Since the beginning of his lengthy career, John Martyn has never officially conformed to any particular musical genre or classification. In the late 1960's when he was 19 and the first white artist to sign onto the Island Records label, his folky intonations were clearly influenced by American Jazz and Blues as well as many other styles, yet he added such a personal touch that his style could not be identified or aligned in any one direction.
Born in Scotland, he began to develop his style under his mentor Hamish Imlach and gained notoriety when he moved to London and entered the folk scene.
After a short succession of albums, Martyn only gained widespread appeal enough to fill a concert hall with the 1971 release of "Bless the Weather" and his subsequent album "Solid Air". On this album his slurred nebulous vocal style and bluesy folk guitar are uncommonly contagious. His acoustic guitar is heard through an echo plex unit and played adeptly accompanied by icy, floating fender rhodes, soft tenor sax and rolling bass. With the echo plex he played tape loops of his own guitar playing therefore accompanying himself during his recordings.
The very first track "Solid Air" is a tribute song to his troubled friend, singer/songwriter Nick Drake who died of an overdose of anti-depressants a year after this recording (check out my Nick Drake review). Here Martyn's signature, thick molasses voice seems to appeal to his friends emotional condition offering support and understanding. He fastens such emotion to his words and tones, it's hard not to listen to it and feel the depths of his caring for the troubled Drake.
You've been getting too deep,
you've been living on Solid Air,
you've been losing your sleep,
And you've been moving through Solid Air.
The song was sung so sincerely it touched many listeners and secured a sizeable following for young Martyn that accounts for fan clubs that exist to this day. The arrangement and feel of the album was dark and bluesy yet purely loving and humble. He sings of guiless love.....
Come up and see me,
with ya' big brown eyes,
and lie down here,
you know I'll sympathize
and we can go down easy.
....and benevolent wishes in songs like "I Don't Want To Know About Evil" where his inherent desire for peace and an unruffled vantage point in life are directly referenced. Many of his songs speak of tranquility in the way of a vagrant. Someone who doesn't have much and aspires for very little, revels in simplicity, thrives off of easiness.
I don't want to know 'bout evil,
Only wanna know 'bout love,
Sometimes it gets so hard, to listen,
hard for us to use our eyes,
all around the gold is glistening,
trying to keep us hypnotized.
Other tracks like "May You Never and "Head and Heart" again exhibit his sensitivity for love and desire to be enveloped by the love of another. Years later he would admit that his albums were simply reflections of his life at the time.
"Every record I've made - bad, good or indifferent- is totally autobiographical. I can look back when I hear a record and recall exactly what is going on. That's how I write. That's the only way that I can write! Some people keep diaries, I make records."
This is evident and clarifies what I suspected about his music. It is so personally worded and sung that it obviously comes from deep personal feelings and sentiments.
There's just no way to say how much I love you,
you never made me cry and that's just fine,
I only got my fear to put above you,
you know we all get scared from time to time,
Love me from your head and heart,
Love me from the place it starts,
Love me from your head and heart,
Love me like a child.
His lyrics are conveyed through his breathy vocal modulations and realistic emotions. Its so beautiful and candid, if the album cover could turn to sound, this is what it would sound like.
I really would not pass up the chance to enter the sentimental world of Solid Air. I think its honesty and accurate portrayal of loves dark corridors of sadness and strength can tell each listener a little bit about themselves.
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