John Martyn
Solid Air

THE REVIEW

After his debut at only nineteen with "London Conversation" in 1967, where Donovan-like elements unite with a guitar style close to that of Bert Jansch, John Martyn - whose real name is Ian McGeachy - released, in addition to a couple of good records, the remarkable "Bless the Weather" in '71. His style is becoming increasingly distinctive and solid, making it reductive to place him within the folk-revival scene. At this point, Martyn is ready to release his most important work: "Solid Air". The album was released in 1973 by Island. The album features, in addition to Richard Thompson, several members of Fairport Convention, who enrich the record with their precious contributions.
The album opens with the title track, "Solid Air", dedicated to his friend Nick Drake, who would tragically pass away the following year. The track, perhaps the most beautiful in Martyn’s production, moves on smoky and relaxed atmospheres, sometimes jazzy - the sax interventions are beautiful - with an acoustic guitar that, while reminiscent of the genius of Tanworth-in Arden in sound, boasts a rather original style. The double bass is very prominent, perfectly aligning with the track. John Martyn’s singing style is extremely unique. Timeless track, a masterpiece.
The atmosphere changes with the second track "Over the Hill". Here the sounds are more folk-oriented, thanks also to the fine guitar work and a splendid mandolin accompaniment by the good Richard Thompson. A sensation of carefreeness, freshness, and healthy "rurality." How to write a great piece with only two chords. The atmosphere grows darker with "Don't Want to Know", featuring beautiful electric piano parts, prominent guitar, a track of great style and elegance, a memorable jazz-blues. At this point, with "I'd Rather Be The Devil" by S. James. Here the atmospheres change completely, acoustic sounds are distorted by echo and take on new forms: a piece difficult to classify, Martyn makes it his own, reinventing it, thanks also to the creativity of the other musicians, who respond to his inspiration.
The double bass brings us back to calm with "Go Down Easy". A track mainly entrusted to Martyn alone, featuring an evocative vocal part, effective guitar with a particularly "woody" sound. "Dream By The Sea" is also rich in jazzy nuances, especially in the sax use. The singing is much more aggressive and particularly "bluesy." The "looped" guitars create an effective sound fabric. A sort of psychedelic jazz.
A great stylistic leap with the subsequent "May You Never", a remarkable acoustic piece, practically for guitar and voice alone, more Joni Mitchell than Nick Drake in this case. Martyn showcases, without unnecessary excesses, a good technique with the instrument. Again in blues atmospheres with "The Man In The Station", featuring Martyn's typical "slurred" singing, bluesy electric guitar phrasing. An elegant and impactful piece. Before a live version of "I'd Rather Be the Devil", there is "The Easy Blues", "easy" only in title, given the guitar arrangement is technically very adept. Martyn's voice is splendidly comfortable in blues atmospheres. After a couple of minutes, the track, curiously, transforms drastically.

Little else to add, a disc to listen to, to feel. A masterpiece.