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Solid Air
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Solid Air
Studio album by
John Martyn
ReleasedFebruary 1973 (1973-02)
RecordedNovember–December 1972
Studio
Genre
Length34:44
LabelIsland
Producer
John Martyn chronology
Bless the Weather
(1971) 		Solid Air
(1973) 		Inside Out
(1973)

Solid Air is the fourth studio album by the British singer-songwriter John Martyn, released in February 1973 by Island Records.

Recording

[edit]

The album was recorded over eight days and features instrumental contributions by bassist Danny Thompson and members of Fairport Convention.[5][6]

Tracks background

[edit]

"Solid Air", the title track, was dedicated to a friend of Martyn's, Nick Drake, who would die of an antidepressant overdose 18 months after the album was released.[7] Martyn said of the track "It was done for a friend of mine, and it was done right with very clear motives, and I'm very pleased with it, for varying reasons. It has got a very simple message, but you'll have to work that one out for yourself."[8]

The album features an avant-garde cover of Skip James' "Devil Got My Woman",[5] here retitled "I'd Rather Be the Devil" and performed with heavy use of Martyn's Echoplex tape delay effect.[6]

"May You Never" became something of a signature song for Martyn, becoming a staple of his live performances. Released in November 1971 as a single in an early form, the song was re-recorded during the Solid Air sessions.[9] Eric Clapton covered "May You Never" on his 1977 album Slowhand.[10]

Album cover

[edit]

The album cover is an example of schlieren photography demonstrating the 'solid' nature of air.

Later reissues and performances

[edit]

A remastered CD was issued by Universal Records in October 2000. This CD was packaged in a card slipcase, and featured a remastered version of the original album with the addition of a live version of "I'd Rather Be The Devil". Solid Air was given a further remastering and repackaging when a double CD reissue curated by John Hillarby was released in 2009, and which included several alternate studio and live versions.

In 2006, Martyn performed the album live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series and subsequently toured the UK.[11]

Reception

[edit]
Professional ratings
Retrospective reviews
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[12]
American SongwriterStarStarStarStarStar[5]
Encyclopedia of Popular MusicStarStarStarStarStar[13]
Pitchfork10/10[14]
SputnikmusicStarStarStarStarHalf star[15]

Contemporary reviews were favourable, with music weekly Sounds declaring that "Solid Air flows beautifully and shows the entire spectrum of music that John Martyn has at his fingertips."[8] In a retrospective review, American Songwriter described the album as "timeless" and stated that "audacious, hypnotic and groundbreaking only begins to describe Martyn's still unique combination of folk, jazz, blues and space rock, wrapped around riveting, unforgettable melodies."[5] AllMusic called Solid Air "one of the defining moments of British folk" and noted its genre-blending.[12] BBC Music stated that "it's a classic with not a note out of place.. And ably assisted by John Wood's late night production it's now firmly esconced in the hearts of chillers, smokers and music lovers the world over."[6]

Solid Air was rated as the 67th Greatest British Album Ever by the British music magazine Q, and was also included in their list of Best Chill-Out Albums Of All Time. The album is included in the book 1001 Albums You Must Hear Before You Die by Robert Dimery.[16] It was voted number 826 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).[17]

Track listing

[edit]

All tracks written by John Martyn except where noted.

Side one

  1. "Solid Air" – 5:45
  2. "Over the Hill" – 2:53
  3. "Don't Want to Know" – 3:02
  4. "I'd Rather Be the Devil" (Skip James) – 6:18

Side two

  1. "Go Down Easy" – 3:35
  2. "Dreams by the Sea" – 3:17
  3. "May You Never" – 3:41
  4. "The Man in the Station" – 2:53
  5. "The Easy Blues" – 3:20
  • Note: On the original 1987 CD release of the album, the final track "The Easy Blues" was split into two separate tracks, "Jelly Roll Blues" (2:15) and "Gentle Blues" (1:07). The 2000 remastered reissue lists the track as "The Easy Blues (Jelly Roll Blues/Gentle Blues)", and the 2009 deluxe edition lists it as "The Easy Blues/Gentle Blues".

