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JOHN MARTYN

Prog Folk • United Kingdom


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John Martyn biography
Like a vast majority of 60?s UK folk artistes (such as INCREDIBLE STRING BAND, STRING DRIVEN THING, DONOVAN, The PENTANGLE, Jethro Tull's IAN ANDERSON, etc.), John Martyn (Born Iaian David McGeachy), grew up in Scotland and by the age of 15 took up the guitar and by the time he'd finished school, he had started to play folk music in Glaswegian pubs. Taking influences from DAVID GRAHAM and getting friendly with ISB's Clive Palmer, he soon found his own style, which brought him to Island label?s boss Chris Blackwell?s ears and earned him a recording deal.

Martyn's first two albums London Conversations and The Tumbler are about as straight folk and folk rock as you can get and were both recorded under Joe Boyd's tutelage, and it is through him he met singer Beverly Kutner. She would quickly become Mrs Martyn and they recorded together two albums, which are essential in Martyn's instrumental progression. Both Stormbringer and Road To Ruin have their own duo charm, but also hold the first hints of the future soundscape of John Martyn.

Ending his musical partnership with Beverley (she'd still write a few lyrics and make the odd appearance in coming album) after the birth of their second child and returning to the UK (Hastings, Kent), John Martyn's musical realm took another giant step with the stunning Bless The Weather. Indeed Beverley?s acoustic guitar strumming had allowed him to pick up the electric guitar and he became enamoured with the pedal effects (but also daring 'electrify' his songwriting), especially one that would make his guitar sound famous, the Echoplex. With BTW, Martyn proposed us a blend of folk, blues and jazz, that can only maybe compared with Tim Buckley around Happy Sad or Lorca, even if the latter's vocal prowess made him unique as Martyn's Echoplex. With the stunning Inside Out and the career-defining Solid Air, John Martyn developed an incredible sound, helped by the former PENTANGLE bassist Danny Thompson, one of the best and most recognizable bass paw in the genre. With the less-successful Sunday's Child in 74, Martyn's new studio recording, he would eventually decrease the frequency of album releases. Unfortunately he was prone to excessive drinking and substance abuse even this soon in his career), which caused his erratic behaviour, and later growing health problems often having to cancel gigs with no notice. One of the couple's friends was Nick Drake (also a Joe Boyd pupil) whose own suicide proved detrimental t...
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Grace & DangerGrace & Danger
Deluxe Edition · Extra tracks · Remastered
Island 2009
Audio CD$10.15
$8.73 (used)
TumblerTumbler
Remastered · Import
Island 2005
Audio CD$3.97
$3.16 (used)
London ConversationLondon Conversation
Extra tracks · Import · Remastered
Ume Imports 2005
Audio CD$3.10
$6.78 (used)
Bless the WeatherBless the Weather
Extra tracks · Import · Remastered
Ume Imports 2005
Audio CD$3.61
$9.75 (used)
Solid Air (Deluxe Edition) (2 CD Set)Solid Air (Deluxe Edition) (2 CD Set)
Extra tracks · Import · Remastered
101 DISTRIBUTION 2009
Audio CD$9.12
$17.30 (used)
Sweet Little Mysteries: The Island Anthology [2-CD Set]Sweet Little Mysteries: The Island Anthology [2-CD Set]
Import
MSI:UNIVERSAL/ISLAND 2004
Audio CD$8.58
$7.07 (used)
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JOHN MARTYN shows & tickets


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JOHN MARTYN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

JOHN MARTYN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.14 | 12 ratings
London Conversation
1967
3.67 | 9 ratings
The Tumbler
1968
3.17 | 13 ratings
Stormbringer!
1970
3.13 | 11 ratings
The Road To Ruin
1970
4.04 | 23 ratings
Bless The Weather
1971
3.95 | 18 ratings
Inside Out
1973
4.01 | 35 ratings
Solid Air
1973
3.21 | 15 ratings
Sunday's Child
1975
3.30 | 16 ratings
One World
1977
3.55 | 17 ratings
Grace And Danger
1980
2.89 | 9 ratings
Glorious Fool
1981
3.00 | 8 ratings
Well Kept Secret
1982
2.88 | 7 ratings
Sapphire
1984
3.03 | 10 ratings
Piece by Piece
1986
3.40 | 5 ratings
The Apprentice
1990
3.25 | 4 ratings
Cooltide
1991
1.33 | 5 ratings
Couldn't Love You More
1992
2.67 | 3 ratings
No Little Boy
1993
3.00 | 2 ratings
And
1996
3.00 | 2 ratings
The Church With One Bell
1998
3.00 | 2 ratings
Glasgow Walker
2000
3.67 | 3 ratings
On the Cobbles
2004
3.75 | 4 ratings
Heaven and Earth
2011

JOHN MARTYN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.04 | 8 ratings
Live At Leeds
1976
3.00 | 2 ratings
Philentropy
1983
3.95 | 3 ratings
BBC Radio 1 Live In Concert
1992
3.00 | 2 ratings
Live
1995
4.00 | 2 ratings
Germany 1986
2001
4.00 | 2 ratings
On Air: John Martyn
2006
3.10 | 2 ratings
In Session At the BBC
2006
4.00 | 2 ratings
BBC Live In Concert
2007

