Just the other day we were chatting around the water cooler about a singer we knew who, when he didn't know the words to a song, had the amazing gift of slurring a spate of gobbledegook which sounded like lyrics, but was essentially just vocalese. Very convincing, but ultimately frustrating. John Martyn, on the other hand, sings the actual lyrics of his songs in such a mumbledee rough way that they become a part of the overall "sound" and are impossible to transcribe, should you ever want to. Live in Concert at the Cambridge Folk Festival, 1985 highlights this aspect of Martyn's performance, and displays at the same time just how that overall sound has captured the hearts and minds of his fans through his long career.
Martyn has changed considerably from the Bert Jansch-like acoustic guitar folk of his first album. The discovery of the echoplex and electric guitar, and the manipulation of his voice as a key part of the sound (as opposed to simple guitar accompanied singing) changed Martyn from another folk-singer to England's purest bluesman. This album provides all the evidence you need. He takes the early reggae of the Slickers' "Johnny Too Bad" and turns it into a driving almost jazz-rock song. Foster Patterson's keyboards and Danny Cummings' percussion play a crucial role in this transformation. And the moody, rolling bass of Alan Thompson adds both bottom and melody thoughout.
The original ballad "Sweet Little Mystery" follows with its rich melody line and intricate interplay of instruments. "Big Muff," which is Martyn's take on a rather rude Lee Perry rap, is next. Martyn is obviously influenced by reggae but goes beyond simply aping the beats and rhythms. He moulds the songs into his own style. The higher register of Martyn's voice makes its first appearance during this tune, and that echoplex guitar is featured in an extended solo.
The classic "Solid Air" fills the next eight minutes. Moody, introspective, jazzy meanderings; delicate spacious playing by all concerned. Then "Jelly Roll Blues" and the song Martyn is best known for. Eric Clapton commercialized "May You Never" as an easy shuffling country-blues. The version Martyn played July 27th, 1985 is acoustic, and folk-based, but seems to take a sideways run at the melody. Under-stated guitar, and Martyn's mumbled vocals.
The album runs to its conclusion with "Mad Dog Days," "Fisherman's Dream," and "Dealer/Outside In" all featuring the outstanding combo Martyn had put together. Percussion, bass, drums, and Martyn's guitar, all playing as one, filling the spaces...and yet leaving plenty of space. This is a live album that serves to show us just where John Martyn's head was that day almost ten years ago. He's had a few health problems lately, but he is still recording, still performing. Long may he run.