2000 remastered reissue bonus track

[edit]
  1. "I'd Rather Be the Devil" (live) (Skip James) – 6:11

2009 Deluxe Edition

[edit]

Disc 1

As original album.

Disc 2

  1. "Solid Air" (alternative take) – 5:48
  2. "Over the Hill" (alternative take) – 3:28
  3. "Don't Want to Know" (alternative take) – 3:26
  4. "I'd Rather Be the Devil" (alternative take) (Skip James) – 7:39
  5. "Go Down Easy" (alternative take) – 4:55
  6. "Dreams by the Sea" (alternative take) – 3:22
  7. "May You Never" (alternative take) – 3:33
  8. "The Man in the Station" (alternative take) – 5:32
  9. "The Easy Blues/Gentle Blues" (alternative take) – 4:49
  10. "Keep On" – 4:57
  11. "When It's Dark" – 8:36
  12. "In the Evening" – 4:04
  13. "May You Never" (single version) – 2:43
  14. "The Easy Blues" (live) – 3:24
  15. "May You Never" (live) – 3:39
  16. "I'd Rather Be the Devil" (live) (Skip James) – 8:33

Personnel

[edit]

Technical

[edit]
  • John Wood – engineer
  • Fabio Nicoli – sleeve design
  • John Webster – front cover photography

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Solid Air

View on Grokipedia
from Grokipedia
Solid Air is the fourth studio album by Scottish , released in February 1973 by and co-produced by Martyn and John Wood. Recorded primarily at Sound Techniques in , beginning in July 1972 and completed in December 1972, it features Martyn on vocals, acoustic and electric guitars, and synthesiser, alongside contributions from musicians including double bassist , pianist and organist , drummer Dave Mattacks, and bassist , with additional appearances by members Richard Thompson and , as well as saxophonist . The album blends British folk-rock with and psychedelic influences, highlighted by Martyn's innovative use of the delay unit for guitar effects and his distinctive slurred vocal delivery. Comprising nine tracks, Solid Air opens with the title song, a tribute to fellow musician amid his struggles with depression, featuring and a sensitive, jazz-inflected arrangement that captures the protagonist's empathy for a friend's plight. Other standout songs include the heartfelt ballad "May You Never," later covered by artists such as , and a reimagined acoustic version of Skip James's standard "I'd Rather Be the Devil," showcasing Martyn's genre-blending style. The album's atmospheric production and exploratory sound—drawing on folk, jazz-rock, and space- elements—established it as a in and traditions. Upon release, Solid Air received critical acclaim for its emotional depth and sonic innovation, though initial commercial success was modest; it later gained wider recognition in the as a precursor to trip-hop and , influencing artists like who described it as an early ambient record. One of the tracks, "Solid Air," appeared on the soundtrack of the 1999 film Titanic Town, further cementing its cultural legacy. The album remains a cornerstone of Martyn's discography, exemplifying his mercurial artistry and contributions to the evolution of British .

Background

Development and Inspiration

John Martyn's fourth studio album for , Solid Air, represented a significant evolution in his artistry, building on the folk-blues foundations of his earlier works such as (1971), where he first began incorporating subtle experimental elements like the delay unit. By 1972, Martyn had shifted toward more improvisational styles, drawing in jazz influences from artists like and space rock textures through innovative pedal effects, marking a departure from his initial acoustic folk roots toward a hybridized sound that emphasized spontaneity and atmospheric depth. The writing process for Solid Air unfolded during the summer of 1972, as Martyn composed material in . These songs wove together themes of empathy, frustration, and foreboding, reflecting Martyn's personal introspection and his close-knit relationships with fellow artists, including bassist and other label contemporaries who encouraged his boundary-pushing approach. Its dedication to underscores this communal spirit among the label's roster. At its core, Solid Air emerged as a conceptual "sonic journey," seamlessly blending the warmth of Martyn's acoustic guitar with experimental production techniques, particularly his newfound fascination with delay and echo pedals that created ethereal, looping textures. This integration of traditional folk intimacy with avant-garde effects not only defined the album's immersive quality but also positioned it as a pivotal work in bridging folk, jazz, and emerging ambient sounds.

