JOHN MARTYN

Like most British artistes, Martyn did his fair share of BBC sessions and this album is a compilation from early 73 until early 78, but it is not sure whether these sessions are actually complete, this album being an Island product rather than a Hux or BBC product. Don't go look at this album as some sort of Live At The BBC, but strictly radio sessions, which means most of the songs are presented in normal format, resembling the original version as much as feasible, but no extended solo or wild extrapolations.

Six tracks from 73, including four in October, but outside Be The Devil, not much from his two masterpieces from that very year, which is quite a disappointment, but the tracks chosen are still rather worthy. The five tracks from the early 75 sessions concentrates on Sunday's Child , which was definitely a return to bluesier things and the versions here are worthy and pay respect. The 77/8 sessions are not from the One World album (not yet released) coming (except one track), but seem to return to the 71-74 era, which indeed confirms that

Rather pleasant production - this is a BBC take after all ? but nothing to knock your socks off, but definitely not essential, or only for the ultra-fan. I'm sure the BBC has got better sessions stashed away somewhere.

After the tedious reception of Sunday's Child, Martyn wanted to release a live album, but a dispute between the great Island label and the grumpy Martyn lead that he would personally market this Live At Leeds: the obvious wink at The Who's classic live album is also well-merited since Martyn's live album is among the finest live renditions ever. So he shipped worldwide this album for distribution from his home in Hastings (Kent), but it is amazing to know that this album was never eventually distributed by a big label, despite shifting impressive amount of copies, both in vinyls and in Cds, even if there were years where LAL was OOP.

Starting on the delightful and delightfully long Outside In, the title track of his most experimental album, John Martyn and Danny Thompson take their sweet time to enter the track, but once they're in it, they're rockin' it out, not being afraid to expand on the ideas only skimmed in the studios. Martyn's effect pedal Echoplex and Thompson's superb bass playing are more than your ears needs to reach orgasm. Next up is the other incredible title track, one written for his friend , to whom he felt solidarity to, Nick Drake (by now found dead the previous fall), much in the same intimate mould of Outside In. The rest of the tracks are also taken from these two albums and one from the next most important Bless The Weather, making this Live At Leeds the perfect witness of John Martyn at the top of his creativity and fame, although I understand the early 80's and the trio of Phil Collins- produced albums sold quite well. In Make No Mistake, Thompson takes the bow to his double bass, giving yet another feeling of depth, but it is in general that Thompson's role in Martyn's oeuvre must be pinpointed. Simply one of the three or four rock bassist that rewrote the book in the late 60's, Danny, at that time, was at least as important as Martyn to the music. Martyn was obviously on a good night in Leeds as proven by his hilarious banter with the audience, in between two tracks.

It's now been over ten months after his death and the reviews simply don't come easy, s if they've become painful to finish, yet this Live At Leeds is one of the most enthralling album in its original form, so it is relatively easier to find the words. Lately have come two versions that blow hot and cold. The first completes a little more the single disc with a bunch of bonus track but not at all from Leeds or even that era. Here the feeling is much rawer and bluesier: Although you'll recognize the tracks, you'll wonder where all the finesse of the Leeds album went and you'll easily conclude the original album fared better on its own.

Recently came another version with a second disc made from loose tracks from different concerts during the 90's. While these can be of a premier quality and can provide some pleasant surprise, they are cut loose from their background, sometimes abruptly (un) edited, but they don't have the rawness of the bonus tracks from the preceding version on disc 1 and are in general more interesting than those other bonuses, even if some of the tracks on this second disc may seem close to mainstream music. While not exactly bringing added value to the Leeds recording, one must recognize that this double set gives you a good idea of Martyn's full live spectrum. As a proghead, if you can have the original Leeds concert alone, I think that you should jump for it, but for the general Martyn fan, if you're seeing both the first bonus version or the double disc, the latter might definitely be worth the extra splurge, as there is plenty to digest on that second disc. 5* for the original album, 4* for the two disc versions

Richard Thompson, David Pegg just to mention a few special contributors to Solid Air....Solid Air was one of those distinctive releases that hold it's head up on high for bringing rare, precious music to the people. Prog Folk is best suited for John Martyn from a genre perspective but at times he would musically play anything but! The kind of artist you can categorize but end up being perplexed due to his strong ability to confuse by never getting stuck in a rut,the opener " Solid Air" introduces Martyn's distinct vocal traits, hypnotically laid back over several soundscapes to infuse droning harmonies, emotional beacons and bumbling frailties....vulnerability for true artists speak volumes. The music not only on the title track, but throughout is fragile to say the least.

