on September 11, 1948, in New Malden, Surrey, and raised in Glasgow by his grandmother. He began his innovative and expansive career at the age of 17 with a style influenced by American blues artists such as
's throughout his career). With the aid of his mentor, traditional singer
began to make a name for himself and eventually moved to London, where he became a fixture at Cousins, the center for the local folk scene that spawned the likes of
. Soon after, he caught the attention of Island Records founder
, who made him the first white solo act to join the roster of his reggae-based label. The subsequent album,
's career. Although it contained touches of blues along with
's rhythmic playing and distinctive voice, it was for the most part a fairly straightforward British folk record. With his follow-up later that same year, the
began to slowly test other waters, employing backup musicians such as jazz reedman
, to flesh out his sound. His voice also started to take on a jazzier quality as he began to experiment musically.
While on the road,
Martyn continued to experiment with his sound, adding various effects to his electrified acoustic. One such effect, the Echoplex, allowed him to play off of the tape loops of his own guitar, enveloping himself in his own playing while continuing to play leads over the swelling sound. This would become an integral part of his recordings and stage performances in the coming years. He also met
Beverley Kutner, a singer from Coventry who later became his wife and musical partner. The duo released two records in 1970,
Stormbringer and
The Road to Ruin, the former recorded in Woodstock, N.Y. with American musicians including members of
the Band. For one track on their second album,
John and
Bev hired
Pentangle double bassist
Danny Thompson, who remained a constant in
John's career throughout the better part of the '70s, on-stage and in the studio.
John planned his third solo album when
Beverley retired to take care of the couple's children, although there was supposedly pressure from Island for him to record on his own.
The next couple of years saw
Martyn continuing to expand on his unique blend of folk music, drawing on folk, blues, rock, and jazz as well as music from the Middle East, South America, and Jamaica. His voice continued to transform with each album while his playing became more aggressive, yet without losing its gentler side.
Bless the Weather (1971) and
Solid Air (1973) which helped form the foundation of
Martyn's fan base, featured some of his most mature and enduring songs: "Solid Air," written for close friend
Nick Drake, "May You Never" (recorded by
Eric Clapton), and "Head and Heart" (recorded by
America). By the time of 1973's
Inside Out,
Martyn's use of the Echoplex had taken on a life of its own while his vocals became more of an instrument: deeper and bluesier, with words slithering into one another, barely decipherable.
During this period,
Martyn's well-publicized bouts with alcoholism came to the forefront and began to affect his career somewhat. He became an erratic and at times self-destructive performer. He might perform an evening of electronic guitar experiments for a crowd of folkies or a set of traditional, acoustic ballads when playing to a rock audience. His shows would also range from the odd night of falling over drunk to sheer brilliance, as captured on the independently released
Live at Leeds (1975).
Following
Sunday's Child (1974), the live record, and a 1977 best-of collection,
Martyn, for the most part, abandoned his acoustic guitar on record for a sort of rock, world, and jazz fusion. Although his style was moving away from its folk roots, his songs retained the passion and structure of his best early work.
Grace and Danger (1980), his first release since 1977's
One World, painfully and honestly depicted the crumbling of
John and
Beverley's marriage in some of his most powerful material in years. It also seemed to garner interest in
Martyn's sagging career. With this new momentum and the help of friend
Phil Collins,
Martyn signed to WEA, where he recorded two records,
Glorious Fool (1981) and
Well Kept Secret (1982).
Glorious Fool, a superb effort, produced by
Collins and featuring
Eric Clapton on guitar and
Collins on drums, piano, and vocals, looked to be his best shot at mainstream success, but failed to extend his cult status.
Martyn released his second independent live record, the magnificent
Philentropy, before returning to Island Records for two studio releases, a live album and a 12" single which featured a version of
Bob Dylan's "Tight Connection to My Heart." He was dropped by the label in 1988.
Continuing to battle his alcoholism,
Martyn resumed his career in 1990 with
The Apprentice and 1992's
Cooltide. He also released an album of his classic songs re-recorded with an all-star cast featuring
Phil Collins,
David Gilmour of
Pink Floyd, and
Levon Helm of
the Band, as well as various compilations and live recordings. After a four-year layoff,
Martyn issued
And, an album with strong jazz, trip-hop, and funk overtones, followed in 1998 by
The Church with One Bell, a collection of diverse covers. In 1999 he also released a live double album which documented a classic concert at London's Shaw Theatre in 1990 entitled Dirty, Down & Live.
Martyn recorded a surprise studio comeback effort called
Glasgow Walker at the turn of the century that was very well received, and had his entire Island catalog remastered and reissued -- two of his albums,
One World, and
Grace and Danger, were given the Universal "deluxe" treatment with bonus discs. In 2003, a cyst burst in
Martyn's leg due to septicemia brought on by diabetes. The end result was an amputation, but he continued to tour the world with the same tireless energy and restlessness, performing with his band from a wheelchair.
Martyn, shrugged it all off, typified by this infamous quote: " "I've been mugged in New York and luckily I fought my way out of it. I've been shot a couple of times as well but I just lay down and pretended to be dead."
In 2007 two DVDs appeared, a
Live at the BBC set recorded in the 1970s, and Voiceprint's
The Man Upstairs documentary. 2008 saw
Martyn's name surface once more with some real regularity due to a flurry of activity by the man and his touring schedule, but also because of new releases. His One World label issued a pair of catalogued live dates, the best of these being
Simmer Dim , and, in December, Universal/Island released a four-disc retrospective box entitled
Ain't No Saint. In January, 2009
Martyn was awarded the OBE (Order of the British Empire) -- an irony since he was the most rebellious of Scotsmen.
Martyn's health, however, was in real decline as a result of a lifetime of substance abuse issues; in the early morning hours of January 29, 2009, he passed away at the age of 60 after a third bout with pneumonia.
With his characteristic backslap acoustic guitar playing, his effects-driven experimental journeys, or his catalog of excellent songs, as well as his jazz-inflected singing style,
John Martyn will remain an important and influential figure in both British folk and rock.
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Brett Hartenbach & Thom Jurek, Rovi