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Van Morrison - New Biography - Remastered Lyrics

Artist: Van Morrison

Album: Back on Top

See you've got the new biography where did they get the info from same as before some, so called friends who claim to have, known me then how come they've got such good memories and i can't even remember last week got to queston where they're coming from what knowledge of me is it that they speak So far away, way back when the people that claim, to have known me then not on my wavelength and it's such a shame that they have to play the name game the fame game, oh the name game, lord it's a cryin' shame lord tell me what's to blame Reinvented all the stories they know give them all a different slant what is it that they're really looking for just a hobby on the internet So far away, way back when the people that claim, to have known me then not on my wavelength and it's such a shame that they have to play the name game the fame game, the name game, oh it's such a cryin' shame, tell me who's to blame If they didn't really know me way back how can they know me now, in any respect it's a pity they don't feel the pain that they should pay the price to play, to play the fame game, the name game it's such a cryin' shame, please tell me who's to blame Not on my wavelength and it's such a shame that they have to play, have to play the fame game oh the name game, it's a cryin' shame please tell me who's to blame they keep on playin' the fame game, oh the name game it's such a cryin' shame, please tell me who's to blame keep on playin' the fame game lord, the name game, its such a cryin' shame please tell me who's to blame they just keep on playin' the fame game oh the name game, its such a cryin' shame please tell me who's to blame keep on, keep on playin'.

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Can You Feel the Silence? Van Morrison: A New Biography by Clinton Heylin Penguin Viking £18.99, pp505

There is not enough space in this article to convey how disappointing a book this is. Cue the thud of writer falling off fence.

It is not a biography; it is a quibble, a long - far too long - and humourless snarl of a book, detailing Morrison's crimes and misdemeanours, his foibles and flaws as if he had singlehandedly bombed Dresden. Maybe he did. If anyone could find out it would be Heylin.

He must have missed an awful lot of dinner engagements and holidays to put this little baby to bed. But it lets you down exactly because it is competently written, well-researched, in rare instances well-argued, occasionally illuminating... and laced with poison. In fact, I felt slightly dirty when I put it down, as if I'd been part of an assassination plot.

Yet after all the sneering - about the exchanging of hurled wine glasses with Paddy Maloney, sacking his musicians, fighting with managers, being slung down stairs, standing people up, getting drunk, writing about little girls, letting journalists down (now there's a hanging offence) - there is the one unavoidable, awkward truth: the music.

If you must read this book, do it with Astral Weeks on. Or St Dominic's Preview. In fact, just 'Listen to the Lion'... which is something the author does not seemed to have managed.

How does he think Morrison made this stuff? Where does he think it came from - a cornflakes packet? It's as if he wanted a vicar to write 'Madame George'.

This is not to rush to the defence of a singer whose bad manners and moods are remarkable even by the standards of rock'n'roll. He has lawyers for that. And a lot of what Heylin concludes about Morrison is indisputable: he can be insensitive, magic, awful, unpredictable.

The sadness is that it could have been a lot better, given the rich material available and the archival talents of an author who obviously spends more time in the cuttings library than in front of his speakers. If you need 505 pages to say Van Morrison is a difficult bastard and a great singer, your talents are not so much in literature as in schmoozing publishers.

There is a patina of respect here, but it is doled out in sarcastic drips. And the whole show is dressed up like a mugger in Gucci shoes, with footnotes and square brackets and all sorts of cross-references to lend the impression of professorial authority, all the while hiding the stiletto. It is not so much that you stumble on Mr Heylin's agenda by accident as have it pursue you through the book.

On page one, he tells us that barely had his research assistant started sounding out sources (who would come to appear more like witnesses for the prosecution as the case went on) than Morrison's lawyers were on the phone threatening legal action. You detect a certain sense of confrontation setting in by page two when Heylin confides: 'I sincerely hope that this volume does not come across as the petulant riposte of a spurned writer.' Not a chance, guv.

Like its subject, it is riddled with contradictions. On page 111, Heylin says that Van, despite his avowed purity of purpose, really wanted 'to make it in the pop business'. Within seven pages, he quotes the former Them manager, Phil Solomon, saying: 'They always had an attitude problem, and it was mostly Van. The actual problem was he couldn't care less if it was a success or a failure.'

So, the good bits. One of Morrison's many drummers, Roy Jones, recalls an unfortunate exit. 'We were playing and all of a sudden he turned to storm off the stage and, of course, he was still attached to his guitar and so he bounced back.' It's an image you could cling to for those times when you need a laugh. Like the next page.

Another Jones anecdote: 'I always remember the night he was doing "Cleaning Windows" and he closed the band down and then actually described step by step how to clean windows: "You need a ladder, bucket and a scram. You take the bucket..." I even think he talked about getting in the corners.'

