The history of rock 'n' roll encompasses a vibrant tradition of contractual obligation albums, which have produced not only a few unintended classics but also a range of records that are so poorly executed or intriguingly bizarre that they must be heard to be believed. Among the artists who have turned malicious compliance into a true art form, few have matched the ferocity of Van Morrison. His music, often reflective and introspective, coexists with an unmistakably combative spirit, seen in his often grumpy demeanor during interviews and his unpredictable performances. Even as he matures into a revered elder statesman, his long-standing attitude has developed into that of a classic curmudgeon, a trait he has exhibited since the early days of his career.

Fans of Van Morrison recognize that his deeply thoughtful music is paired with a tenacious character. Whether he is expressing his dissatisfaction during interviews or compelling audiences to brace themselves for tumultuous concerts, he has consistently made it clear that he is determined to forge his own path. As he transitioned into the role of a respected older artist, this attitude has only solidified his reputation as a curmudgeon. However, it is essential to note that this was not merely a recent development; he has carried this fierce independence since his youth, especially during the early days of his solo career.

Like many emerging artists, Morrison found himself somewhat unaware of the complexities surrounding his initial solo contract. After departing from Them in 1966, he was drawn to New York by producer Bert Berns, who had previously worked with Them when they covered his song “Here Comes the Night.” Upon his arrival in New York, Morrison was presented with a contract from Berns’ Bang Records. In a rare moment of trust, he signed the contract without fully grasping its implications, a decision that would soon have significant consequences.

Read More: Explore the Top Ten Van Morrison Songs

The repercussions of Morrison’s contract began to unfold swiftly. He entered the studio in early 1967 to record eight tracks intended for a series of singles. However, to his dismay, Berns decided to compile these tracks into a full album instead. Morrison learned of the album, titled Blowin’ Your Mind!, only when a friend informed him of its release in the fall of 1967. In Johnny Rogan’s insightful book Van Morrison: No Surrender, Morrison is quoted as saying he had a “different concept” for the material, which is a significant understatement. The album’s release marked the beginning of increasingly heated disputes between Morrison and Berns, leading to tensions that would persist until Berns’ untimely death in December of ’67, when his widow Ilene blamed Morrison for the tragic event.

Reflecting on the turmoil surrounding Berns’ death, Janet Planet, who would later become Morrison’s wife, recounted the intense fallout. She stated, “The unholy hell that was unleashed upon him when Bert died was really horrible. Ilene was convinced that it was Van’s fault, that Van’s rancor had finally pushed him over the edge and he had the heart attack. And she vowed to… make sure that he’d never work again.” This sentiment highlights the immense pressure Morrison faced during this tumultuous period.

Ilene Berns exhibited her resentment through various actions. As recounted by Janet, she discovered several errors regarding how Bang Records managed Morrison’s work visa. After deeming him to be in the United States illegally, Ilene reported him to immigration authorities. In a bid to avoid deportation, Morrison hastily married Janet. Yet, this was merely the beginning of his ongoing challenges with Bang Records.

For a brief period, it seemed that Morrison had left his tumultuous relationship with the label behind. In early 1968, he and Janet relocated to Cambridge, Massachusetts, reportedly to evade the scrutiny of Carmine “Wassel” Denoia, a representative of Bang who was notorious for his aggressive tactics, including physically assaulting Morrison. By the summer of ’68, Morrison caught the attention of Warner Bros., who were eager to sign him. Label head Joe Smith even orchestrated a money drop reminiscent of mafia tactics to liberate Morrison from Bang’s grasp. However, Bang was not yet finished with him; according to his contract, Morrison was required to re-record songs released by Bang for his first Warner Bros. album and was also obligated to deliver three dozen additional songs, which would remain the label’s property.

Morrison managed to fulfill the requirement of re-recording with the album Astral Weeks, which featured the songs “Beside You” and “Madame George” from his Bang era. With that obligation completed, he turned his attention to the daunting task of clearing the remaining 36 songs due to Bang. Unsurprisingly, he was not inclined to invest much time or effort into these recordings. He made it clear that Bang would not be receiving any of his best work, nor would they obtain anything that would be considered worthy of release by major labels for many years.

Contrary to popular belief, Morrison’s contractual obligation sessions are often thought to have been recorded in 1967. However, as Ryan H. Walsh pointed out on his My First Rodeo blog, this timeline is implausible. For instance, Morrison references Boston in one of the tracks, but he did not reside there until 1968. Additionally, Astral Weeks producer Lewis Merenstein has been noted to have been closely involved with Morrison during the timeframe that produced these recordings.

Merenstein described the sessions as “a very interesting experience,” as quoted in Can You Feel the Silence. He remarked that Morrison had the opportunity to express all his grievances against Bert Berns and Bang Records during this session, which ultimately led to an unconventional collection of songs.

Anyone who has listened to the recordings can attest that Merenstein’s description, while partially accurate, does not fully capture the chaotic nature of the sessions. Determined to deprive Ilene Berns of any commercially viable product, Morrison adopted a stream-of-consciousness approach, creating a series of quick, quasi-lyrical complaints accompanied by music in extremely short segments. The brevity of these songs is striking; the longest, “The Big Royalty Check,” lasts only one minute and thirty-six seconds, with six additional tracks clocking in at under a minute each. Throughout these recordings, Morrison expresses his frustrations—venting his spleen and perhaps other issues—directly at Bert and Ilene Berns.

Listen to Van Morrison Perform ‘The Big Royalty Check’

Before signing Morrison, Bert Berns had established himself as a successful songwriter, creating memorable hits such as “Here Comes the Night” and rock classics including “Twist and Shout,” “Piece of My Heart,” “Cry to Me,” and “Hang on Sloopy.” However, by the time Morrison was recording these tracks, he had little regard for Berns or his past accomplishments. This disdain is evident in the titles of the first five songs recorded during these sessions, which include “Twist and Shake,” “Shake and Roll,” “Stomp and Scream,” “Scream and Holler,” and “Jump and Thump.” Morrison also scornfully rejects Berns’ choice for the title of his debut LP, as seen in the songs “Blow in Your Nose” and “Nose in Your Blow.” In “Thirty Two,” Morrison humorously imitates Berns’ production style, pretending to be the producer while ranting about tripling guitar tracks and seeking background singers to perform the “sha-la-la bit” on the Bang-era hit “Brown Eyed Girl.”

It is evident that Morrison’s jabs were meticulously crafted to achieve multiple outcomes. Most importantly, they effectively severed his ties with Bang Records. Additionally, these recordings presented Ilene Berns with a collection of material that was not only unusable but also served as a pointed critique of her late husband, the label, and herself. Referring to the results as “bursts of nonsense music that weren’t really songs,” Berns commented, “I just wanted to get on with my life, and so I didn’t bother to take him to court and sue him over the songs I didn’t get.”

Freed from the constraints of an infuriating contract, Morrison quickly moved on to create and record Moondance, which became the first significant commercial and critical success of his solo career. In the meantime, Bang Records continued to thrive for several years, despite losing future superstar Neil Diamond around the same time Morrison left. The label also signed notable artists like Paul Davis, known for “I Go Crazy,” R&B group Brick, with their hit “Dazz,” and Peabo Bryson, who recorded early works for the Bang subsidiary Bullet Records.

As for the recordings from the contractual obligation sessions? These hastily produced tracks remained officially unreleased for many years, although they were frequently bootlegged, making them accessible to fans. While few who heard them would describe the experience as essential listening, Morrison’s growing stature in the music world meant that even the most obscure in-studio recordings had commercial value. Ultimately, these tracks were officially released in 2017 as part of the Authorized Bang Collection by Legacy.