John Martyn / And. Жанр: Trip-Hop, Alternative Singer-Songwriter Носитель: CD Страна-производитель диска (релиза): Germany Год издания: 1996 Издатель (лейбл): Go! Discs Ltd. Номер по каталогу: 828 798-2 Страна исполнителя (группы): UK Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Продолжительность: 00:48:18 Источник: собственный рип Наличие сканов в содержимом раздачи: да
Треклист
01. Sunshine’s Better 05:17
02. Suzanne 03:54
03. The Downward Pull of Human Nature 05:08
04. All in Your Favour 04:29
05. A Little Strange (John Martyn, Leon Ware and T-Boy Ross) 04:57
06. Who Are They? 02:32
07. Step It Up 04:32
08. Carmine 05:32
09. She’s a Lover/Sunshine’s Better Remix [hidden track] 11:57 All songs written by John Martyn unless indicated otherwise
Лог создания рипа
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Содержание индексной карты (.CUE)
REM GENRE Folk REM DATE 1996 REM DISCID 710B5209 REM COMMENT "ExactAudioCopy v1.3" CATALOG 0042282879820 PERFORMER "John Martyn" TITLE "And" REM COMPOSER "" FILE "01. Sunshine's Better.wav" WAVE TRACK 01 AUDIO TITLE "Sunshine's Better" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600171 INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Suzanne" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600172 INDEX 00 05:15:12 FILE "02. Suzanne.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "The Downward Pull of Human Nature" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600173 INDEX 00 03:52:50 FILE "03. The Downward Pull of Human Nature.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "All in Your Favour" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600174 INDEX 00 05:05:55 FILE "04. All in Your Favour.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "A Little Strange" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600175 INDEX 00 04:26:40 FILE "05. A Little Strange.wav" WAVE INDEX 01 00:00:00 TRACK 06 AUDIO TITLE "Who Are They?" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600176 INDEX 00 04:55:15 FILE "06. Who Are They.wav" WAVE INDEX 01 00:00:00 TRACK 07 AUDIO TITLE "Step It Up" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600177 INDEX 00 02:29:45 FILE "07. Step It Up.wav" WAVE INDEX 01 00:00:00 TRACK 08 AUDIO TITLE "Carmine" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600178 INDEX 00 04:27:65 FILE "08. Carmine.wav" WAVE INDEX 01 00:00:00 TRACK 09 AUDIO TITLE "She's a Lover/Sunshine's Better Remix" PERFORMER "John Martyn" REM COMPOSER "John Martyn" ISRC GBAQT9600179 INDEX 00 05:28:42 FILE "09. She's a Lover,Sunshine's Better Remix.wav" WAVE INDEX 01 00:00:00
Замер динамического диапазона (DR)
foobar2000 1.4.6 / Замер динамического диапазона (DR) 1.1.1 Дата отчёта: 2020-06-29 17:06:33 -------------------------------------------------------------------------------- Анализ: John Martyn / And -------------------------------------------------------------------------------- DR Пики RMS Продолжительность трека -------------------------------------------------------------------------------- DR10 -0.17 дБ -12.36 дБ 5:17 01-Sunshine's Better DR10 -0.17 дБ -12.47 дБ 3:54 02-Suzanne DR7 -0.17 дБ -9.88 дБ 5:08 03-The Downward Pull of Human Nature DR10 -0.17 дБ -12.19 дБ 4:29 04-All in Your Favour DR10 -0.17 дБ -11.79 дБ 4:57 05-A Little Strange DR13 -0.18 дБ -15.89 дБ 2:32 06-Who Are They? DR9 -0.37 дБ -10.17 дБ 4:32 07-Step It Up DR8 -0.17 дБ -9.92 дБ 5:32 08-Carmine DR9 -0.17 дБ -11.92 дБ 11:57 09-She's a Lover/Sunshine's Better Remix -------------------------------------------------------------------------------- Количество треков: 9 Реальные значения DR: DR10 Частота: 44100 Гц Каналов: 2 Разрядность: 16 Битрейт: 736 кбит/с Кодек: FLAC ================================================================================
Доп. информация
John had been struggling with health, record labels and other problems. And came over four years after John’s last new material on Cooltide. An excellent album that shows John’s music was still progressing with the use of samples and trip-hop beats. Produced by Stefon Taylor who was clearly an inspiration to John.