JOHN MARTYN Videos (DVD, Blu-ray, VHS etc)

4.00 | 2 ratings
John Martyn At The BBC
2006

JOHN MARTYN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.67 | 3 ratings
Sweet Little Mysteries: The Island Anthology
1994
4.05 | 2 ratings
Ain't No Saint
2008

JOHN MARTYN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

JOHN MARTYN Reviews


Showing last 10 reviews only
 Piece by Piece by MARTYN, JOHN album cover Studio Album, 1986
3.03 | 10 ratings

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Piece by Piece
John Martyn Prog Folk

Review by GruvanDahlman
Prog Reviewer

3 stars ...and so the 80's grooved along. Keyboards and stuff. Hang on, I don't mean to be patronising. Yes, i do think Martyn was at his best between 1970-1980 but that does not mean I'm not hopelessly in love with all of his output. The love differs in passion, though. That's all.

When I bought this album I was heavily into Martyn's earlier works, alongside other folky stuff. You know, Pentangle and all that earthy bulk of musical history. I had no intention of loving this album when I put it on. I had foolishly decided against it before even given it a chance. How silly!

Piece by piece is actually a very good album. There is not much to complain about. As with it's predecessor it holds some good moments and a few great ones. The title track, "Serendipity" and the live classic "John Wayne" are outstaning pieces of music. While the first two are very much of it's time, "John Wayne" is a very powerful, almost hard rock track, though dressed in a slick and for the 1980's very appropriate overcoat. I have always found Martyn's excursions into rock music to be so and so but here it works very well indeed. If potent in it's studio version, it is omnipotent live. Check it out, why don't you?

When all is said and done Piece by piece remains one of Martyn's more forgotten output, alongside most of his post 70's albums. That is a shame. I think that music should be judged by it's own merits rather than by comparison. So, this album may not be as fully enjoyable as, say. Solid air but it is a good album. Not the best way to start if you are interested in the man's music but when you have gone through his more classic works, stop by this saloon and have a whiff of this. It is quite enjoyable.

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 Sapphire by MARTYN, JOHN album cover Studio Album, 1984
2.88 | 7 ratings

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Sapphire
John Martyn Prog Folk

Review by GruvanDahlman
Prog Reviewer

3 stars I have a special love for John Martyn and his music. He was truly progressive in his genre, though shifting more towards contemporary, slick pop in the early 80's. His music had these jazzy overtones I find appealing. Though he did not always hit the mark, when he did it was magic. Pure magic.

Sapphire was released in the year of 1984. By this time Martyn's music was ever so electronic and synthezised that little remained of his folky past. That is in itself not necessarily a bad thing, just different. When he released "Grace and danger" in 1980 he was spot on and that album remains very dear to me. By 1984 the result was good but not great. Musically Martyn is as professional as ever but the material is not that amazing, though some very good.

The title track starts the album off very well, followed by what is actually a very good cover of "Over the rainbow". The best pieces are "Fisherman's dream" and the magnificent "Mad dog days". The latter is a favorite of mine for several reasons but mainly because it is a great song. "Acid rain" is a sort of ecology-themed track and one that is good aswell.

There are not any bad tracks on Sapphire, which in some ways makes it a really cohesive album. The standouts, though, are not that many in numbers. The album is, however, a charming oddity or testament to a musician's need and willingness to change and progress. By no means his best album it is a great piece of work, solid and well performed. I think it could be that the album has aged not that gracefully, as some albums do. Or maybe it's just that it is an okay album and that is good enough. I like it, anyway. Give it a go. It won't kill you.

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 Bless The Weather by MARTYN, JOHN album cover Studio Album, 1971
4.04 | 23 ratings

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Bless The Weather
John Martyn Prog Folk

Review by Warthur
Prog Reviewer

4 stars 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.

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 Piece by Piece by MARTYN, JOHN album cover Studio Album, 1986
3.03 | 10 ratings

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Piece by Piece
John Martyn Prog Folk

Review by gr8dane

3 stars 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.

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 Solid Air by MARTYN, JOHN album cover Studio Album, 1973
4.01 | 35 ratings

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Solid Air
John Martyn Prog Folk

Review by Warthur
Prog Reviewer

4 stars 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.

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 Grace And Danger by MARTYN, JOHN album cover Studio Album, 1980
3.55 | 17 ratings

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Grace And Danger
John Martyn Prog Folk

Review by GruvanDahlman
Prog Reviewer

4 stars 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.

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 The Road To Ruin by MARTYN, JOHN album cover Studio Album, 1970
3.13 | 11 ratings

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The Road To Ruin
John Martyn Prog Folk

Review by Frankie Flowers

3 stars 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.

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 Stormbringer! by MARTYN, JOHN album cover Studio Album, 1970
3.17 | 13 ratings

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Stormbringer!
John Martyn Prog Folk

Review by Frankie Flowers

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.

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 One World by MARTYN, JOHN album cover Studio Album, 1977
3.30 | 16 ratings

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One World
John Martyn Prog Folk

Review by Frankie Flowers

3 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.

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 London Conversation by MARTYN, JOHN album cover Studio Album, 1967
3.14 | 12 ratings

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London Conversation
John Martyn Prog Folk

Review by Frankie Flowers

3 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.

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Thanks to sean trane for the artist addition.

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