"what do you mean, if I lose, I have to play "Traffic Light Lady" ?"
"what do you mean, if I lose, I have to play "Traffic Light Lady" ?"
John was born Iain McGeachy on the 11th of September 1948 in New Malden, Surrey, England, to parents who were into music, albeit of the light operatic variety. There is no truth in the rumour that John was in fact raised by Wolves in the woods of Surrey, foraging for food and musical instruments in Guildford and its environs. In fact that rumour does not exist at all, but it would be fun to start one, wouldn't it!At the age of 17, he started his professional career helped to some extent by Hamish Imlach. Another early influence was Davy Graham! he moved to London, where he was signed up by Chris Blackwell, whose Island Records was at that time aimed at the ska and reggae market. His first album, LONDON CONVERSATION (1968), is to my mind a sparse affair, but there are one or two highlights, among them, COCAIN, a number he still performs now and then! Then came THE TUMBLER. A slightly hippy dippy album perhaps, it featured the flute and saxophone of the late Harold MacNair.
John married singer Beverly Kutner, and as John and Beverly Martyn they produced two albums, STORMBRINGER and ROAD TO RUIN. The former was recorded in Woodstock, USA, with a group of American musicians, including Levon Helm of the Band and keyboard player Paul Harris. JM's electric muse, and his experimentation with electric guitar sound, including use of the echoplex, can be traced to this time!
John returned to solo work, although throughout the 70's, he was to establish a wonderful musical partnership with bassman Danny Thompson. BLESS THE WEATHER and SOLID AIR that established him as a live attraction, and his combination of blues, jazz and folk forms to forge his own musical identity took shape. INSIDE OUT came next. An astonishing head rush of loose yet beautifully played jazz tinged pieces, with a feel that I do not think has ever quite been repeated by anyone. The support on this album features Danny again, alongside various members of Traffic.
SUNDAY'S CHILD followed, perhaps the swan song to John the folkie in some ways, but so much more. Folk and rock seem to be the overriding influences on this one! He put out LIVE AT LEEDS himself. The album could be obtained only by dropping a line to John and Beverly at their home in Hastings; they personally signed every copy they sent out. JM's indulgences may have been getting out of hand at this point, and time out was taken for a sabbatical in the West Indies. On his return, he made ONE WORLD, in 1977, with Steve Winwood guesting on most tracks. The album did well, with several soon to be JM standards included.
Three years would pass before a new album, the amazing GRACE AND DANGER produced by the not quite so amazing Phil Collins. This is JM with his heart on his record sleeve, detailing the break-up of his marriage with Beverly. After this set, John left Island and Chris Blackwell, and switched to WEA, recording GLORIOUS FOOL and WELL KEPT SECRET, also touring regularly with a full-time band including Max Middleton on keyboards and Alan Thompson on the bass. These two albums were perhaps an attempt by a major label to break John as a mainstream star, but the production on these two albums seemed fuzzy, and the vision unfocussed. There are good tracks here, but not much to set the hairs on the back of your neck on end!
Another live album PHILENTROPY followed, showing how vibrant John's live shows were, compared to the studio albums of this period. John achieves a very rocky sound on this one, coming on like a new age Snatana on SUNDAY'S CHILD. JM went back to Island Records and more albums, but the 80s was not the strongest of decades for our boy. SAPPHIRE, was solid but unspectacular, Then, the world's first commercially released CD single ANGELINE, which preceded the album PIECE BY PIECE in 1986. next to The TUMBLER, this is my least favourite JM album, but that is like saying that strawberry creams are my least favourite chocolates. I still consume 'em with glee!
illness, some of it self inflicted, followed, as did departure from Island, and life in the independent label market. THE APPRENTICE and COOLTIDE were the next two albums, and these two proved in part to be a real return to form. PATTERNS IN THE RAIN is, (next to a not quite released version of MAKE NO MISTAKE) my favourite JM vocal performance of all time. COULDN'T LOVE YOU MORE in 1992 was an album of re-recorded versions from JM's extensive back catalogue. Unhappy with the results, the Jim Tullio produced NO LITTLE BOY corrected some of the former albums sins, and is in fact a bloody good album, although I have only just got into it!
The next studio album was AND, and John was in trip-hop territory! I know opinions are divided on this one, but I love it! I also have a growing admiration for THE CHURCH WITH ONE BELL, an eclectic covers album, with the most wonderful studio drum sound I have ever heard. Arrun Ahmun is a God, by the way! Then, we had a long wait till last year for GLASGOW WALKER, an interesting if slightly disappointing album. It looks like the label, Independiente, insisted on leaving out what is, to me, one of the best tracks, LEE DORSEY. ( Also known as CAN CAN). John's live performances became a little erratic to say the least, as they had been in the late 80s, and yet 2001 saw a tremendous return to form with a fine UK tour, and a great live video, TELL THEM I'M SOMEONE ELSE. The future really is bright, but let's hope JM doesn't need to wear shades too often! Watch this space, but mainly, listen to that music!!!!!
"Don't ask me, I am just an influence!"