And one from the guitarist, Mick Cox: 'At the end of the set, Van brought the music down to near silence and told the audience to close their eyes and that he was going to make himself disappear. And he walked off to the wings while they had their eyes shut!'

There. Saved you £18.99.

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Can You Feel the Silence?: Van Morrison: A New Biography Paperback – Illustrated, October 1, 2004

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• Print length 576 pages
• Language English
• Publisher Chicago Review Press
• Publication date October 1, 2004
• Dimensions 6 x 1.1 x 9 inches
• ISBN-10 1556525427
• ISBN-13 978-1556525421
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• Publisher ‏ : ‎ Chicago Review Press; Illustrated edition (October 1, 2004)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 576 pages
• ISBN-10 ‏ : ‎ 1556525427
• ISBN-13 ‏ : ‎ 978-1556525421
• Item Weight ‏ : ‎ 1.67 pounds
• Dimensions ‏ : ‎ 6 x 1.1 x 9 inches
• #807 in Rock Music (Books)
• #821 in Rock Band Biographies
• #2,648 in Actor & Entertainer Biographies

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New biography lyrics.

See you've got the new biography Where did they get the info from Same as before some, so called friends Who claim to have, known me then How come they've got such good memories And I can't even remember last week Got to queston where they're coming from What knowledge of me is it that they speak

So far away, way back when The people that claim, to have known me then Not on my wavelength and it's such a shame That they have to play the name game The fame game, oh the name game, Lord it's a cryin' shame Lord tell me what's to blame

Reinvented all the stories they know Give them all a different slant What is it that they're really looking for Just a hobby on the internet

So far away, way back when The people that claim, to have known me then Not on my wavelength and it's such a shame That they have to play the name game The fame game, the name game, Oh it's such a cryin' shame, tell me who's to blame

If they didn't really know me way back How can they know me now, in any respect It's a pity they don't feel the pain That they should pay the price to play, to play The fame game, the name game It's such a cryin' shame, please tell me who's to blame

Not on my wavelength and it's such a shame That they have to play, have to play the fame game Oh the name game, it's a cryin' shame Please tell me who's to blame They keep on playin' The fame game, oh the name game It's such a cryin' shame, please tell me who's to blame Keep on playin' the fame game Lord, the name game, its such a cryin' shame Please tell me who's to blame They just keep on playin' the fame game Oh the name game, its such a cryin' shame Please tell me who's to blame Keep on, keep on playin'..

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Kendrick Lamar vs. Drake Beef Goes Nuclear: What to Know

The two rappers had circled one another for more than a decade, but their attacks turned relentless and very personal in a slew of tracks released over the weekend.

By Joe Coscarelli

The long-building and increasingly testy rap beef between Kendrick Lamar and Drake exploded into full-bore acrimony and unverifiable accusations over the weekend. Both artists rapid-fire released multiple songs littered with attacks regarding race, appropriation, sexual and physical abuse, body image, misogyny, hypocrisy, generational trauma and more.

Most relentless was Lamar, a Pulitzer Prize winner from Compton, Calif., who tends toward the isolated and considered but has now released four verbose and conceptual diss tracks — totaling more than 20 minutes of new music — targeting Drake in the last week, including three since Friday.

Each racked up millions of streams and the three that were made available commercially — “Euphoria,” “Meet the Grahams” and “Not Like Us” — are expected to land near the top of next week’s Billboard singles chart, while seeming to, at least momentarily, shift the public perception of Drake, long a maestro of the online public arena and meme ecosystem .

In between, on Friday night, Drake released his own broadside against Lamar — plus a smattering of other recent challengers — in a teasing Instagram interlude plus a three-part track and elaborate music video titled “Family Matters,” in which he referred to his rival as a fake activist and attempted to expose friction and alleged abuse in Lamar’s romantic relationship.

But that song was followed within half an hour by Lamar’s “Meet the Grahams,” an ominous extended address to the parents and young son of Drake, born Aubrey Graham, in which Lamar refers to his rival rapper as a liar and “pervert” who “should die” in order to make the world safer for women.

Lamar also seemed to assert that Drake had more than a decade ago fathered a secret daughter — echoing the big reveal of his son from Drake’s last headline rap beef — a claim Drake quickly denied on Instagram before hitting back in another song on Sunday. (Neither man has addressed the full array of rapped allegations directly.)

On Tuesday, a security guard was shot and seriously injured outside of Drake’s Toronto home, which appeared on the cover art for Lamar’s “Not Like Us.” Authorities said they could not yet speak to a motive in the shooting, but the investigation was ongoing. Representatives for Drake and Lamar did not immediately comment.