Dedication to Nick Drake

John Martyn and forged a close friendship in the late 1960s after meeting through mutual acquaintance Paul Wheeler, with both artists signed to and sharing overlapping circles in the London folk scene. By 1972, Martyn had become deeply concerned about Drake's deteriorating and increasingly reclusive lifestyle, exacerbated by the recent release of Drake's introspective album and his struggles with depression. The title track "Solid Air" served as a direct dedication to Drake, capturing Martyn's empathy and frustration through lyrics that urged perseverance amid hardship, including lines such as "You've been taking your time / And you've been living on solid air" and "You've been hiding the / You've been looking through solid air." Martyn composed the song shortly after visiting Drake, first sharing an unaccompanied rendition over the phone with Wheeler to convey its personal significance. Tragically, Drake died from an overdose of the amitriptyline on November 25, 1974, at the age of 26, roughly 21 months after Solid Air's release in February 1973. The album's sleeve bore an overall dedication to Drake, underscoring Martyn's hope for his recovery amid their shared vulnerabilities.

Recording and Production

Studio Sessions

The recording sessions for Solid Air began in July 1972 at Sound Techniques in Chelsea, with further work in September and completion in November and December 1972 at both Sound Techniques and ' Basing Street Studios in . Overdubs and mixing were handled at Sound Techniques. The project was completed in approximately eight days, enabling a timely February 1973 release to coincide with John Martyn's upcoming tour, after a rescheduling due to an injury to the engineer at Sound Techniques, which shifted subsequent work to . Producer and engineer John Wood guided the sessions to preserve Martyn's improvisational ethos, prioritizing the raw energy of live band performances over extensive overdubs, as most tracks were captured in a jam-like setting with musicians responding intuitively to one another. Wood's direction ensured clarity in the recordings while allowing space for spontaneity, with no song requiring more than three or four takes, and he even suggested a late-night, one-take vocal for "May You Never" just before mastering. The production incorporated innovative tools like the tape delay unit, which Martyn used for the first time on the album to generate echoing, layered guitar textures, most notably on the cover "I'd Rather Be the Devil." This streamlined process reflected Martyn's thorough preparation and the ensemble's rapid adaptation to his unconventional , yielding an efficient workflow that diverged from the more protracted, experimental methods of his subsequent recordings.

Key Collaborators

Bassist , formerly of the influential folk-jazz ensemble Pentangle, anchored most tracks on Solid Air with his , delivering jazz-inflected grooves that infused the album's folk foundations with improvisational fluidity and depth. His empathetic, exploratory playing formed an intuitive dialogue with Martyn's guitar, captured in live studio takes that emphasized the record's organic, jam-like energy. Fairport Convention members bolstered the album's rhythmic core, blending folk-rock precision with the project's experimental leanings. Drummer Dave Mattacks provided subtle, supportive rhythms across the sessions, his understated style allowing space for Martyn's Echoplex-laden guitar and Thompson's bass lines to breathe while maintaining a cohesive pulse. Additional Fairport members Richard Thompson and Simon Nicol contributed to "Over the Hill," with Thompson on mandolin and Nicol on acoustic guitar, adding textured layers to the track. Pianist and organist John "Rabbit" Bundrick provided keyboards on several tracks, including on "Angeline" and organ throughout, enhancing the album's atmospheric and jazz-rock elements. Saxophonist added a distinctive solo to the title track "Solid Air," while Tristan Fry contributed , contributing to its jazz-inflected arrangement. Additional contributors added distinctive colors to specific songs. Beverley Martyn provided backing vocals on tracks like "May You Never" and "The Easy Blues," weaving harmonic richness into the arrangements. At the center of Solid Air stood John Martyn himself, handling lead vocals, acoustic and , and his signature effects, which created the album's hallmark echoing, atmospheric soundscapes.

