JOHN MARTYN

An album that came out during the beginning of Phil Collins' flurry of activity as a record producer (a brief period in the early 1980s in which he produced and performed as a session drummer for albums by John Martyn, Frida [of ABBA fame], Philip Bailey, Eric Clapton, Howard Jones, Adam Ant, as well all of his solo albums--a period which happened to coincide with the launch of his solo career), it opens with a remake of John's minor hit, "Couldn't Love You More" from his 1977 album, One World, the album that introduced me to this songwriting, guitar genius.

1. "Couldn't Love You More" (3:59) a bit sappy with the Collins/Mowtown b vox. Clapton's lead guitar work is also a bit dated. (8.75/10)

2. "Amsterdam" (5:27) now here's a different sound from John Martyn's guitar. The chunky fretless bass of long-time Martyn band mate Alan Thomson is also interesting for its amplification and exaggeration. Phil's drums here are too ? Phil Collins. Phil did, however, manage to get a pretty extraordinary performance out of Mr. Martyn--and a nice subdued keybaord performanc out of former blues-rock piano-pounder (see Jeff Beck Group) Max Middleton. (8.75/10)

3. "Hold On My Heart" (4:39) Phil's "Burt Bacharach" song that he later re-worked and rerecorded for the 1991 GENESIS album, We Can't Dance. This version is nice, but the Genesis version is iconic. (8.75/10)

4. "Perfect Hustler" (4:42) highlighted by its wonderfully active Caribbean percussion work (thanks, Danny Cummings!) Definitely showcases how versatile and malleable John's vocal stylings could be. (8.66667/10)

5. "Hearts and Keys" (7:33) quite an atmospheric coup, this song definitely does well to almost capture the magic of my favorite John Martyn song of all-time, "Small Hours" from 1977's One World. I know, however, that John could've done it without the electronic keys and fretless bass. It's Phil's tom-tom play that makes this song a perfect match for John's vocal. Definitely a top three song for me. (9.25/10)

6. "Glorious Fool" (4:58) obviously Phil was a big fan of John's One World album as this song kind of replicates the "Big Muff" and "Dealer" songs from that 1977 album. Very cool song. (9/10)

7. "Never Say Never" (4:56) a Phil Collins "flash" song intended to occupy a big space with its big sound and "big" performances (drums, guitar, and vocals). A little too much Phil--it actually overshadows the protagonist's performance. (8.666667/10)

8. "Pascanel (Get Back Home)" (3:48) the weakest, most one-dimensional song on the album despite the interesting synth work. (8.4/10)

9. "Didn't Do That" (4:20) a great display of the way the contemporary jazz trends of the time could infiltrate the pop music scene. (8.75/10)

10. "Please Fall in Love With Me" (6:07) Great, sensitive vocal work that gets overwhelmed by the drum work of the second half. (8.75/10)

11. "Don't You Go" (4:43) a valiant attempt to capture John's classic heart-wrenching song rendering that, for whatever reason, seems to fail to succeed. Too bad. (8.66667/10)

Total time: 55:16

Phil Collins' production certainly comes shining through as it was so different from any of John's previous album releases. I think, overall, that this was a good move, though not all of the re-worked Collins/Motown versions of Martyn's songs stand up quite as well to their originals. On an interesting side-note, this was the first meeting and collaboration between John and long-time bandmate Alan Thomson's bass--a partnership that would last to the end of John's career (and life).

B/four stars; a nice addition to any prog lover's music collection that contains a nice if different (Phil Collins style) presentation of John Martyn's music but certainly nothing essential.

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.

This is an odd little album that finds John Martyn teaming up with Steve Winwood, whose organ playing adds jazzy, funky accents to Martyn's already typically laid-back sound. The end result is a weirdly sunny-sounding album which sort of resembles a folk rock artist's attempt to figure out what reggae sounded like based only on some rather vague descriptions. A strange mix, yes, but somehow an intoxicatingly catchy one, making this stylistic experiment a reasonable success, if weighed down by a somewhat plastic-ish production. Despite the fact that it its further outside the usual folk rock sphere than either Bless the Weather or Solid Air, somehow this manages to be the most accessible of Martyn's 1970s works.

One World was a lucky discovery for me at an open air market in the city of Norwich in 1980. In one fell swoop I was introduced to the deeply moving, introspective work of this bluesy folk artist as both Solid Air and One World played over a cheap sound system while I perused the bins of albums and tapes. I bought both. Though One World's "Couldn't Love You More" (3:09) (9/10) was remade in 1981 for the Phil Collins-produced Glorious Fool under the production guidance and instrumental ensemble assistance of one Eric Clapton (featuring Max Middleton, Alan Thompson and drummer Phil Collins in support), the original version remains a favorite of mine. For me the stunning and haunting "Small Hours" (8:44) (10/10) remains the centerpiece and jewel of the album though it is the last song on Side Two. The Echoplex guitar sound--which Martyn hung on to as a signature sound for most of his career--is used to absolute perfection here, with the sound of boats and wooden docks creaking in the water, as if the song was recorded outside.

