JOHN & BEVERLEY MARTYN: THE ROAD TO RUIN

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.

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.

This second LP credited to John & Beverley Martyn, "The Road To Ruin" from late 1970, is an intimate experience full of warm, inviting songs that are quite welcome on a cool night when you're in front of the fireplace with a smoke or drink, or both. Simple yet lush, the songs have sparse arrangements and chord progressions that give the songs plenty of space, yet there is such a wonderful tapestry of textures of acoustic instruments. Saxes, flutes, pianos, congas, acoustic guitars all taking their right place in the mix and the very natural vocal treatments combine to accentuate this. It never feels too complicated and that is welcomed.

"New Day" is a high point on side one, with lilting melodies and joyfully strolling guitar. The vocals, as a duo, work well on this track and it lulls one into a quite nice trance with excellent flute work meandering through. The new day is indeed a sunny one--or so we hope. The line "Give us all some time to think, Please let us all come down" is in my mind, and I do believe that's one reason why I love this LP as it does let me calm down and think clearly for a little while.

Side two is more uneven in general, but "Tree Green" is a brilliant tune and one could truly call it beautiful--in the vocal delivery and instrumentation, and also in concept. There is a looking forward attitude present in this record--a contemplation on happiness and what that means, and thoughts regarding our future as humans. As the final track "Road to Ruin" extends into it's album-closing jam, we're left contemplating our role amongst nature and the rhythms of the earth with an air of optimism suitable to a record released in the year of the inaugural Earth Day. "How do you make a day like that? How do you make it real?" indeed.