Composition and Style

Musical Elements

represents a pioneering fusion of , , and emerging elements, with John Martyn's serving as the sonic core, enriched by electric instrumentation and effects for a layered, expansive sound. This blend draws from influences like Miles Davis's exploratory and Pharoah Sanders's spiritual , resulting in a style that shifts fluidly between folk-jazz introspection and space-blues expansiveness. Central to the album's innovative techniques is Martyn's use of the tape delay unit, which he applied to his to create "slurring" tones and elastic rhythms, evoking ethereal, ambient textures that blur the lines between melody and echo. These effects, often combined with wah pedals and fuzz, produce humanized, machine-like sounds that enhance the improvisational interplay among the musicians, fostering a sense of organic flow in the arrangements. This approach not only defines the album's warm, hazy atmosphere but also prefigured ambient and trip-hop production methods in later decades. Thematically, Solid Air achieves consistency through introspective and empathetic set against these improvisational backdrops, conveying emotional vulnerability with a gentle urgency. Tracks typically average 3 to 4 minutes, allowing space for unhurried development without excess. The titular "solid air" metaphor encapsulates this essence, symbolizing the transformation of elusive emotions—like depression or —into something palpable and supportive through sound, as inspired by Martyn's dedication to .

Track-by-Track Analysis

Solid Air opens the album as a 5:45 folk-jazz fusion, blending with subtle and to create a hazy, empathetic atmosphere dedicated to . The lyrics convey compassion for a friend's inner turmoil, with lines like "I know you, I love you, and I can be your friend / Even through solid air," reflecting Martyn's support during Drake's depression following a 1972 visit. Structurally, it features a floating rhythm guided by light drums and bass jabs, culminating in an Echoplex guitar solo that evokes a sense of drifting introspection. Over the Hill, clocking in at 2:53, delivers a bluesy acoustic drive with guitar tones mimicking a harmonica, exploring themes of escape and longing for home after weary travels. The song's structure builds from jaunty verses to an emotional chorus, enhanced by , , and contributions that add a warmth. Lyrics paint a vivid return over the to family, capturing autobiographical relief from touring life. Don't Want to Know shifts to a 3:02 uptempo rocker, propelled by riffs and shimmering keyboards in a jazz-rock vein, centered on in a faltering relationship. Its structure revolves around a mantra-like chorus advocating over and conflict, with handclaps and layered vocals building to an infectious, cautionary close. The lyrics reject and , emphasizing as a path to peace. I'd Rather Be the Devil, a 6:18 avant-garde reinterpretation of Skip James's standard, transforms raw emotion into cosmic exploration through heavy distortion. The track divides into intense initial verses of attack and a sparse three-minute jam featuring free-form drums, bass solo, and ethereal guitar improvisation. retain the original's devilish defiance, but Martyn's delivery infuses psych-jazz elements, defying folk conventions. Go Down Easy offers a gentle 3:35 folk reflection, where prominent underscores a fragile, intimate tone of and . Structured as a simple between guitar and bass, it features high vocals stretching phrases like a horn, evoking seductive yearning and emotional vulnerability. Lyrics promise freedom and openness, such as "I won’t be fancy / But I will be free," in a late-night style. Dreams by the Sea unfolds as a 3:17 piano-led , weaving imagery through a jazz-rock groove that nods to influences. The structure builds from starry keyboard layers to a scratchy , dissolving into sporadic keys for a dreamy resolution tied to waterfront inspirations. Its reflective lyrics evoke dissatisfaction and self-sabotage amid natural motifs, signaling Martyn's evolving sound. May You Never, at 3:41, stands as an acoustic fingerstyle gem, delivering unadorned well-wishes in a format that later became a hit via Eric Clapton's cover. Recorded in one take with just voice and guitar, its simple structure captures fraternal affection through optimistic verses like a platonic . The lyrics subtly warn against destructive lifestyles, triumphing over melancholy with heartfelt sincerity. The Man in the Station, a 2:53 mid-paced track with influences, features and , exploring themes of observation and transience in a station setting. The structure maintains a steady groove with subtle improvisations, blending folk introspection with light elements. The Easy Blues serves as a 3:20 instrumental closer, embracing a relaxed - vibe adapted from traditional sources like Jelly Roll Baker. Featuring taut acoustic triplets and stop-start dynamics, it showcases Martyn's early roots with a coda for gentle fade-out. The piece highlights warring impulses of entertainment and introspection, ending the album on a compassionate note.

