JOHN MARTYN

John Martyn's Bless the Weather doesn't quite have a sound as compelling as the stark minimalism of Solid Air (in particular, the jazz influences on Martyn's music haven't really manifested yet), nor does it have any compositions which stand out quite as much as the subsequent album's title track, but it's still enjoyable as a folk album in its own right and offers a fascinating insight into the early development of the guitar techniques and vocal stylings which would come together so effectively on Solid Air. Whilst subsequent work would win him more attention, folk listeners would be well advised not to overlook Bless the Weather.

My introduction to John Martyn was when Angeline got airplay, when this album was released. Heard it a couple of times before it became an album or artist, that I wanted to become familiar with.So it grew on me yes,and I bought the album.

Ended up getting Piece by Piece and was not disappointed,as most songs of the album carry a similar sound.

Didn't know of Martyn's earlier discography ,so I could obviously not analyze and compare, with the likes of Solid Air and others.

As I became a CD buyer at the time and my turntable broke down,years and years went by without me hearing this.Now thankfully I-Tunes has made it available and I re-purchased it.

So,at the time,Martyn and/or the record company wanted more mass appeal and made a more accessible album,sorta like something Bryan Ferry would come up with.I think he is doing this very well.

The first song is an odd one.Nightline is like The song Manifesto from the album of the same name by Roxy Music.Strange song that makes you wonder what the hell is going on.Now the real good songs will start.Outstanding songs in the pop'ish vein with lots of synths for atmospherics.Yes, like Roxy and Ferry were masters of. 7 songs of that caliber follows and are very enjoyable.Only one of those songs will have noticeable guitar, that I now know he is capable of,and be superb at. Album ends with the song John Wayne ,that I find rather odd.It is supposedly a fan favourite.

So.....Song one and nine are 2 **.Most of the other 7 songs are to me 4*'s easy.Now there is obviously not much prog here,and I will rate this album 3*'s,but to me this is a 4* album,as I have no problem with prog artists making quality 'pop'.

As I always say.I rather have 'pop' music by prog musicians,than no music at all.

John Martyn's Solid Air reminds me of what would happen if you combined the intimate chamber folk of Nick Drake with the murky, slightly inebriated atmosphere of Van Morrison's Astral Weeks, then added some jazz sensibilities to the mix. The Drake connection, it turns out, is no coincidence - the title track's a tribute to Nick, though as with Drake's own material it's sufficiently lyrically obtuse that I suspect only Martyn and Drake ever knew the real meanin go the song - but the connections to the rest of the British folk scene don't stop there, with various folk luminaries including Richard Thompson serving in Martyn's backing band. The focus, however, is almost always in Martyn's touching vocals, which are able to command the listener's unceasing attention.

What you need to rememeber is that Grace and danger isnot what you would call prog-folk. It's rather a turn for a more radio friendly, 80's-sound. Slick, groovy stuff which on the surface seems poppy enough but underneath it all lurks the beast of a divorce and bitter break-up from his then wife Beverley. The lyrics, at the time deemed too grimand depressing, are actually a very good description of the pains and emotions running amok when hearts used to beat as one suddenly tear themselves apart.

For me this is a really cohesive album with lots and lots of great tunes. In fact, this is a surprisingly solid affair, considering the times it was written. All songs are great but it's the last five that really hits the spot. Great, moving pieces filled with amazing musical and vocal deliverance. If you like me love the works of Martyn Grace and danger is a must but if you've only just discovered him you'd be better off trying anyone of the classic like Solid air.

The Road to Ruin was the second and last album released by husband and wife John and Beverley Martyn. It's a very interesting contrast to "Stormbringer" and a worthy companion. The first half of the album is especially strong, kicking off with "Primrose Hill", where its saxophone brings in a light jazz blend. Next up is John's "Parcels" which is a very warm, peaceful song. "Auntie Aviator" is also great with the mixture of Bev's beautifully succulent vocal work, Harris's piano and John's haunting electric guitar. Another favourite "New Day" nicely follows with some fine flute work. On the second half "Tree Green" and the title track are also very good. With the above mentioned standout tracks, this is a really decent album and an intriguing part of the John Martyn collection. 3 stars.

