Recording and Composition
Morrison had written the song several years before it was released in 1970. With Lewis Merenstein as producer, it was recorded on three takes dating back to sessions in autumn 1968 at Warners Publishing Studio in New York City. Another eight takes of the song were recorded during several sessions in 1969 at the same studio and again with Merenstein as producer. The version released on His Band and the Street Choir was recorded in spring 1970 at A&R Recording Studios in New York City with Elliott Scheiner as engineer. Music journalist Erik Hage writes that one of the reasons for not releasing it until 1970 may have been that Morrison believed it could be a hit single and held it back to avoid it falling under the year long single clause in his contract release with Web IV. This release stated that the music publishing company would be entitled to one half of the copyright to any single released by Morrison in the year between September 1968 and September 1969. Morrison had received some high profile promotion when he appeared on a cover of Rolling Stone and was interviewed by Happy Traum in July 1970. As related by Morrison, he was subsequently encouraged by Warner Bros. to release radio-friendly singles: "The record company was asking me for singles, so I made some like "Domino", which was actually longer but got cut down." In fulfilling Warner's desire for a hit song, Hage wrote that the "bright, tight, and groovy "Domino" fits the bill. The lyrics hit on a frequent Morrison theme, renewal, ('I think it's time for a change'), and the vocal dynamics, punctuated by 'Lord have mercy' nod to gospel and James Brown (who pulled heavily from gospel himself)."
Read more about this topic: Domino (Van Morrison Song)
Famous quotes containing the words recording and/or composition:
“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“Pushkin’s composition is first of all and above all a phenomenon of style, and it is from this flowered rim that I have surveyed its seep of Arcadian country, the serpentine gleam of its imported brooks, the miniature blizzards imprisoned in round crystal, and the many-hued levels of literary parody blending in the melting distance.”
—Vladimir Nabokov (1899–1977)