John Martyn Albums (39)
What The Critics Say
Martyn's first album of new material in four years might be short (around 45 minutes), and one of the tracks has appeared before ("Baby Come Home," which was on a tribute to Scots singer Frankie Miller), but it's eminently satisfying, especially when you take into account that most of the vocals and guitar work were laid down after Martyn had his right leg amputated in spring 2003. He revisits his own past with "Go Down Easy," which was originally on Solid Air, although in this guise it's barely recognizable, transformed from an acoustic frippery into a meandering, atmospheric electric piece (this version was originally recorded in 1992 for a ballet). To the joy of longtime fans, there's plenty of Martyn's acoustic fretboard work on On the Cobbles, although it's not as prominent as it was in the '70s. But the free-and-easy love song "One for the Road" is a joy, as is the wistful "Back to Marseilles." A couple of guests do show up: Paul Weller on "Under My Wing," (arguably the best song Weller never wrote) where the former Jam man sounds nervous in the presence of the Big Man, and Mavis Staples roars on a cover of Leadbelly's "Goodnight Irene," although Martyn really doesn't need her help, putting forth a large, extremely soulful sound himself. His voice is the central thing here, and it continues to become a glorious instrument, slipping and slurring like a tenor horn, and fashioning beautiful lines. That's nowhere more apparent than on the album's two key tracks, "Ghosts" and "My Creator." The former is a meditation of mortality, full of trademark Martyn phrases and ideas, but executed with glowing restraint. "My Creator" is a kind of creed, truly words to live by, and the spiritual heir of "Solid Air." The jazziest cut on the album (former foil Danny Thompson plays double bass on it), it's dominated by horns to create an atmosphere of midnight blue, with Martyn wafting over the top in an irresistible manner. While On the Cobbles might be worth the price for that cut alone, the whole disc is a testament to a man who will never go gently into the good night. ~ Chris Nickson, All Music Guide
'Late Night John'
Release Date 5/17/2004
Tracks 16
Label Universal UK
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What The Critics Say
As the title signifies, the raison d'être behind this compilation seems to be zeroing in on songs that find John Martyn in his mellower after-hours folk-blues-jazz moods. While the 16 tracks span the first couple of decades of his recording career (from 1967-1986), it shouldn't be regarded as a best-of or overview, as Martyn's been too prolific and stylistically restless for this to be representative of his work. Considering how stylistically (and qualitatively) erratic his albums have been, however, there's something to be said for an anthology that emphasizes particular facets of his sound, as this one does. It results in a collection that's more consistent than most Martyn records (compilations or otherwise), and does manage to include some of his better-known songs, such as "Stormbringer," "Bless the Weather," and "Solid Air." Generally there's a shift over the years from an acoustic folk-based approach -- the first song, 1967's "Ballad of an Elder Woman," strongly recalls Bert Jansch, while 1968's "Fly On Home" will find favor with those who enjoy Nick Drake -- to more sophisticated jazz-inflected arrangements. The last few cuts do start to verge on moving from mellow to mushy in their slickness. But generally the material -- all but the last three cuts hailing from 1967-1977 -- is strong and satisfying, and perhaps more accessible to the average pop listener than a more wide-ranging and extensive Martyn best-of. ~ Richie Unterberger, All Music Guide
'Live at the Cambridge Folk Festival'
Release Date 3/9/2004
Tracks 9
Label Strange Fruit
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What The Critics Say
Taken from a 1996 concert -- the '90s saw Martyn produce some of his most inspired work in two decades, along with some absolute dross -- this has many of the usual Martyn cohorts onboard, such as Alan Thompson and Spencer Cozens. Within the overall Martyn canon (and old concerts seem to be popping up thick and fast), it's best categorized only as fair, lacking the inspiration of the '70s, when he truly was a champion. The bonus cuts from 1986 don't fare too much better, again veering toward the middle of the road. There's some solid material, like "Big Muff," "Couldn't Love You More," and the classic "Solid Air," with strong vocal performances and occasionally some crackling guitar work, especially on the five cuts from And..., which have the trip-hop feel of the studio versions, but decidedly watered-down (perhaps for Martyn's older audience). It's impossible to call it great, especially if you deify the older material, but it's definitely better than the stuff he was releasing earlier in the '90s; this at least has some passion and kick, even if a few tracks might have been better left on the floor. ~ Chris Nickson, All Music Guide
What The Critics Say
Recorded at the very end of the '70s, just before Martyn turned to his now-preferred band format, this is very much the last gasp of the man working as a solo performer. But few solo artists have had such a complete sound. To be fair, the sound quality leaves more than a bit to be desired, but this concert, from the Teatro Do Porto Romana is quite electrifying -- and not just on the electric cuts, either. "Seven Black Roses," for example, showcases his picking skills, while "Bless the Weather" isn't taken as a straight reading of the favorite tune, but as a springboard for improvisation. Martyn himself is in excellent form, begging spliffs from the crowd and indulging in banter that the Italians might not even have understood. But when he really plugs in, things take off. There's a crunching version of "Big Muff," while "Outside In" is a Medusa of echoplexed guitar lines, a real meeting place between folk and avant-garde jazz, and one of the best versions of the piece to have appeared on record. "One World" is gloriously sinuous and ethereal, spinning out to the stratosphere. Two of the cuts here aren't from the show -- the hammering, violent version of "I'd Rather Be the Devil" actually dates from 1977, while the medley of "Stay/Anna/Small Hours" ("Stay" being the old Maurice Williams song, given a thoroughly new reading, and "Anna" a rarely-heard Martyn tune) was recorded on the same Italian tour. Listening to this, you can understand, in a way, why he needed to start using a band. He'd taken the solo artist format every bit as far as it could go. ~ Chris Nickson, All Music Guide