Stormbringer! was the first of two albums by both John and Beverley Martyn. It was recorded in the summer of 69 at Woodstock. The music is mainly folk-rock often resembling some early Fairport Convention and sometimes a little Jefferson Airplane. The duo's two albums are mostly for enthusiasts, but there are some real gems on them. Beverley's voice is strong and full of emotion especially on "I Can't Get The One I Want". Six of the songs were written by John, his trademark voice always worth a listen. The backing band and string arrangements are very nice with good use of piano in particular, which is played by Paul Harris who was also credited for the musical direction. The title track is the best, very mellow, moody and rhythmic. "John The Baptist" and "Traffic Light Lady" are other very good pieces of his. An enjoyable album, there's a lot of innocence and relaxing moods in these songs. Three solid stars.

One World is one of John Martyn's more experimental works. All the albums of his that I've heard have laid-back moods, but possess their own characters. This is quite atmospheric, and the way that Martyn blended his signature rhythmic, echoey guitar sounds with jazzy drumming, funky bass and swirling keyboards over his slurred, bluesy vocals once again made him a true individual.

It's a very strong timeless album that makes superb late-night listening. "Smiling Stranger" and the dub influenced "Big Muff" which was collaborated with Lee Scratch Perry are delightful. Steve Winwood also contributes his keyboards to the album.

"Couldn't Love You More" and "Certain Surprise" are lovely, very melodic pieces and are two favourites along with the dreamy title track, plus "Dancing" which is a really uplifting summer breeze of a song, and last but not least the spacey, ambient "Small Hours".

A lot of the songs were recorded in the early hours and the mood is captured perfectly. I just discovered that it's three years to the day since this artist's passing, but his wonderful music will continue to influence many people. Three and a half stars.

London Conversation was John Martyn's first album, which was recorded when he was just 18. It is much more folk oriented than his jazz/blues tinged offerings that came later. But his altered, mainly acoustic tunings give a different feel to the album than to some other Folk albums of the time. His playing was already slick and thoughtful, accompanied by his raw, melodic vocals. It's also largely self-penned with just one or two covers, including Dylan's "Don't Think Twice It's Alright". His own "Fairy Tale Lullaby" and "Back To Stay" are sublime. "Rolling Home" is also an eye-opener and I believe it's him that plays the sitar. It's quite a stonker. Recommended to anyone who enjoys Nick Drake and Bob Dylan etc. It's a strong album but not among Martyn's most progressive, I'll give it three and a half stars.

Solid Air is where John Martyn experimented the most with various influences. Apart from his folk roots here, there are plenty of jazz tinges which bring a laid-back sound much like off the album "Bless The Weather" where this artist had started to evolve. Other mixtures in style include some soul and psychedelic flourishes. Martyn and double bassist Danny Thompson do strange things to the blues as well on Skip James' "I'd Rather Be The Devil". The title track is one of the best, a soothing, mystical piece with beautiful vibraphone and sax arrangements. Other favourites are "Don't Want To Know" and "The Man In The Station", especially for the organ work. The sweet folky acoustic lullaby "May You Never" is also a great piece. Martyn was very influential, especially when you consider how much the trippy sound on this release developed over the last thirty to forty years. Excellent album.

Bless The Weather along with the album Solid Air are known as John Martyn's best efforts and there should be no disappointments from either, but somehow this album has the edge. The songs shine with innocence and inspiration. From the sublime opening piece "Go Easy On Me" we're presented with warm vocals and playing, which often remind listener's of Martyn's friend Nick Drake. But the music here floats by as though borne on a breeze. Given the right mood it is really a positive experience. As another reviewer already said, this marked the point in this artist's career where he was showing more of a fusion of styles, the unusual blend of his folk and soft jazz in particular, which is quite special. The title track is one of the most beautiful examples with the double bass and acoustic guitar interplay. Other touching arrangements include the mellow piano and guitar on "Just Now". Many fan favourites often include the title track mentioned above and "Head and Heart". Martyn's first real 'echoplex' track "Glistening Glyndebourne" is also quite a gem and not self indulgent as some people might expect. And I love his version of "Singin' In The Rain". I don't think many could sing it in a softer, more charming way than Martyn. Stunning album in all, whose power grows stronger on each listen. Four solid stars.