John Martyn: The Apprentice In Concert With Dave Gilmour (2006)

The Apprentice was mostly completed a full two years before it was released. Martyn's record label, Island, rejected the tapes of the songs in 1988, even though artistically they were not too far removed from his previous release, Piece by Piece. In fact, this album turned out to be the more cohesive of the two. Eventually released by Permanent Records, it's by and large a well-crafted collection of songs. Its only weaknesses are the sometimes too-strong dependence on synthesizers and the song "Deny This Love," which is Martyn doing bad dance music (and featuring a truly horrible a cappella introduction). Otherwise, it's an enjoyable album. "Look at the Girl" is a wistful follow-up to his 1974 song "My Baby Girl," while the haunting and moving "Patterns in the Rain" features Martyn's first recorded acoustic guitar playing in years (even though it's not very predominant).

The Apprentice was mostly completed a full two years before it was released. Martyn's record label, Island, rejected the tapes of the songs in 1988, even though artistically they were not too far removed from his previous release, Piece by Piece. In fact, this album turned out to be the more cohesive of the two. Eventually released by Permanent Records, it's by and large a well-crafted collection of songs. Its only weaknesses are the sometimes too-strong dependence on synthesizers and the song "Deny This Love," which is Martyn doing bad dance music (and featuring a truly horrible a cappella introduction). Otherwise, it's an enjoyable album. "Look at the Girl" is a wistful follow-up to his 1974 song "My Baby Girl," while the haunting and moving "Patterns in the Rain" features Martyn's first recorded acoustic guitar playing in years (even though it's not very predominant). "Income Town" is an upbeat, more rock-oriented track, which has a sort of obscure in-joke added to it.

Because Island Records didn't feel it was the right time for a live album, Martyn independently released this record from his home. The initial release was a limited edition of 10,000 (which Island did manufacture, though not distribute or promote) that was numbered and signed. Though the album shares its title with the famous Who live collection of the same name, the working title was "Ringside Seat" and photos of Martyn and bassist Danny Thompson in a boxing ring were even taken for a prospective cover, though never used. Recorded February 13, 1975 (the sleeve incorrectly states October), at Leeds University in the U.K., this is John Martyn at a peak in his career.

John Martyn's follow-up to 1973's Inside Out is a much more song-oriented, less experimental effort which concentrates on the joys of home and family. Sunday's Child skillfully blends the sensual ("You Can Discover") with the sweet ("My Baby Girl"), the modern ("Root Love") with the traditional ("Spencer the Rover"), and the tormented ("Sunday's Child") with the satisfied ("Satisfied Mind," "Call Me Crazy") while retaining its cohesiveness. The record, his sixth on his own, shows the many facets of Martyn's playing, from his effects-driven electric guitar to his signature acoustic work, which can be both aggressive ("The Message") and gentle ("Lay It All Down"). This album contains a collection of strong original songs, as well as a pair of wonderful covers: the traditional British ballad "Spencer the Rover" and the country standard "Satisfied Mind." His last recording of new material for three years, Sunday's Child is a fine farewell to this period of Martyn's ever-changing career.

Though his reputation is based on folk music, in the 1990s John Martyn began saying he was "funky, not folky," and this album proves it. A heady brew of trip-hop, late-night jazz, and heavy rhythms, it was a step away from the primarily smooth jazz of his 1980s work and a quantum leap away from his 1960s and 1970s acoustic music. It's a successful venture, as Martyn's slurry impressionistic vocals were made for this kind of music…