Other outstanding favorites include: "Dealer" (4:58) (9/10); "One World" (4:10) (9/10); "Big Muff" (6:30) (8/10); the lovely STEPHEN BISHOP-like "Certain Surprise" (3:52) (10/10), and; the delightfully playful "Dancing" (3:43) (9/10).

A minor masterpiece of progressive folk music.

John Martyn - Solid Air (1973)

It took me a couple of listens, but I can now confirm this is a special slightly progressive folk-rock record with jazz- rock leanings. The thing is, I usually don't listen to introverted sounding artists. John Martyn's music is defenitely artistic, but it sound a bit to background music to my ears. A function I have come to like a bit more since friends do like this kind music.

John Martyn has a gentle voice that is relatively soft in the mix of guitars, drums, bass and piano. All songs have their own sound-pallet with destinctive settings for guitar en keyboard. The power of the record is in the subtle interventions and atmospheric feel. I must admit I find some songs a bit repetitive. The production is quite excellent and modern for its time.

Conclusion. The lable folk-rock might attract listeners who expect something quite different, I'd rather think of 'Solid Air' as an artistic introverted soulrecord with some folkinstruments. Three-and-a-halve stars.

One of the albums I own that keeps drawing me back is John Martyn's 1973 album Solid Air. This magnificent record is suffused with irradiated liquid folk but also holds hidden, dark undercurrents within. The pleasure this album gives never evaporates even after repeated listening, which have been many as I bought it in 1991, in the days before mp3 and downloads when you had to visit a record shop (yes really).

Throughout John Martyn sings with a lazy warmth sometimes loving, other times carnal, there are moments when his voice oozes as if it's melting, the words becoming onomatopoeic. His guitar, fed through his echoplex (a tape delay device which allowed him to sustain notes), is similarity fluid, all heat haze scintillation and smoky scrolls. Particularly on the Skip James song 'I'd rather Be The Devil' which has the same vibe as Jimi Hendrix's aqueous '1983... (A Merman I Should Turn to Be)'. He is ably supported by the great Danny Thompson on bass, providing a supple backbone, who was a great friend of john Martyn playing on many of his albums as well as being a stalwart member of folk rockers Pentangle.

Although released in the seventies tracks like 'Dreams By The Sea' (which is full paranoia and suspicion "Dreaming you've got a lover/Dreaming that there's a killer in your eyes"), the aforementioned 'I'd rather Be The Devil' and title track 'Solid Air' (about the late Nick Drake "I know you/I love you and I can be your friend/I can follow you anywhere even through solid air"), have a timeless and place-less quality. Maybe that's why I never get tired of Solid Air. It keeps returning like waves lapping a shore.

Solid Air is an album that puts on display many of the directions available to folk artists.

The album's opener, "Solid Air" (5:46) (9/10) with its xylophone accompaniment shows a very jazzy side.

2. "Over the Hill" (2:51) (9/10) is very bluegrass with its prominent RICHARD THOMPSON (FAIRPORT CONVENTION) mandolin contribution.

3. "Don't Want to Know" (3:01) (7/10) with its fully electrified rock band bleeds into

4. "I'd Rather Be the Devil (Devil Got My Women)" (6:19) (9/10) which is a kind of Beat/bluesy bebop jam.

5. "Go Down Easy" (3:36) (9/10) is one of those timeless STEVE WINWOOD-like beauties that wrenches the heart in a JEWEL-kind of way. Definitely a folk classic.

6. "Dreams by the Sea" (3:18) (9/10) puts a funky BRIAN AUGER-like vibe in your face. Very tight instrumental support from his support band.

7. "May You Never" (3:43) (8/10) is a guitar and voice solo song that became one of Martyn's signature songs and had the distinction of being covered by Eric Clapton four years later on his Slowhand album.

8. "The Man in the Station" (2:54) (9/10) is an edgy song that vacillates between quiet guitar and electronic keyboard to bluesy rock band to great effect. There is also an odd tension of jazz and Latin feel to the song. One of my favorites.

9. "The Easy Blues" (3:22) (7/10) is a very straightforward acoustic blues song in the vein of Robert Johnson and other Southern rockers. A shout out to bassist Danny Thompson for his wonderful contributions.

In my opinion, John Martyn is one of the unsung masters of the prog folk subgenre--and he produced high quality music over the course of a very long career--one in which he continued playing live performances up until just two months before his death in 2009--and one in which he put out over 20 studio albums and over 40 live recordings! Though the Echoplex guitar effects are not heard or used much, John remained fond of the sound throughout his career. I guess the Echoplex sound is one that runs hit or miss with music fans. I personally love it. The John Martyn studio sound is so warm and intimate and Solid Air remains one of my favorite John Martyn albums though it came out over 40 years ago. It makes me wish I had attended one of his concerts. At least we have DVDs to remember him with. This is most definitely a masterpiece of Progressive Folk music.

...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.

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.

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.