John was now signed to the Go! Discs label along with bands like Portishead. Unfortunately, this was another short- term relationship as the Go! Discs label was soon bought by Polygram. And is a remarkable album and one which I return to regularly. Phil Collins and John Giblin both play on the album and Phil Collins backing vocals are evident on some of the tracks, particularly “Suzanne.” Some critics criticised Collins’s involvement as detracting from the album but on the whole And was received well particularly by fans. Crackles are evident on some tracks and on making enquiries of Go! Discs I was told that this was vinyl feel! The album was also released on vinyl—wonder if that’s got double vinyl feel then!? Nonetheless, there are some classic songs on this album, “The Downward Pull of Human Nature,” “Carmine,” “Sunshine’s Better,” and “She’s A Lover.”
Four of the tracks featured on the Snooo. . . CD EP which had been given away free with a T-shirt. This has now been re-released by Voiceprint.
An unlisted Acid Remix of “Sunshine’s Better” with a superb bass-line brings the album to a close.
Asian dance/remix artist Talvin Singh was to remix “Sunshine’s Better” and this version received much radio air play especially on Radio 1. This is totally different to the remix which appears at the end of And, and it is included on a compilation album Cafe Del Mar Volume Four. A 12-inch promotional version of the track was also released on vinyl lasting some 12 minutes plus!
Go! Discs planned to release “Sunshine’s Better” as a single, but it was withdrawn prior to release. One or two copies of a Radio Edit Version on CD made it to radio stations, but these are without a sleeve and are very hard to find. (John Hillarby, https://johnmartyn.com/discography/1990s/and-1996/)
Об исполнителе
Singer/songwriter/guitarist John Martyn was born Iain David McGeachy 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 Robert Johnson and Skip James, the traditional music of his homeland, and the eclectic folk of Davey Graham (Graham remained an influence and idol of Martyn’s throughout his career). With the aid of his mentor, traditional singer Hamish Imlach, Martyn 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 Bert Jansch, Ralph McTell, and Al Stewart. Soon after, he caught the attention of Island Records founder Chris Blackwell, who made him the first white solo act to join the roster of his reggae-based label. The subsequent album, London Conversation (February 1968*), only hinted at what was to come in Martyn's career. Although it contained touches of blues along with Martyn’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 Al Stewart-produced The Tumbler, Martyn began to slowly test other waters, employing backup musicians such as jazz reedman Harold McNair, 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 No Little Boy, the 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. (Brett Hartenbach, AllMusic)
*October 1967 is listed as the release date of the debut LP, according to another source (see the enclosed booklet)
**Two more releases have been issued as “deluxe”: Solid Air (2009) and Live at Leeds (2006)
Об альбоме
Though his reputation is based on folk music, in the 1990s John Martyn began saying he was “funky, not folky,” and this album proves it. A heady brew of trip-hop, late-night jazz, and heavy rhythms, it was a step away from the primarily smooth jazz of his 1980s work and a quantum leap away from his 1960s and 1970s acoustic music. It’s a successful venture, as Martyn’s slurry impressionistic vocals were made for this kind of music. “Sunshine’s Better” is the highlight track, and it’s so good that it’s on the album twice, the second time as a remixed unlisted hidden track tacked onto the end. Phil Collins guests on some songs (most notably “Suzanne”), but thankfully his sound, which could be antithetical to the songs, does not predominate. Though this album may distance listeners loyal to the earlier Martyn sound, those approaching with an open mind will find an artist ably keeping current and a quite good collection of songs. (Rob Caldwell, AllMusic)
Состав
Vocals and Guitars John Martyn
Backing Vocals John Martyn, Phil Collins and Cheryl Wilson
Drums Phil Collins
Bass John Giblin and Alan Thomson
Saxophone Jerry Underwood
Keyboards Spencer Cozens, Kirk Lothian, Foster Patterson and sometimes John Martyn
Programming Stefon Taylor and Spencer Cozens
Engineered by Stefon Taylor, Spencer Cozens and Douglas ‘Bone’ Graham
Mixed by Spencer Cozens (tracks 1, 2, 3, 4, 8 and 9), Stefon Taylor (tracks 5 and 7) and Douglas ‘Bone’ Graham (track 6) – numbering refers to above tracklisting
Produced by John Martyn and Stefon Taylor
Co-produced by Spencer Cozens