John Martyn delivers emotion in many songs especially the title track, the self emphatic ' Go Down Easy" and the beuatifully fragile 'May You Never". I think this album is, amongst it's peers, up there with the finest. A great contrubution to sound and listening, an abstract, unusual contribution to Prog music but so valid nevertheless. This is one of his finest releases. Enjoy if you can. Four solid stars.

— First review of this album —

For someone who likes 'well' produced pop songs this album might be a good find. For all those who already know John Martyn's music which is (normally) provided with diversity and edgy moments this is a disappointment - as in hindsight it was for himself too. Don't know what was going on with him to say yes to such a poor reproduction. He wasn't satisfied at the end but the record company finally insisted on the release.

'Couldn't Love You More' holds some of his best songs - but reworked to something polished and overproduced - an uninspired saxophone and sirupy background vocals where Phil Collins has a horse in the race too - oh no! It's better to avoid any word about that. Obviously made to reach for a wider audience. Okay - Martyn's unique voice is really charming and the compositions as such are really fine. But why presented in this outfit?

His next album 'No Little Boy' (1993 ) is basically deriving from the same session tapes but this time produced according to his taste. If you want to have an authentic impression of John Martyn's music - please don't start with 'Couldn't Love You More'!

This album is a live compilation so to say including a very early recording from 1971 besides two from 1977. The majority of the tracks are from 1986 though where John Martyn played at the Glastonbury Festival with his band. The concert has been a revelation really, especially because he uses his guitar with many effects here. This is John Martyn which I really like - mixing up jazzy and psych/space ingredients to a very impressing cocktail - obviously differing to his standard blues and folk oriented studio output.

The album opens with the aforementioned early song Head And Heart lifted from a solo acoustic performance in December 1971. This one is taken from the studio album 'Bless The Weather' released the same year. A fine ballad which is soon followed by the traditional Spencer The Rover from 1977. Both tunes are proving his fantastic folk singer/songwriter qualities. Martyn's voice is charming by the way and sounds less smoky. And then we have to go nine years forward to Glastonbury where he plays with a real band, now featuring the cheerful Foster Paterson (keyboards) and Danny Thompson (bass).

Mad Dog Days immediately transfers you to another, differing dimension. The sound quality is excellent, crystal clear. Here we have a collective of musicians which is perfectly interacting on top of it. Martyn plays a spacey delay modified guitar where Colin Tully (saxophone) and the other band members are offering a mellow jazzy respectively fusion mood. Now we are coming to a song couple - frequently offered live in this combination and belonging to my alltime live band favourites. Dealer is starting groovy rocking - Paterson shines with playful synthesizer adds. And then they celebrate a fantastic spacey floating transition into Outside In with John Martyn's emotional vocal contributions. Ten mesmerizing cosmic minutes which upset me really!

From the following Big Muff to Johnny Too Bad the band is acting top-notch furthermore continuing with this special mix of fusion and psych - Danny Thompson playing a funky bass. Since 1986 drummer Arran Ahmun was a longtime compagnion until John Martyn sadly passed away in January 2009. Which means - he is relatively new in the band at that time but plays absolutely reliable and subtle. The hymn Over The Rainbow is presented very emotional - when you're in the right mood it probably will bring tears to your eyes.

The extended studio version of Outside In closes the album quasi like a bonus - probably John Martyn's finest spacey output ever - although he never was counted to this genre. He plays his instrument echoplex drenched and multilayered comparable to the Kosmische Musik dominating German guitarists Günther Schickert, Manuel Göttsching and Achim Reichel. And his vocal presence is nearly extraterrestial here.