How did two of the most famous artists in the world decide to take the gloves off and bring real-life venom into an extended sparring match for rap supremacy? It was weeks, months and years in the making, with a sudden, breakneck escalation into hip-hop infamy. Here’s a breakdown.

Since late March, the much-anticipated head-to-head seemed inevitable. Following years of “will they or won’t they?” lyrical feints, Lamar hit directly on record first this year during a surprise appearance on the song “Like That” by the Atlanta rapper Future and the producer Metro Boomin, both formerly frequent Drake collaborators.

With audible disgust, Lamar invoked the track “First Person Shooter” from last year’s Drake album, “For All the Dogs,” in which a guest verse from J. Cole referred to himself, Drake and Lamar as “the big three” of modern MCs.

Lamar took exception to the grouping, declaring that there was no big three, “just big me.” He also called himself the Prince to Drake’s Michael Jackson — a deeper, more complex artist versus a troubled, pop-oriented hitmaker.

“Like That” spent three weeks at No. 1 on the Billboard Hot 100, as Future and Metro Boomin released two chart-topping albums — “We Don’t Trust You” and “We Still Don’t Trust You” — that were anchored by a parade of Drake’s past associates, each of whom seemed to share a simmering distaste toward the rapper, who later called the ambush a “20 v. 1” fight.

In early April, J. Cole fought back momentarily , releasing the song “7 Minute Drill,” in which he called Lamar overrated, before backtracking, apologizing and having the song removed from streaming services. But Drake soon picked up the baton, releasing a wide-ranging diss track called “Push Ups” less than a week later that addressed the field, with a special focus on Lamar’s height, shoe size and supposedly disadvantageous business dealings.

Less than a week later, Drake mocked Lamar’s lack of a response on “Taylor Made Freestyle,” a track released only on social media. It featured Drake taunting Lamar for being scared to release music at the same time as Taylor Swift and using A.I. voice filters to mimic Tupac and Snoop Dogg imploring Lamar to battle for the good of the West Coast.

“Since ‘Like That,’ your tone changed a little, you not as enthused,” Drake rapped in an abbreviated third verse, as himself. “How are you not in the booth? It feel like you kinda removed.” (“Taylor Made Freestyle” was later removed from the internet at the request of the Tupac Estate.)

But it was a seemingly tossed-off line from the earlier “Push Ups” that included the name of Lamar’s longtime romantic partner — “I be with some bodyguards like Whitney” — that Lamar would later allude to as a red line crossed, making all subject matter fair game in the songs to come. (It was this same alleged faux pas that may have triggered an intensification of Drake’s beef with Pusha T in 2018.)

How We Got Here

Even with Drake-dissing cameos from Future, Ye (formerly Kanye West), Rick Ross, the Weeknd and ASAP Rocky, the main event was always going to be between Drake, 37, and Lamar, 36, who have spent more than a decade subtly antagonizing one another in songs while maintaining an icy frenemy rapport in public.

In 2011, when Drake introduced Lamar to mainstream audiences with a dedicated showcase on his second album, “Take Care,” and an opening slot on the subsequent arena tour, the tone was one of side-eying competition. “He said that he was the same age as myself/and it didn’t help ’cause it made me even more rude and impatient,” Lamar rapped on “Buried Alive Interlude” of his earliest encounter with a more-famous Drake. (On his Instagram on Friday, Drake released a parody of the track, citing Lamar’s jealousy since then.)

The pair went on to appear together on “Poetic Justice,” a single from Lamar’s debut album, “Good Kid, M.A.A.D City,” in 2012, as well as “___ Problems” by ASAP Rocky the same year.

But their collaborations ceased as Drake became his generation’s premier hitmaker across styles in hip-hop and beyond, while Lamar burrowed deeper into his own psyche on knotty concept albums that brought wide critical acclaim alongside less constant commercial success.

When asked, the two rappers tended to profess admiration for one another’s skill, but seemed to trade subtle digs in verses over the years, always with plausible deniability and in the spirit of competition, leading to something of a hip-hop cold war.

The Week It Went Nuclear

Lamar’s first targeted response, “Euphoria,” was more than six minutes long and released last Tuesday morning. In three sections that raised the temperature as they built, he warned Drake about proceeding and insisted, somewhat facetiously, that things were still friendly. “Know you a master manipulator and habitual liar too,” Lamar rapped. “But don’t tell no lie about me and I won’t tell truths ’bout you.”

He accused the biracial Drake, who was born and raised in Toronto, of imitating Black American heritage and insulting him subliminally. “I hate the way that you walk, the way that you talk, I hate the way that you dress,” Lamar said. “I hate the way that you sneak diss, if I catch flight, it’s gon’ be direct.” And he called Drake’s standing as a father into question: “Teachin’ him morals, integrity, discipline/listen, man, you don’t know nothin’ ’bout that.”

