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on 29 May 2002
You might not be blamed for treating this album with suspicion if you're still harking back to the days of Solid Air and Bless The Weather. You might think John wouldn't suit a drum machine..
But for me, what makes John Martyn are his abilities as a songwriter and his presence and passion as a singer. Some of the songs on this album are as beautiful as any he's ever done. Give it a try! I think you'll find John hasn't changed a bit.
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on 15 June 2000
Not a great John Martyn album but a very good one and it takes its time! On first hearing loved it (probably relief at it not being a steaming pile) but then doubts began to creep in. This music demands the attention. I wasnt giving it and the album sounded shallow, lacking in the depth of, say, 'Cooltide'. Three weeks on and its payback time.
'so sweet' bubbles along and has a gorgeous, soaring guitar solo. 'wildflower' grows (no pun intended) with every listen and is becoming a favourite. 'feel so good' is the number with instant appeal. The other seven tracks all have something to offer although 'you don't know what love is' from 'The Talented Mr Ripley' is a little out of place here and could, perhaps, have made way for another self-written piece.
Having enjoyed the man's work, both live and recorded, over the last 25 years it's good to know that he can change with the times and still cut it. You can compare this music to your favourite pieces from his Seventies, Eighties or Nineties output but it doesn't work. As he replied last night at his Worcester gig, when asked to play 'May You Never',..."'May You Never'? I don't do that anymore". Listen to what he does now, take your time and enjoy.
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on 1 July 2000
An earlier review by a 'fan from London' states that this album is not in the same league as 'Inside Out'. Maybe not, but should we make comparisons with work from 25 years ago? Anyone who has listened to John Martyn from that time will know that all his songs evolve with time. So too do his albums. I will readily admit that much of JM's eighties and nineties output left me somewhat left out. Too smooth, minimal guitar etc.
But for me this album harks back to that earlier time, with airy, soaring guitar when needed and a tight rhythm which holds it all together. Standouts - So Sweet, Wildflower, Feel so Good, Field of Play.... these impressed from the first play. The other tracks were slow to enter the conscious but now having played the album to death over the last few weeks I can safely say that this is the best John Martyn album in ages. And the songs work well live too!
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on 8 January 2001
Obviously some folks will have difficulty with this album as they don't like the change that flows with a musical genius. Music reminds us of special times in our lives and subsequently some die hards have been left in the seventies with Mr Martyn. It doesn't however take a genuis to figure out the direction that the big man has been taking. It was never more clear than that of 'No Little Boy' with the classical John Martyn songs like soild air revamped, more ambient and still fantastic. He has moved in his own time and this album is confirmation of this. Anyone that has seen him perform live over the past 3 years will also love this album as the mood contiues from the live expedition to the bedroom of your dwelling. I give this album 5 stars as I like change and progression and obviously so does John.
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on 25 June 2000
JM is progressive in the real sense, something not understood by a section of his fanbase who want him to stay in 1975. He's primarily a singer now, and this album contains some superb rich vocals and songwriting that stands with his best. It's very different from his 70's work but still rewards investigation- needs a few listens to get into. Maybe not a great album, but good, very good.
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on 21 June 2013
This is a wonderful album. It presents John Martyn in a very different setting than does The Tumbler,One World or Inside Out but that is fine; these albums still exist. Glasgow Walker presents the John Martyn voice as the lead instrument. Like Miles Davis, in the different phases of his career, the setting changes but what he does remains the same. You could argue that this does not present the same listening challenges as some of his earlier work but is is just too lazy to dismiss this as bland and easy listening, it is just brilliant.
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on 10 August 2002
I was a great fan of Martyn's music all through the 70's,but at the time I thought " One World " was his last great album!.I saw him in concert in the early 90's and wasn't impressed
It wasn't until I read the reviews in Amazon that I decided to buy "Glasgow Walker" It's the best album he's done in years !
It has a nice relaxed feel to it and John's voice is full of warmth.the band are excellent,with Reggie Hastings playing nice slide guitar.Phil Cunningham plays Accordion on one track.
Good old John,still the Romantic
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on 5 July 2000
All the stuff about Inside/Out...ha...I remember when that album came out ,and the consensus was ..."Ooooh.'ee's lost it.. What is this self-indulgent groaning"...the point is that we all know how great the older stuff is because we've grown with it and into it...I remember how Van Morrison was reviled when Astral Weeks came out"this guy can't sing"...now we know better.People grow people change.John is a person not a music factory...it's never been about "product"..it's always interesting to catch up with an old friend and see what he's up to now.
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on 13 June 2000
As a long-term fan (most of us are), I wanted this to be good - thank the Good Lord it is. The writing is as good as anything John has produced and his singing is really on form again. The change comes in style - this is not from the 1970's, this is today's music. Listen to the songs, this is still music for the Head and for the Heart. Buy this, then buy the extrordinary older stuff too, then check out Kathryn Williams (the wonderful voice backing here). So Sweet.
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on 23 February 2013
This album , for me is, refreshing. I hear a return to John Martyn the tunesmith.His musical outpourings of the 70's were amazing and came at a time when he had a lot to say about his relationships - ups and downs. Glasgow Walker shows his creative side was still there - it just needed to be tapped into with the help of a new relationship and all that comes with that.
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