Provided with superb audio quality and showing John Martyn's diverse facets this album is well worth buying. My favourite live collection which I actually know from him - except the private cassette recording though which I took from the radio when he had played in Cologne the same year. Unfortunately my equipment wasn't in best condition. I tried to get this from the radio station later but totally failed :-( ... okay - nevermind - 'BBC Radio 1 Live In Concert' is great too - 4.5 stars are well deserved.

Bless the Weather is one of John Martyn's best albums and it is my personal favourite album of his. In my opinion all his albums from Bless the Weather to Grace and Danger are essential but there is something about Bless the Weather that sets it apart from the rest. The album starts with a beautiful and mournful guitar riff that begins Go Now, one of the albums many masterpieces. It sets the mood for the rest of the album; relaxed, sombre but untimely positive. Next is the title track which seduces you with its haunting intro with Danny Thompson's bass adding extra oomph to an already emotional song. Martyn uses the changing nature of weather as an analogy for finding and losing love. The song ends with a wonderful interplay between Martyn's guitar and Thompson's bass. The next song Sugar lump is the only misstep on the album and it stops me from giving the album 5 stars. It is a boring county western style song that is completely forgettable. Thankfully the rest of the album recaptures the magic of the first two tracks: Walk to the Water is a wonderful song celebrating spiritually with has bongos and vibes adding an extra layer of depth to the song. Just Now starts with a beautiful piano medley that continues throughout the song. It is a song about loss friends and the changing circumstances of life but its message is very positive as John sings about being happy with the life he has just now. Head and Heart is probably the most commercial sounding song on the album; the song is a plea to your lover to love you for who you are both intellectually and emotionally. Like the title track it ends with a wonderful instrumental passage where John and Danny bring the song to a slow serene end. Let the Good Things Come is one of my all time favourite John Martyn songs; he duets with his wife Beverley who sings haunting in the background. In it he asks his lover to be with him and provide for him in all the joys and hurts of life. It has a very relaxed feel that is characteristic of the album as a whole. Back Down the River is yet another of the many beautiful love songs that John seems to write and sing effortlessly. Next is probably the albums experimental centrepiece; Glistening Glyndebourne is over six minutes of pure experimentation. It is a marked contrast to the other simpler songs on the album and foreshadows the more experimental approach John would take on his next two albums. The first two minutes are a loose interplay between guitar and piano that have an almost improvised feel. The song really gets going at the two minute mark when John introduces the Echoplex which he would use to great effect from then on. The last four minutes of the song are a musical journey as John's guitar plays the same repeating guitar riff with the added effect of his Echoplex while the drums and piano jam along to it; he subtlety adds more complex sounds on his guitar to the songs general guitar riff as it progresses. The song ends with the guitar, piano and drums reaching a kind of musical climax as they all converge together before dying away and leaving only John's guitar to bring the song to a relaxed and subdued end. The album ends with a wonderful and uplifting cover of Singing in the Rain. I don't really like the original song but John adds a warm and charming feel to it which turns it into a dreamy folk ballad; a fitting way to end a relaxed and uplifting album. This album is one of my all time favourites and I give it 4 and a half stars; Sugar Lump stops it getting full marks. Anyone who likes music that is emotionally driven and full of warmth and character will love Bless the Weather. While John would do many more albums that were excellent and from a prog perspective more experimental; Bless the Weather is, in my opinion, his best work. I can't think of many albums that strike such a perfect balance of being both somber and uplifting at the same time. The album acknowledges the sad and troubled areas of our lives with hope and optimism and stands as one of the finest albums of all time.

Second and last album with wife Beverley née Kutner, Road To Ruin is also counted as the fourth album in Martyn's "solo" career, even if it might overlook a tad Bev's contributions on these two albums. The couple was still living in the Woodstock area and more on TRTR than on Stormbringer, this shows and influences the sound. Coming with a 19th century artwork, Road To Ruin is the logical continuity of Stormbringer, but brings the duo too often on country grounds instead of remaining folk. It should be noted that it was John who resisted the solo trail and insisted on making this second album, despite having much praise. He probably regretted his decision during the recording in late spring 70, as it was obvious that Joe Boyd and him did not see eye to eye on production value.