Artwork

Original Cover Design

The original cover of Solid Air employed , a technique that visualizes subtle variations in air density caused by heat or pressure, to create an image of swirling distortions that literalized the album's titular concept of rendering air "solid" and tangible. Captured by photographer , the front cover presents ethereal, flowing patterns against a dark backdrop, symbolizing the invisible yet palpable nature of air and aligning with the album's introspective folk-jazz themes. This innovative visual approach distinguished the artwork within ' catalog, emphasizing abstraction over literal representation. The overall sleeve design was handled by Fabio Nicoli, who adopted a minimalist style consistent with the label's early folk releases, featuring clean and subdued elements that complemented the cover's experimental imagery. The back cover and inner spread incorporated straightforward black-and-white photographs of by , capturing the artist in candid, unposed moments that reinforced the album's personal and intimate tone. Prominently displayed on the inner sleeve was the dedication of the title track to , Martyn's friend and fellow artist, underscoring the album's emotional core amid Drake's struggles with depression. This textual element, paired with the sparse layout, created a cohesive package that prioritized artistic intent over ornate decoration, enhancing the work's cult status in circles.

Packaging Variations

The original 1973 vinyl edition of Solid Air utilized a design, which incorporated printed and production credits on the inner panels, and lacked a as was standard for albums prior to widespread UPC adoption in the late . The 2000 remastered CD release featured an updated format with an O-Card outer and an expanded 12-page booklet; this included new penned by John Wood, while preserving the album's signature cloud photography on the cover but augmenting it with additional black-and-white photos of and recording sessions. In 2009, the Deluxe Edition appeared as a two-disc digipak set, offering significantly expanded artwork through a 20-page booklet that reproduced rare session photographs and contained liner notes by John Hillarby and Daryl Easlea exploring the album's dedication to , all while echoing elements of the original layout on the interior panels. A more recent half-speed mastered vinyl reissue from employed enhanced 180-gram pressing for quality, accompanied by insert notes detailing the remastering process at ; this edition briefly references the paired audio improvements without altering the core visual identity.

Release and Reissues

Initial Release

Solid Air was released in February 1973 in the United Kingdom by Island Records under catalogue number ILPS 9226. The album arrived during the peak of the 1970s British folk revival, a period marked by innovative fusions of traditional folk with rock and jazz elements, yet it was somewhat overlooked compared to contemporaries like Fairport Convention, whose electric interpretations had broader immediate appeal. The U.S. release followed later that year on Island Records with catalogue number SW-9325. Promotion for the album was restrained, emphasizing live performances over extensive media campaigns, with Martyn frequently touring alongside bassist , whose work complemented the album's intimate sound. Radio play was limited, reflecting the niche audience for Martyn's experimental folk-jazz style at the time. No major singles were issued to drive sales, though the track "May You Never" would later achieve wider recognition through covers by artists including on his 1977 album . This approach aligned with ' support for progressive acts but contributed to the album's modest initial commercial footprint within the folk . The album's debut performance was tempered by its specialized appeal, selling steadily but without breakout success in its first year, as the folk niche constrained broader market penetration. Subsequent reissues and remasters in later decades would significantly enhance its commercial visibility and enduring popularity.

