John Martyn Solid Air

Solid Air (whose title track was written for John Martyn's friend, songwriter Nick Drake) is one of the defining moments in British folk, in the same league as Fairport Convention's Liege & Lief, Richard & Linda Thompson's Shoot Out the Lights, and Michael Chapman's Rainmaker. Martyn stepped out of his comfort zone to record and produce it, including not only jazz and blues but rock and plenty of sound effects, and featuring Rhodes piano on some of its tracks, dismaying some fans while winning a ton more for its genre-blurring presentation. A number of its cuts – such as the title track, "Over the Hill," "I'd Rather Be the Devil," and "May You Never" – remained staples in his live sets until the end of his life. [This edition includes a live performance of "I'd Rather Be the Devil" as a bonus track.]

John Martyn’s seminal live album from 1975 has been given the deluxe edition treatment to celebrate its 35th anniversary. Disc One is the original eight-song concert digitally remastered and sounding as fresh as a daisy. The collection includes live versions of "May You Never", "Bless The Weather" and "Solid Air". Disc Two features four songs which didn’t make it on to the original album, including "I’d Rather Be The Devil", "So Much In Love With You", "Clutches" and "Mailman", plus a further six previously unreleased songs recorded in rehearsals and featuring Paul Kossoff on guitar..

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.

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.

A wonderful collection of songs that deserves to be heard, No Little Boy serves as a sort of greatest-hits package for John Martyn, and also makes an excellent introduction to the music of this unique performer. This album is made up of newly re-recorded versions of some of Martyn's finest material from throughout his career. With assistance from longtime fan and friend Phil Collins, and contributions from an all-star cast including vocalist Levon Helm of the Band, Pink Floyd guitarist David Gilmour, saxman Andy Sheppard, and others, Martyn delivers definitive takes on his catalog of folk- and jazz-flavored material, recorded with pristine clarity and crispness. His trademark vocal slur is in evidence here, but the enunciation is more decipherable than on earlier recordings. This is beautiful, haunting, densely atmospheric, at times funky music.

The Best of the Island Years is a 4-disc digest version of last year’s, definitive 18 disc set covering John Martyn’s classic years with Island Records between 1967 and 1987. All 56 tracks on the 4-disc edition capture Martyn at the height of his creativity on the label; all of them have been chosen from the out-takes, unreleased songs and rare live recordings that were first included on The Island Years 18CD Box Set. This collection features the best of the rarities from The Island Years and creates an exceptional collection of recordings for fans who have everything but the complete box set.