Search - John Martyn :: Bless the Weather

A CLASSIC ALBUM OF TIMELESS BEAUTY

Larry L. Looney | Austin, Texas USA | 07/02/2001

(5 out of 5 stars)

"John Martyn has produced an impressive amount of fine music over his long career -- this album, for me, is the high point (closely followed by SOLID AIR). Don't misunderstand -- just about everything Martyn has released has been of the highest quality, if slightly varying in style -- this period just happens to be the one that appeals the most to me.Everything comes together here in perfection -- Martyn's solid, gentle songwriting coupled with his unforgettable smokey voice and unique guitar style, accompanied by some of the finest players to EVER grace a recording studio (Richard Thompson on guitar and Danny Thompson on acoustic bass). Placed in the hands of the able producer/engineer team of John Wood and Joe Boyd, the recording itself is crystal-clear and uncluttered, letting Martyn's songs shine through with their own light......and what a light they possess! The album's opener, 'Go easy', sets the pace perfectly with Martyn pleading sofly, 'Life, go easy on me -- love, don't pass me by...' With so many other vocalists, Martyn's breathy delivery might seem affected -- but John makes it seem effortlessly natural. 'Bless the weather' continues in this vein, 'Bless the weather that brought you to me -- curse the storm that takes you home...' This album was recorded after John and his wife/singing partner Beverly Martyn split -- and longing, loneliness and pain naturally accompany such a rift, no matter the cause or the instigator.There is hope in these tunes, too -- 'Walk on the water' is more upbeat and uplifting, and 'Just now' is one of the most endearing reflections on 'getting in touch' with onesself that I've ever heard. 'Head and heart' is probably the best known of all of Martyn's compositions, having also been covered by other artists. His original version here pales them all with it's heartfelt simplicity. 'Let the good times come' is a natural partner to the album's two opening tracks -- 'Back down the river' yearns for a fresh start.'Glistening Glyndebourne' is simply breathtaking music --- this long instrumental piece gives John's listeners the first taste of his ground-breaking work with the echoplex, to be followed up often on successive recordings, and destined to stun many a listener at his live shows. I heard Martyn once here in America on a tour when he was the opening act for Yes. Much of his equipment hadn't arrived by showtime, but Martyn went on anyway, knocking the crowd -- ready to be showered with the progressive rock of the main act -- back on their heels, bringing the buzzing, cavernous hall to attentive silence. John, his acoustic guitar, the echoplex and his one-of-a-kind voice filled the arena as few complete bands can do, and demanded attention. He only played 3 numbers, but he stole the show.The album concludes with a classic, 'Singin' in the rain' -- I've never heard anyone give this song a reading like this, and I've never been so moved by it. If hearing Alex sing the song in Stanley Kubrick's film ode to ultra-violence, A CLOCKWORK ORANGE, while savagely beating and kicking a helpless, bound victim threw the song into a bad light, Martyn's gentle rendition of it here will definitely clear the air.This is a disc that could appeal to so many listeners -- folk, jazz, blues, even pop. All of these styles have a place in the unique character that is the music of John Martyn. This is most assuredly an album for anyone's 'desert island collection'.[Helpful hint: together, John Wood and Joe Boyd made up Witchseason Productions, which brought us wonderful music by Nick Drake and others. Any recording with their name on it is going to be some of the best music from its era.]"

Straight from the heart

KRITTIBAS DASGUPTA | Dubai, UAE | 07/10/2000

(5 out of 5 stars)

"Q magazine called it one of the dozen essential folk records of all time. I really don't find this album that easy to categorise. The songs vary from the folkish sounding JUST NOW, to the jazzy John Martyn signature HEAD AND HEART. What comes through from the album as a whole,however, is spontaneity. There is an underlying simplicity in each tune, and every song sounds as if composed on the spot, on impulse. The arrangements are basic, and sparse - just accoustic guitars, bass and drums on most of the songs. This is not to overlook the fact that the people playing with John Martyn on this album are luminaries in their own right - Richard Thomson, Danny Thomson et al. Do not be fooled by the apparent simplicity of these wonderful songs, they deserve repeated listening. The high point of this album is the instrumental GLISTENING GLYNDEBOURNE, which has terrific work on bass and the first display of the famous echoplex technique on guitar which Martyn takes to greater heights on "RATHER BE THE DEVIL" on his SOLID AIR album. Get hold of this CD if you want to spend a half hour listening to soothing, genle songs sung by a vocalist of unparalleled ability."

Listen With Your Head And Heart

Greg C | NY | 10/18/2000

(5 out of 5 stars)

"This is one of the BEST early-70s singer-songwriter albums, or of any era for that matter. It is filled with soothing and moving songs that should really be better known to fans of James Taylor, Carole King, Jackson Browne et. al. It enhances that style with an added layer of English/Scottish mystical folk, with a nod to blues. Actually, the best comparison may be to Joni Mitchell. Martyn is a songwriter of rare sensitivity and flexibility, and this wonderful album, heard at the right time and in the right mood, is virtually guaranteed to infiltrate your subconscious and have you reaching for it again and again, especially on Sunday mornings over a cup of coffee. It's diverse, too: he throws in a Stonesy rocker here, an extended instrumental there (what a great guitarist!), but the ten tracks hang together perfectly. "Head And Heart," "Bless The Weather," "Just Now," "Let The Good Things Come"...so many gems here! This and "Solid Air" are his two best albums by a mile ("Inside Out" isn't too far behind), but Martyn's body of work overall is admirable and worthy of the sort of wider attention currently being afforded his late friend, labelmate and colleague Nick Drake. After hearing this stroke of pastoral genius, I'm sure you'll feel the same."