Opening on Primrose Hill, a short commercial Beverley-sung (and written by) track that also present a rare sax and Harris's ever present piano, we're into fully electrified folk rock, while Parcels is a sweeter more acoustic folk track sung and written by John, thus giving two different tones. Both of these tones will meet on the superb 6-mins Auntie Aviator where Beverley's voice and Harris' piano draws chills in our spines, but this is nothing compared to John's incredible aerial electric guitar solo and a certain amount of sustain note, enhanced by his Echoplex pedal effect. The flute-laden (by ex soft Machine Lynn Dobson) New Day follows, the first to feature also the double-bass king Danny Thompson. Although a cover, Give Us A Ring (intended at nick drake apparently) is more aligned with Bev's style (a tad more country-ish), but it's John singing.

The flipside is fairly different, much harder rocking (all things relative of course) with the downright country-ish Sorry To Be So Long, complete with sax, jew's harp. The same can be said of Say What You can, and it's no surprise these tracks were co-written and represent more Bev's side of things. While John's Tree Green comes back to his LC days, it's also filled with slide guitar. The 6-mins+ title track closes the album is an almost-normal Martyn fashion, with him almost solo for the first two minutes, before bongos and piano pick up and again a sax (actually two here) as the track takes on a Traffic feel and give a bit of Live At Leeds jamming-feel.

The remastered version comes with added live picture of the couple, some cool liner notes and one bonus track, Here I Am, which fits relatively bad with the album as it's the hardest rocking track of the album, even though it's from the end of the RTR recording session. While the logical continuation of Stormbringer, it's clear the Road To Ruin is digressing from Martyn's normal progression trail, yet it sufficiently influenced him in his career that even though not essential to his discography, it's still a solid foundation stone to Martyn's adventures.

After two deceiving albums and lengthy intervals after their successive release, Martyn's next album came after the turn of the decade, when the music scene had totally changed, so his comeback was risky. For the first time, Martyn decided to attack the studio with a set line-up, designed as working group (but I'm not sure they toured) among which is drummer Phil Collins (probably through Brand X's Morris Pert who'd played on the previous One World) and Riff Raff's (among many others, including Zzebra) Tommy Eyre on keyboards., the bass slot being taken by relative unknown Giblin, meaning that for the first time since Stormbringer, contrabass' Pentangle Thompson is not on a Martyn record. Giblin does quite well though, almost making you forget Big Dan, especially on the amazing Lookin On.

G&D is a considerably more upbeat affair than One World, but is less pop-oriented as well, even if the opening Some People with its Pastorius?like bass and the Traffic-inspired (listen to the riff) title track are a fairly commercial start. Then comes one of the album's highlights with the excellent Lookin' In, where Tommy Eyre's electric piano adds sooo much to Giblin's bass and Collins' impeccable drumming (chronologically, this is probably the last good album where he'll play excellent drumming after Duke and Face Value). The next few Johnny Too Bad (Right, John! ;-)), Hurt In Your Heart and Mystery are average tracks that fail to rouse much interest and are nearing fillers status even if the latter's arrangements are superb. The rest of the album glides smoothly with jazzy overtones emanates from the band, but there is nothing extraordinary, worthy of writing home about.

As with One World, G&D is generally well-acclaimed by fans and the press, but personally I find neither as adventurous as Solid Air or Inside Out, nor as inspired as Leeds or Bless The Weather. Both are OK albums IMHO, but certainly no priority to newxcomers.

Martyn's first album with his wife Beverley née Kutner in tow, after two "solo" albums, Stormbringer does have the merit to have John evolve his musical realm into a rockier atmosphere. Beverley was no amateur as she'd already worked with producer Joe Boyd, appeared at the Monterey Pop Festival in the summer of 67, she was a friend of Paul Simon and a London "local glory" and they met in Jan 69 and married fairly quickly. An American deal was worked out and the couple crossed the Atlantic in the summer of that year and located , right around the Woodstock area, where Dylan and Hendrix had rentals, and this US move does make itself heard on the two albums the couple made, thus explaining the presence of US back-up musicians. This should be one of Joe Boyd's first production job in the US, after his own crossing the Atlantic to return home after five years in the swinging London, but apparently Paul Harris (The Doors) had as much to do with this album's production as he also played keyboards and wrote the arrangements. There are three drummers (including the Band's Levon Helm and Zappa's Billy Mundi) and Harvey brooks on electric bass. Released in Feb 70, and armed with a stupendously romantic artwork, John & Bev look like the ideal hippie couple, but surely this wouldn't last long, as John's heavy leanings for hard liquor and other substances would not have the most pleasant side effects on his entourage and himself.

