his ability to blend Celtic folk, jazz, R&B, and soul into something uniquely his own, while "Saint Dominic's Preview" and "Hard Nose the Highway" found him pushing further into jazz-fusion territory.

The concerts captured on "It's Too Late to Stop Now" found Morrison backed by his legendary Caledonia Soul Orchestra, an 11-piece ensemble that included a full horn section and backing vocals from the incomparable Jackie DeShannon. This wasn't just a backing band; it was a spiritual army ready to follow Morrison into whatever mystical realm his muse demanded.

The album's musical style defies easy categorization, which is precisely what makes it so compelling. Morrison takes his studio recordings and transforms them into extended, improvisational journeys that incorporate elements of gospel, jazz, Celtic folk, and blue-eyed soul. His voice, always his greatest instrument, soars and growls with an intensity that borders on the shamanic. When he stretches "Listen to the Lion" into a 15-minute odyssey of repeated mantras and saxophone flights, or transforms "Into the Mystic" into a communal spiritual experience, you're witnessing an artist completely surrendering to the moment.

The standout tracks are numerous, but several performances achieve genuine transcendence. "Domino" opens the album with an explosion of joy, Morrison's voice dancing over the horn section like a man possessed. The medley of "I Believe to My Soul" and "I've Been Working" showcases his deep connection to gospel and R&B traditions, while his interpretation of "It's All Over Now, Baby Blue" strips Dylan's original of its folk pretensions and rebuilds it as a soulful lament. Perhaps most remarkably, "Cyprus Avenue" becomes a 15-minute emotional journey that finds Morrison revisiting the Belfast street of his youth with a mixture of nostalgia and spiritual yearning that's almost overwhelming in its intensity.

The album's title track, positioned near the end, serves as both a statement of artistic intent and a moment of pure catharsis. Morrison's repeated incantations of the title phrase become less about the song itself and more about the act of surrender to the music's power. It's impossible to listen without feeling you're witnessing something sacred.

What makes "It's Too Late to Stop Now" so remarkable is how it captures Morrison at the perfect intersection of his various artistic phases. The mystical wordplay of "Astral Weeks," the accessible soul of "Moondance," and the jazz explorations of his early 70s work all coalesce into performances that feel both spontaneous and inevitable. The recording quality is pristine, allowing every horn flourish and vocal nuance to shine through without sacrificing the raw energy of live performance.

Morrison's subsequent career has been typically unpredictable, ranging from the Celtic explorations of "No Guru, No Method, No Teacher" to collaborations with everyone from Georgie Fame to The Chieftains. While albums like "Avalon Sunset" and "Enlightenment" have contained brilliant moments, none have matched the sustained excellence of this live document.

Today, "It's Too Late to Stop Now" stands as more than just Van Morrison's finest hour; it's a testament to the transformative power of live music itself. In an era of pitch-corrected perfection and manufactured spontaneity, these performances remind us what happens when a true artist steps onto a stage with nothing but their voice, their band, and their willingness to chase the ineffable wherever it might lead. It remains essential listening for anyone seeking to understand not just Morrison's genius, but the very essence of what makes live music a spiritual experience.