Later Editions and Remasters

In 2000, Universal Music released a remastered edition of Solid Air on CD, sourced from the original master tapes to enhance dynamics and clarity while preserving the album's intimate acoustic qualities. This version included one bonus track, a live rendition of "I'd Rather Be the Devil" (originally by Skip James), clocking in at 6:11 and recorded in 1975, offering listeners an extended glimpse into Martyn's interpretive style. The 2009 Deluxe Edition, issued by as a two-disc set, featured a digital remastering by Paschal Byrne, who applied subtle EQ adjustments and to accentuate the album's jazz-inflected textures without altering its organic feel. The second disc compiled 12 previously unreleased outtakes and alternate mixes from the sessions—such as early versions of "Over the Hill" and "May You Never"—alongside three live recordings and the 7-inch single edit of "May You Never," totaling 16 additional tracks that highlight the creative experimentation during production. This edition revitalized interest in the album, peaking at No. 88 on the upon release. In May 2016, released a half-speed mastered vinyl pressing of Solid Air, cut at by Miles Showell to capture the analog warmth of the original tapes through slower speeds for finer groove detail and reduced surface noise. Limited to 180-gram heavyweight vinyl, it appealed to audiophiles seeking superior fidelity in physical formats.

Reception and Legacy

Critical Reviews

Upon its release in 1973, Solid Air received positive but somewhat limited critical attention, reflective of the niche status of the folk genre at the time. highlighted 's outstanding recognition of harmonic elements in guitar playing and praised the album's successful execution despite challenges in coordinating the ensemble, describing it as turning out "so well" with extraordinary timbral landscapes. Similarly, magazine noted that the album "flows beautifully and shows the entire spectrum of that is capable of playing." Retrospective reviews have been overwhelmingly acclaiming, emphasizing the album's innovative blend of , and experimental elements. , in a review rating it 4.5 out of 5 stars, described Solid Air as "one of the defining moments of British folk," particularly commending Martyn's textural guitar work achieved through the tape delay effect. In December 2024, hailed it as an "astral-folk masterpiece" that embodies Martyn's mercurial artistry, praising his masterful use of the to create dreamy, otherworldly soundscapes and its role as a precursor to ambient and trip-hop genres. The album has also earned high placements in critical rankings. It was ranked No. 67 on Q magazine's 2000 list of the 100 Greatest British Albums. Additionally, Solid Air is included in Robert Dimery's 2005 book 1001 Albums You Must Hear Before You Die. Uncut's 2009 review of the deluxe edition affirmed its status as a , noting how it marked the moment Martyn transcended his influences with poetic empathy and vital innovation.

Cultural Impact and Influence

The album Solid Air has left a lasting mark on music through numerous covers of its tracks, particularly "May You Never," which recorded for his 1977 album . The title track "Solid Air" has also been covered by various artists in tribute compilations, including interpretations that highlight its atmospheric qualities. Performances of the album have contributed to its enduring appeal, with John Martyn playing Solid Air in its entirety during the 2006 Don't Look Back concert series, including shows at London's Roundhouse and venues, later documented on the live album Solid Air: Live at the Roundhouse released in 2007. Following Martyn's death in 2009, posthumous tributes included the 2019 "Grace & Danger: A Celebration of John Martyn" concert at Royal Concert Hall, featuring artists performing songs from Solid Air alongside other works to honor his legacy. Solid Air pioneered ambient folk textures by blending jazz improvisation, acoustic guitar, and echoing production techniques, influencing subsequent genres such as trip-hop, where its dub-like elements prefigured the atmospheric sound of groups like . This innovative approach also impacted modern folk artists, with its ethereal soundscapes echoing in the introspective style of , contributing to the album's cult status within British music as a bridge between traditional folk and experimental forms. In 2025, a uDiscover Music article reaffirmed Solid Air as one of the greatest British albums ever, noting renewed interest in its vinyl editions through a half-speed master reissue that highlights its timeless production.

