Solid Air: Remastered: 
Rating: 10/10
Britain’s love affair with John Martyn continues with yet another triumphant return to Liverpool.
Anyone who’s been to a gig by Iain David McGeachy, aka John Martyn, will know
they’re in for a very special experience. This night was no exception. The only
difference being, this show was mainly devoted to a ground -breaking album
from 1973, with extra songs topping and tailing the main set. Considering it
never charted, fans still have an enduring love affair with the masterpiece that
is Solid Air.
It effectively signaled a change in musical direction from Folk/Blues towards
more idiosyncratic Jazz leanings along with a new slurred vocal style, which
he retains to this day.
Released in February 1973, his sixth album, it regularly makes the Top 100
best albums of all time. No surprises there. For over and hour and twenty
minutes, jolly 59-year-old Martyn held court in customary fashion. Doing an
aeroplane impression, he was wheeled on by his tour manager; it brought cheers
and laughter from the thrilled 1,600 capacity crowd.
The critically acclaimed singer-songwriter unleashed his set with Cool Tide
(Grace & Danger, 1980) and Looking On (Cool Tide, 1991).
Leaning back in his wheelchair and guitar perched on his bulky frame, he gently
strummed away on the divine jazzy ditty, with band mates Alan Thomson (bass),
Arran Ahmun (drums), Foster Paterson (keys) and Martin Winning (sax) allowing
Martyn’s wailing guitar to engulf the venue, and Winning’s sublime sax solos
adding the sensual textures. It was much of the same for Looking On.
Into the main set, played in non-chronological order, the more upbeat Dreams By
The Sea was greeted by whistles and cheers. In fact every song was, spliced
by regular banter, which Martyn relished by giggling and responding in his now
typical mumbled style. Manning again stole the show with some blistering solos
on Dreams, toning it down with equal effect for the floaty/sensual
The Man At The Station.
Strumming the opening chords for Over The Hill cheers rang out again on
his less complicated song on the album, though competition between guitar and
Thomson’s mandolin proved fascinating. It was quickly segued by the mesmerizing
I Don’t Want To Know About Love, with Martyn’s pained and tangled expressions
conveying the sentiments to perfection. A quick guitar change and the sharp
chords of May You Never brought further crowd responses.
After a brief blip, a re-started Jelly Roll cruised wonderfully with Martyn
showcasing some deft digital dexterity. Picking up a pace on a keys and sax
drenched I’d Rather Be The Devil, it seemed to come and go too quickly,
whereas the cool and gentle opening of Go Down Easy lowered the pace and
atmosphere, while his now gruff singing transformed the original version as
flute, keys and percussion floated together in a neo-Jazz template, making it
the best of the night.
On the hour, he closed the main set with Solid Air – a tribute to deceased
friend and label-mate Nick Drake that was once again transformed by Martyn’s
gravel-like vocals.
After the band intros, he capped off a magnificent night with a gospel-infused
gem, Rock Salt and Nails and divine soulful ballad Never Let Me Go
which brought a rousing cheer and standing ovation. Job done, he was wheeled off
to his dressing room, for a well earned cuppa!
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Review & concert pics copyright © Elly Roberts, 2004-2010.