A tedious vocals and acoustic guitar folk album. But, with songs this good, you can't really be that upset.
When this album starts out with "Fairy Tale Lullaby" you might roll your eyes very aggressively and think, "what a period piece of shyte!" But, as I don't quite get it myself, I've always assumed it's somewhat of a joke. In any case, there's nothing else like it on the rest of the album. The rest of the album deals very intensely with regaining a (lost?) love. Returning, accepting change and personal growth are the main topics here. And, as far as slower than slow, quiet, acoustic introspective music goes, it's quite good because of Mr. Martyn's sense of melody. However, because the album is (with the exception of the sitar-drenched "Rolling Home") an all vocals and acoustic guitar affair, it eliminates some folks right away. Sit back and relish in it, if you're into though. Because it's sparse and melodic; perfect for consoling yourself with. Like all good folk music of this sort, it just exists outside of time and trends, and feels like it's always been that way (in a good way). If you know you like late-60's, distinctly British folk, it's probably something you're already familiar with and should love. Otherwise, it's a bit samey.
~Austin
REMASTERED AND EXPANDED...
In 2005, the Universal music group introduced an entire campaign of remastered/expanded editions for John Martyn's back catalogue. This album gets one extra track, "She Moved Through the Fair", which is a good addition for longtime fans, but inconsequential if you're hearing it for the first time.
Even more distinctly British.
"Sing A Song of Summer" is possibly the single most British song I've ever heard. And it starts off the album. So, yeah. That's where we're headed with this album. In addition to the acoustic guitars, there is a flute on a few songs here. And much more of a pronounced american Blues slant, in songs like "Goin' Down to Memphis" and "Winding Boy". Where the songs on the first album obsessively concentrated on relationships, this seems to address everything else in the world except that specific subject. However, because of the samey-ness of the instrumentation, it is either a brilliant companion piece to the first album or a boring rehash of it. The songs aren't quite as strong or as resonating, but the fantastic presentation is still there.
~Austin
REMASTERED AND EXPANDED...
No extra songs here, just another well-done remastering job.
A band and a string section are added this time. Ooooh.
The first of two albums billed to John and (then wife) Beverley Martyn. Although Beverley sings just about every other song, there are, perhaps disappointingly, no duets between the two. It's either John or Beverley, but never both trading verse or lines (sometimes a backing vocal here or there is heard). The big difference here is the addition of a full backing band and a tastefully arranged string section. Besides that, the songs are still, structurally, pretty much unchanged. It's easy to think that this is a big change in sound because of the addition of musicians, but these songs would have just as much effect played in an intimate acoustic setting. And that's my main complaint: the presentation is in a decidedly blues-rock manner. I can dig it, but it's not my first choice for John Martyn. And besides, he didn't have to cater to the cliches to make it believable (as would become very apparent in a few albums). Beverley's voice isn't the strongest, but she has a commanding cadence and breathy charisma that helps her otherwise mediocre tenor. A good album, to be sure. And certainly a step back up to the great songwriting quality of the first album.
~Austin
REMASTERED AND EXPANDED...
Four demo takes, two of which are previously unheard songs. Of those, John's solo track "I Don't Know" is great. The sparse, solo John take on "John the Baptist" is inconsequential, but good none the less. "Traffic Light Lady" also receives a fairly standard rendition.
Ok, now that's an evolution.
No duets again. However, with the full backing band and near absence of strings, this album previews what would become the most rewarding of John's different sounds. "Parcels", with it's acoustic strum, tablas and various hand percussion and hushed, slurred vocals is probably the piece that points most clearly toward the near future. Except for the title track, which, in the first section, is John's first recorded encounter with the Echoplex. The jazziness is played up and Danny Thompson makes his recorded debut with John. The songs feel genuinely like the strongest and most reassured material that John had done until this point and, for the first time, it feels like a cohesive whole. Either the end of John Martyn's early period or the introduction to his most productive streak. In any case, this album is a seriously strong batch of folky acoustic jazz rock.
~Austin
REMASTERED AND EXPANDED...
One extra track: the surprisingly bland, Beverley-sung blues rocker "Here I Am". It kind of ruins the otherwise great ending of the album.
An astonishing rebirth and re-realization.