Days later, Lamar doubled down with an Instagram-only track called “6:16 in LA,” borrowing both Drake’s “Back to Back” diss tactic from his 2015 beef with Meek Mill and a song title structure lifted from what is known as Drake’s time-stamp series of raps. Opting for psychological warfare on a beat produced in part by Jack Antonoff, Swift’s chief collaborator, Lamar hinted that he had a mole in Drake’s operation and was aware of his opponent’s opposition research.

“Fake bully, I hate bullies, you must be a terrible person,” he rapped. “Everyone inside your team is whispering that you deserve it.”

That night, Drake’s “Family Matters” started with its own justification for getting personal — “You mentioned my seed, now deal with his dad/I gotta go bad, I gotta go bad” — before taking on Lamar’s fatherhood and standing as a man in excruciating detail. “They hired a crisis management team to clean up the fact that you beat on your queen,” Drake rapped. “The picture you painted ain’t what it seem/you’re dead.”

Yet in a chess move that seemed to anticipate Drake’s familial line of attack, Lamar’s “Meet the Grahams” was released almost immediately. “This supposed to be a good exhibition within the game,” Lamar said, noting that Drake had erred “the moment you called out my family’s name.” Instead of a rap battle, Lamar concluded after another six minutes of psychological dissection, “this a long life battle with yourself.”

He wasn’t done yet. Dispensing with subtlety, Lamar followed up again less than 24 hours later with “Not Like Us,” a bouncy club record in a Los Angeles style that delighted in more traditional rap beef territory, like juvenile insults, proudly unsubstantiated claims of sexual preferences and threats of violence.

Lamar, however, didn’t leave it at that, throwing one more shot at Drake’s authenticity as a rapper, calling him a greedy and artificial user as a collaborator — “not a colleague,” but a “colonizer.”

On Sunday evening, Drake responded yet again. On “The Heart Part 6,” a title taken from Lamar’s career-spanning series, Drake denied the accusation that he preyed on young women, indicated that he had planted the bad information about his fake daughter and seemed to sigh away the fight as “some good exercise.”

“It’s good to get out, get the pen working,” Drake said in an exhausted outro. “You would be a worthy competitor if I was really a predator.” He added, “You know, at least your fans are getting some raps out of you. I’m happy I could motivate you.”

Joe Coscarelli is a culture reporter with a focus on popular music, and the author of “Rap Capital: An Atlanta Story.” More about Joe Coscarelli

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New Biography

Van morrison.

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Van Morrison, OBE (born George Ivan Morrison; 31 August 1945) is a Northern Irish singer-songwriter and musician. His live performances at their best are described as transcendental, while some of his recordings, such as the studio albums Astral Weeks and Moondance and the live album It's Too Late to Stop Now, are critically acclaimed and appear at the top of many greatest album lists. more »

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• #1 Goin' Down Geneva
• #2 Philosopher's Stone
• #2 Philosophers Stone
• #3 In the Midnight
• #4 Back on Top
• #5 When the Leaves Come Falling Down
• #6 High Summer
• #7 Reminds Me of You
• #8 New Biography
• #9 Precious Time
• #10 Golden Autumn Day

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Van Morrison — New Biography lyrics

The page contains the lyrics of the song "New Biography" by Van Morrison.

New Biography See you’ve got the new biography Where did they get the info from Same as before some, so called friends Who claim to have, known me then How come they’ve got such good memories And I can’t even remember last week Got to queston where they’re coming from What knowledge of me is it that they speak So far away, way back when The people that claim, to have known me then Not on my wavelength and it’s such a shame That they have to play the name game The fame game, oh the name game, Lord it’s a cryin' shame Lord tell me what’s to blame Reinvented all the stories they know Give them all a different slant What is it that they’re really looking for Just a hobby on the internet So far away, way back when The people that claim, to have known me then Not on my wavelength and it’s such a shame That they have to play the name game The fame game, the name game, Oh it’s such a cryin' shame, tell me who’s to blame If they didn’t really know me way back How can they know me now, in any respect It’s a pity they don’t feel the pain That they should pay the price to play, to play The fame game, the name game It’s such a cryin' shame, please tell me who’s to blame Not on my wavelength and it’s such a shame That they have to play, have to play the fame game Oh the name game, it’s a cryin' shame Please tell me who’s to blame They keep on playin' The fame game, oh the name game It’s such a cryin' shame, please tell me who’s to blame Keep on playin' the fame game Lord, the name game, its such a cryin' shame Please tell me who’s to blame They just keep on playin' the fame game Oh the name game, its such a cryin' shame Please tell me who’s to blame Keep on, keep on playin'.