Customer Reviews

On the Cobbles

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

No matter if you're a recent convert to John Martyn or a long time fan, you'll love this album. Those in the know will be aware that John has had serious health issues of recent times (including having part of a leg amputated) but the tone of this album is extreemly healthy. I admit that I'm a huge John Martyn fan, but I hadn't expected the album to so quickly invade my subconscious. John Martyn's music does that, it takes you to an ethereal place where lyrics and meoldy fuse in a way that is difficult to describe. My only disappointment is that there are only 10 tracks but then again, quality is always better than quantity!

John Martyn, with every album that goes by, perfects the art of sounding like himself. I don't mean to be cryptic with such statement but, rather, to pay the man a complement and vow my respect for his craft.
Whether it is bluesy "get down" like "Baby Come Home" or some delightful Pop-Folk like "under The Wind" -backed by Paul Weller- John Martyn's voice is the welcomed sound of a man at peace with himself, at least as far as his musical identity is concerned.
Specially, upon the loss of his leg to some ungodly cyst, it is wonderful to hear that he's back in the studio, still delivering quality, soulful material.
There may not be many surprises here, no experimenting with new forms, yet the songs will not disappoint anyone who knows what the man has done. I consider this album a joyful assertion of a style honed over thirty-plus years of worshipping his own musical gods. "Cobbles" and "Ghosts" are great examples of this.
Then, there are probably "the" songs of this CD, "My Creator," as far as amalgating the essential elements of Martyn's sound. Jazzy horns, Danny Thompson masterful bass, and that voice that, once you heard once, it is hard to live without. And "Go Down Easy" where syllables are suspended over the sinuous rhythm base, in a unforgettable way.
To finish things off, he gives a very respectable version of "Goodnight Irene," sharing vocal with the great Mavis Staples.
As you might have already ascertained, John Martyn is one of those people who I admired profoundly, which is not to say that I think that this album is a classic. That, it is not, yet it can belong to anyone's collection, without any apologies being necessary.

Sometimes I think if John Martyn had died suddenly, tragically, after 1973's "Solid Air", he'd be the legend that Nick Drake (rightfully) is. He didn't. He just kept putting out records, some outstanding (One World, Grace And Danger, the Phil Collins' produced Glorious Fool, No Little Boy) and some just solid (Sapphire, And.). Now he has returned with a new and stellar collection of songs (all but two penned by Martyn). The production is much more sympathetic and organic than some of his previous work. Acoustic guitar, piano, brass and real drums dominate the cd. He also has some wonderful guests like Paul Weller and the incomparable Mavis Staples, who joins John on the last track, "Goodnight Irene". John Martyn is a style unto himself.
His smooth, lugubrious voice is nourishment for the heart and mind. Buy it.

John Martyn has practically made a career of avoiding the limelight. His latest, though not without it's moments of beauty, will likely do little to prod the criminally-overlooked Martyn into the pop-eye. Had he died in '77 or so, he'd probably be the latest "new" discovery, like Nick Drake. But he's still out there, though recently one leg lost for wear, creating solid and original music. "One for the Road" sounds like it belongs on one of his earlier hit albums, like "Sunday's Child" or "Solid Air", while "My Creator" slides easily into his latest repetoire of calm but not sacharrine audio treats. Until Martyn finds the public he deserves, you'll have to find him the old fashioned way, word of mouth, one convert at a time.
This isn't a bad place to start.

I am a huge fan of John Martyn, but admittedly took most of the five star reviews of "On The Cobbles" with a grain of salt. Martyn's output of original material had been few and far between in the years prior to this release and not as consistent as his material from the 1970's on the Island label, and his last album prior to this one (while sounding great) consisted of no original material. So to say the least, I wondered if this album was as good as my fellow reviewers made it sound. Well, after getting a copy, I can tell any skeptics out there that this is one of Martyn's strongest efforts in years. This disc is like a sampler of all the genres he has dabbled in over the years, and there are echoes of all of them here: his rootsy folk work of the early 70's (the melancholy but sublime "Under My Wing"), the blues (the raunchy "Baby Come Home", one of my favorites off this album), and electronica ("Ghosts" and "Cobbles"). In addition, Martyn combines his expertise in these various styles of playing with some of his best songwriting to date, a lot of which deals with mortality. (Hence the powerful cover photo.) It is well known that during the recording of this CD Martyn was undergoing treatment for a burst cyst in his leg, which eventually led to an amputation below his knee. Martyn alludes to this with his dedication of the album to the surgical team and nurses of Orthapaedic Ward One at Waterford Hospital in Ireland. I also have to mention that his version of the Leadbelly classic "Goodnight Irene" which closes the album is by far the best version I have ever heard, and the most heartwrenching. It didn't hurt that Martyn was joined by Mavis Staples on that track, who is one of my favorite singers. Martyn's voice on this album is at its most soulful, and simply makes me ache when I hear it. It is clear that he has lived the blues for decades now and it's all in his voice, you can't fake that kind of feeling. Overall this remains one of my favorite discs by him, right up there with "Solid Air", "Bless The Weather", and "One World". For those of you who might be wondering if John Martyn's still got it, HE DOES.

John Martyn's music glows with a vitality that has remained undimmed through the years and which sets him apart from his eminently worthy musical peer group. Even when reprising his early work, which he does here with the song 'Go Down Easy', he has something new to say. 'On The Cobbles' is proof positive of his enduring magic. It abounds with the sort electricity that permeates his best work. This is John Martyn as he always has been: spellbinding.

Unlike everyone else who seems to think On the Cobbles is just very good and a return to form and all that, I think it's the best he's ever done. It's just deeper, more absolutely sure of where it's going, and more ... masterful. It's a master work: the expression of an artist who has pulled together all of his experience and technique and let it coalesce into something whole and complete and unforced. Not that he's ever fallen much below this level of achievement (well, hardly ever), but the subtle dissonant spookiness of Ghosts and Back to Marseilles are something just a little bit new. Each song is perfected, full of ideas and little musical revelations, but never overworked. To get music that sounds fresh and alive and slightly raw, and yet which is also ear candy, is something almost unique to John Martyn. For the record, I think his second-best is Glasgow Walker. The man is just getting better and better.

What can I say as a lifelong fan of John Martyn? While THE CHURCH WITH ONE BELL, Martyn's previous studio release, knockled my socks off, ON THE COBBLES had my head spinning! As Martyn fans already know, the former release mentioned was a "covers album" while the latter features all original Martyn compositions. John Martyn the composer remains unparalelled for depth, scope and lyrical sensitivity/panache. ON THE COBBLES stands up favorably when compared with Martyn's most seminal works, including BLESS THE WEATHER, SUNDAY'S CHILD and INSIDE, arguably his best three releases of the 1970s.

Not owning this CD by John Martyn could result in the impoverishment of your soul.