"Life: go easy on me; Love: don't pass me by" he sings on the album's opener "Go Easy." The song initially appears to be a look back to John's two pre-Beverley all-acoustic albums until the final minute or so when there is a very intentional floaty and ultra pretty electric guitar solo. And then, the title track comes in and it's one of John's many duets with now full time acoustic bassist Danny Thompson. Hands down, one of the best songs ever written (yeah, I said it), it's just pure magic. So much resonance in that thing, I often wish I could go back in time and hear it for my first time over and over again. From there on out, it's an interesting conglomeration of stuff that ranges from acoustic John and Danny introspective epics to blues rockers to the spacey Echoplex-infatuated instrumental "Glistening Glyndebourne", which leads into the next album incredibly. In a nutshell, it's the John Martyn musical biography, up until that point, squeezed into just under fourty minutes. A scattered and fascinating record, it's often cited as his best work, with good reason.
~Austin
REMASTERED AND EXPANDED...
Demos and more demos. The slight variations offered in the already-familiar album tracks will make for a nice treat to longtimers. The slightly longer take on "Glistening Glyndebourne" is quite welcome, however the real revelations are the two full backing band renditions of "Head and Heart" and "May You Never". The first of those two gets a full-on jammy 10+ minute epic reading that challenges me to question whether or not the title track is really the best song on Bless the Weather. "May You Never" doesn't really benefit or suffer from the full band (including sax solo). Good inclusion for completists, but the song's good in any format.
Too good for words.
A few things: John Martyn was basically the British Stevie Wonder up to, and including, this album (read into that however you like); there is absolutely nothing new offered here; and finally this is one of the best albums I've ever heard. Funny that. He's doing nothing here we haven't heard before, yet, this thing just shines. Arguably John's strongest set of songs ..well, ever.. topped off by a Skip James cover that is revisioned through John's unique Echoplex-informed world. I mean, honestly, you know an album's good when you discover a new favorite song every time you play it. Much like an updated Bless the Weather, this album synthesizes John's entire career up until this point in a stunning manner. Oh yeah, I should mention that, by this point, John's singing style had become pretty unique and he does this weird slurring, melodically busy vocalizing that sometimes sounds like a horn. Some folks consider it his trademark, others can't take it one bit. I like it, myself. The Nick Drake dedicated title track and the superior solo version of "May You Never" appear here, alongside lots of beautiful fender rhodes piano and too-many-to-count incredible Danny Thompson moments, making this John Martyn's definitive album. Seek this one out ASAP. Outstanding.
~Austin
REMASTERED AND EXPANDED...
One extra track, a wonderful live rendition of "I'd Rather Be the Devil". It certainly adds to the album.
A natural progression. That includes a progression (and exploration) of the weirdness from the last album.
The album begins with some studio chatter from John and, after a few unintelligible syllables, you hear "...and it felt natural..." Indeed. This album certainly feels like the next natural, logical and, ultimately, the next elevation in the quality of John Martyn's music. I know that may not be the most popular thing to say, as this is, almost universally, acknowledged as John's 'weird album that nobody truly gets', but I stick by it, gosh darnit. Because, really, outside of a few tracks, this is John Martyn simply growing and expanding. Sure, "Outside In" is jazz-rock fusion-meets-Echoplex eccentricity, but c'mon, what else sounds like it? And besides, didn't "Glistening Glyndebourne" and "I'd Rather Be the Devil" prepare you for this sort of thing? Do you even like John Martyn? Ok, maybe that was too far. Because he is, after all, a folkie at heart. And that sort of thing just don't sound right coming from a folkie. But dammit, this album is good. And, even though some of the songs sound a little weird at first because, maybe John's playing an electric instead of an acoustic, the songs, structurally, are a very good extension and progression from the last album. As with most of John's 70's output, there is an overhanging melancholy, but it is especially pronounced on this album; perhaps an insight into his growing alcohol problem at the time. But, downer or life-affirmer, every song here is excellent. And, through the use of studio tricks and the downright chill-inducing resonance of the songs, it stays relevant long past its expiration date.
~Austin
REMASTERED AND EXPANDED...
Some live-in-studio ("Sounds of the Seventies") radio broadcasts are included and, as such things go, they will give the listener a refreshing, and perhaps new and unique, vision of the songs. Sort of like Peel sessions, I guess (was John Peel around in 1973? I honestly don't know); and, as such things go, they do merit their own special evaluations because of the atmosphere. The medley of "Beverley" and "Make No Mistake" is easily one of the highlights of Universal's remaster campaign. "Fine Lines" and the title track (especially) also receive worthy renditions. The bonus tracks truly are bonuses and add to the enjoyment of the original album, leaving me with the feeling that the 2005 remastered edition of this album may just be the definitive John Martyn introduction.
John Martyn: the funky folk blues jazz hard roots rocker. Or something.