Track Listing

Original Album

The original 1973 release of Solid Air by , issued by (ILPS 9226), contains nine tracks, all written by Martyn except where noted. The track listing, with durations, is as follows:
  1. "Solid Air" (John Martyn) – 5:43
  2. "Over the Hill" (John Martyn) – 2:52
  3. "Don't Want to Know" (John Martyn) – 3:00
  4. "I'd Rather Be the Devil" (Skip James) – 6:17
  5. "Go Down Easy" (John Martyn) – 3:34
  6. "Dreams by the Sea" (John Martyn) – 3:15
  7. "May You Never" (John Martyn) – 3:40
  8. "The Man in the Station" (John Martyn) – 3:50
  9. "The Easy Blues" (John Martyn) – 3:19
The album's total running time is approximately 35 minutes and 30 seconds.

Bonus Material

The 2000 remastered edition of Solid Air added a single bonus track, "I'd Rather Be the Devil" (live) () – 6:11. The 2009 deluxe edition's second disc featured 16 bonus tracks drawn from the original multitrack recordings, including alternative takes of all nine original songs, unreleased material such as "Keep On" and "Never Say Never (Demo)," the single version of "May You Never," and live recordings from of "The Easy Blues," "May You Never," and "I'd Rather Be the Devil."

Personnel

Musicians

The musicians on 's 1973 album Solid Air included a core group of performers who contributed to its blend of , and experimental elements, with additional guest artists appearing on specific tracks. served as the primary vocalist and played acoustic and throughout the album, while also employing the tape delay unit to create layered, atmospheric guitar textures—a technique central to the record's innovative sound. He also played synthesiser on "The Easy Blues." Danny Thompson provided double bass, delivering fluid, improvisational lines that anchored the album's rhythmic foundation, particularly on tracks like "Solid Air" and "Angeline." John "Rabbit" Bundrick played acoustic piano, , organ, and . Dave Pegg played bass. Neemoi "Speedy" Acquaye played congas. Dave Mattacks handled drums and percussion, contributing to the laid-back yet dynamic grooves on several cuts, including "Don't Want to Know" and "May You Never." Other notable performers included on for "Solid Air" and "Dreams for the "; on , enhancing the ethereal mood of "Solid Air"; Richard Thompson on for "Over the Hill"; on for the same song; and Sue Draheim on , also on "Over the Hill."

Production Team

The production of Solid Air was led by and John Wood, who served as co-producers, overseeing the album's creative and technical direction during sessions primarily at Island Studios in , with overdubs at Sound Techniques Studios in Chelsea. John Wood, a veteran engineer known for his work with artists, also handled engineering duties, employing a minimalist approach to capture the album's acoustic intimacy through single-microphone setups, such as Neumann U67 or KM54 on guitars, to preserve natural performances with reduced spill and enhance the warm, organic tone. The album's visual presentation was crafted by designer Fabio Nicoli, responsible for the sleeve artwork that complemented its folk-jazz aesthetic. Photography credits included for the front cover image and for the inside and back cover photos, contributing to the release's understated yet evocative packaging on in February 1973.

References

  1. https://johnmartyn.com/discography/1970s/solid-air-1973/
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  10. https://www.bbc.com/culture/article/20230704-nick-drake-why-the-mysterious-music-icon-who-died-young-is-misunderstood
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  12. https://johnmartyn.com/sleeve-notes/solid-air-remastered-and-expanded/
  13. https://www.johnmartyn.info/song/id-rather-be-devil
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  38. https://consequence.net/2011/03/beck-robert-smith-devendra-banhart-team-up-for-john-martyn-tribute/
  39. https://www.discogs.com/release/3592973-John-Martyn-Solid-Air-Live-At-The-Roundhouse
  40. https://www.theguardian.com/music/2019/jan/28/celebration-of-john-martyn-review-royal-concert-hall-glasgow
  41. https://www.discogs.com/release/11983694-John-Martyn-Solid-Air
  42. http://johnmartyn.info/content/solid-air-%25E2%2580%2593-john-martyn
  43. https://www.discogs.com/release/2143965-John-Martyn-Solid-Air
  44. https://tapeop.com/interviews/163/john-wood
  45. https://www.soundonsound.com/people/john-wood-pink-floyd-mcgarrigles
  46. https://www.discogs.com/release/4176146-John-Martyn-Solid-Air
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