'Solid Air: Classics Revisited'
Release Date 10/22/2002
Tracks 28
Label Snapper Music
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'Live at the Bottom Line, New York 1983'
Release Date 5/14/2002
Tracks 11
Label One World
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What The Critics Say
Released in 2001 as the third in a John Martyn "Collectors Series," Live at the Bottom Line, New York 1983 highlights a stripped-down version of the excellent band featured on his live 1983 release, Philentropy. Along with Alan Thomson on bass and keyboards and Jeff Allen on drums, Martyn is in fine form both vocally and instrumentally throughout the 11 tracks recorded in the spring of 1983 at the N.Y.C. club. The early '80s had seen Martyn setting aside the acoustic guitar, which had been a staple both live and on record throughout the bulk of the previous decade, for the exclusively electric, band-oriented sound that is presented on this disc. As is evidenced here, the experiments that he began in the '70s seemed to reach a compelling peak during this period -- possibly his most productive and interesting -- with his effects-driven electric guitar to the forefront. His guitar breaks on tracks such as "Root Love" (the oldest original presented here) and the more recent "Lookin' On" are truly inspired. If the performances on Live at the Bottom Line are first-rate, the sound quality isn't anywhere near that high standard. The recording is somewhat washed-out, as well as ever so slightly distorted at times, which gives it the feel of an average bootleg and is enough to place it down on the list of recommended records in Martyn's catalog. Still, hardcore fans should find enough here, especially with the inclusion of the hard to find "Anna" (a song based on his own "Small Hours" that was composed for the 1978 Australian film In Search of Anna), to overlook the somewhat inferior sound. Others simply looking for a live representation of John Martyn from this stage in his career will want to check out the terrific aforementioned Philentropy before purchasing Live at the Bottom Line. ~ Brett Hartenbach, All Music Guide
'The Brewery Arts Centre Kendal 1986'
Release Date 9/11/2001
Tracks 17
Label Resurgent
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What The Critics Say
Since the early part of the '70s, John Martyn has explored various shades of folk, jazz, rock, and blues, often in tandem with double bassist Danny Thompson. This union has yielded some amazing moments both in the studio and on-stage, as is documented on such recordings as Bless the Weather, Solid Air, and Live at Leeds, to name a few. Recorded 15 years prior to its release in 2001, and nearly a decade since they had last appeared together on record, The Brewery Arts Centre Kendall 1986 is a live pairing of the two, along with drummer Arran Ahmun, in a primarily acoustic setting. Interestingly enough, a John Martyn record hadn't featured any acoustic guitar since 1977's One World, which was the last time Thompson had done a session with him. Throughout their time working together, whether on the original recordings or in concert, Martyn and Thompson have always relied on chemistry, pure musicianship, and a sort of jazz-like spontaneity, all of which are apparent on The Brewery Arts Centre. Over the course of 17 tracks, Martyn and company round up many of the usual suspects from his extensive catalog, including "Solid Air," "Bless the Weather," and "May You Never," placing them in familiar surroundings, while later tunes like "Angeline," "Lookin' On," and the beautiful "Sweet Little Mystery" seem equally at home here. Thompson and Ahmun, whether setting a groove or falling in around Martyn's sometimes affected, sometimes straightforward guitar, are masterful throughout. Other highlights include a conga and bass-driven "One Day Without You," the subdued passion of "Make No Mistake," and the haunting moodiness of "One World." The only real drawback, as is the case with many of these One World live recordings, is the somewhat lifeless sound. The Brewery Arts Centre may not necessarily be essential, but it should be of interest to fans. ~ Brett Hartenbach, All Music Guide
'Live in Germany 1986'
Release Date 1/1/2001
Tracks 11
Label One World
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What The Critics Say
For fans of vintage John Martyn, Live in Germany 1986 is a dream come true. Not only does it team him up once more with bassist Danny Thompson, possibly his most sympathetic foil, but it also finds him largely delving back into his '70s material (indeed, only two songs, "Angeline" and "Sweet Little Mystery," date from the '80s). The more intimate ideas work well, and the duo are in such good form that they're able to improvise and bounce off each other the way they did more than a decade before. You simply need to listen to the way "Bless the Weather" segues into "Beverley" and then how that tune bleeds slowly into "Make No Mistake" to understand the range the pair have, blurring lines between folk and jazz. Of course, it wouldn't be Martyn without some electricity, and both "Outside In" and "I'd Rather Be the Devil" get the treatment, in versions that have come a long way from the originals but which still burst with ideas. There's plenty of between-song banter, as funny as ever, and the entire set list is classic Martyn, who's in fine form throughout. ~ Chris Nickson, All Music Guide