This is a weird album. Not because the songs are all artsy and strange, but because they're all over the place. On one song, you'll get a John and Danny duet, the next one will find some blaring fuzz distortion spattered throughout. The more rockin' songs are, perhaps because of their presentation, not as strong. The more intimate/slower material just sounds better when stacked up next to the rest of the record. Maybe it's the sequencing, because a number of the album's better tracks are on the second half. There is another Echoplex epic that closes out the album ("Call me Crazy"), and it's a fine one indeed, despite being more vocally focused. Overall, this is a really strong album, but it just feels like too much all at once. Can't really be mad at John for being too diverse, but the album's impact is softened because it's just too scattered. Maybe I'm being too harsh on it, because it's actually really good. Just that the blatant attempts at certain styles feel stale coming after the brilliant discoveries of his previous two albums.
~Austin
REMASTERED AND EXPANDED...
Some pretty good stuff on this installment. A previously unreleased song, "Ellie Rhee", is included and it's good. A pointless and inferior alternate studio mix of "Satisfied Mind" pops up, as well. However, the really great thing included here is John's entire Peel Session recordings from January of 1975. Five songs, performed by just John and his acoustic, receive stellar renditions. Even though John does focus on the already sparse/slower material from the proper album, "One Day Without You" gets a reading in this more intimate style and it does wonders for the song, suggesting that perhaps some of album's full band songs were a little heavy-handed.
Brilliant live recordings.
This does everything a live album should do: present arguably superior renditions of songs that the audience probably knows in forms that are recognizable, but altered just enough to make them fresh. Starting the thing off with a nearly twenty minute long version of "Outside In" may seem a bit off-putting, but it's actually the album's highlight. Three of the six tracks here come from Solid Air, so the selections are very thoughtfully picked. The performances are stellar, playing up the jazziness of the material. Things like the segue between "Make No Mistake" and "Bless the Weather" are just excellent. Self-released by John in limited quantities after Island decided against it at the last minute, the original LP is exceedingly difficult to find, but it has been reissued on CD many times, often with bonus materials. Just based on my own snobbery, I wouldn't recommend a live album as an introduction to an artist, but with this album, I might make a big exception.
~Austin
...AND MORE...
Following Island's remaster campaign, the British label Snapper did their deluxe edition of this album. Although the album has been reissued many times on CD, often with differing bonus materials, the Snapper edition offers the most extras. Over an entire CD's worth of extras are added, though none date from the show documented on the original album. Some of the quality of the recordings varies, but, for the most part, the performances are great, if you can hear past the lesser quality. The blues rock performances towards the end of disc one are interesting, if not necessarily good, simply because they are so drunken and rowdy. An incredible solo John version of "Big Muff" kicks off disc two and his guitar has rarely sounded as good. Unfortunately, the majority of the disc contains recordings from the 80's and it's keyboard city. There are no notes saying where or when the recordings are from, so that's frustrating too. Some good bits sporadically throughout the second disc, but kind of disappointing overall.
The poppiest and most produced John Martyn album yet.
This album is just good, bottom line. Sure, the treatments it gets are certainly more pop-oriented than before. But, it's tastefully done, and the quality of the songs here is so high, so instead of feeling like a sell out move, it feels like a natural progression and growth. Danny Thompson is still on board, so the incomparable chemistry is still there and the songs are arguably John's best since Solid Air. "Big Muff" is certainly one of the more unique moments in John's career. Where he previously flirted with blues, soul and jazz sounds, the song, co-written with reggae legend Lee Scratch Perry, is something almost like blue-eyed reggae. Truly a wonderful song. And it's not even the best on the album. It's just a really solid album and a wonderful coda to John's most productive period. Arguably his best.
~Austin
Exit Danny Thompson. Enter the keyboards. And Phil Collins. Oh dear.
Very MOR stuff. The keyboards are too prominent, in the cliched 80's fashion. Phil Collins is on drums and backing vocals, and I would certainly love to place all the blame on his involvement, but really, the songs aren't even all that great. It's a prerequisite to note the blaring personal dirty laundry aired out in the album's lyrics, so there we go. John definitely sounds pretty cynical and pissed off most of the time. The tunes just aren't that good, though. "Lookin' On" is the closest thing here that resembles a great John Martyn tune, but even the rubberbandy fretless electric bass and noodly keyboards somewhat ruin it. The frequently cheesy electric guitar solos throughout the rest of the album don't help either. I know I'm pretty down it, but compared to what came before it, I think I've got good reason to be. However, considering what came after it, it's really good. This is where I get off the line with John Martyn. Unfortunately.
~Austin