Starting on the country-ish Go Out And Get It, it's quite clear this album will be electric as Paul Harris plays on the electric piano, but it's mostly Bev's acoustic strumming that will allow John to pick up his electric guitar and start playing with pedals, the echoplex soon coming in the picture. Following the string-laden Can't Get The One I Want (sung by Bev), the first highlight is the amazing title track, where plenty of superb synth layers and enough drama to make it interesting for progheads. The lengthy Sweet Honesty (an 8-mins blues) is another highlight, where Beverley takes on lead singer to great effects. Be still though, the coming Woodstock is not Joni's song, but John & Bev's as they at least appeared in the three day feast, unlike Joni. It goes back to his debut album, stylistically speaking.

The flipside doesn't bring much different as The Ocean is very reminiscent of "Can't Get", while Traffic Light Lady has an ISB feel. But better than these two tracks are Tomorrow Time (an interesting track, and has the curiosity of having the What's The Story, Morning Glory?), and the good John The Baptist. Obviously the best was left until the end, and the lengthy Would You Believe Me announces the future John Martyn and his wild guitar effects, moody vocals and occasional time sigs and tempo changes.

It is the custom to count this album as John's third album in his "solo" career, maybe overlooking Bev's presence or contributions, and of course the upcoming Road To Ruin will get counted as his fourth. Both albums proudly stands in Martyn's discography as entire setting stone to his evolution and it's almost inconceivable jumping from Tumbler to Weather, without listening to these two excellent but not all-that-essential albums. For some reasons Stormbringer failed to chart on either side of the Atlantic, but this is most likely due to extreme abundance of folk albums on the market.

After almost three years since his last studio deceiving album Sunday's Child, most of Martyn's fans were expecting pmich of the coming One World. To say the least, the album did not get unanimous acceptance by the fans: those expecting another Solid air were definitely disappointed, however those wanting more accessible tunes were very happy. Indeed Martyn wrote maybe his poppiest album of the 70's, whether Stevie Winwood's presence over most of the tracks, and the gradual disappearance of Danny Thompson (less than half the tracks), but one feels an era has passed, and it won't come back. Winwood himself was in a transitional phase of his cerreer and released his first (excellent) solo album the same year, but it would be another 5 year until the hugely successful (sales-wise anyway) Arc Of A Diver

Don't get fooled by the opening track Dealer, it's not the Traffic track, but a Martyn original that IMHO does make hint at the 68 song. but it's relatively funky and upbeat, a perfect way to start an album, even if the track is only average at best. Much more interesting is the slow title track, where Martyn's echoplex effect pedals are used to great effects under Handsford Rowe's (future Gongzilla) superb round bass. Another winner is Smiling Stranger with Winwood's Arabic strings synths in the background, but again Solid Air is ac distant memory. The didgeridoo-lead Big Muff track features Brand X's Morris Pert on percussions, but the track is not only repetitive, but overstays its welcome by a good three minutes. Not sure if the co-author Lee Perry uses the "Scratch" epithet, but like many tunes f this album, the track is on the limit between funk and reggae.

The flipside sees the return of Danny Thompson on bass, and directly with a bow on the contrabass, Couldn't Love You More is a return to Bless the Weather, but the following Captain Surprise sticks out like a sore thumb, especially the cheesy trad jazz sax solo. You might gas well ship the next Dancing track, to get faster to the album's best piece, the almost 9-mins, the sleep inducing (and aptly titled) Small Hours.

Actually, although this album is often fondly remembered, I personally think that it is of the same accabit as Sunday's Child, possibly even worse of the 70's. The strory doesn't tell you whether Martyn himself was pleased with the album, but it certainly did not prompt him back soon in the studio as the the next (and much betterà Grace And Danger wouldn't huit the shops until three years later. As for this one, it certainly is NOT a priority