The 6th London Fleadh in Finsbury Park took place on Saturday 10 June 1995 and included a host of artists; Sinead O’Connor, Van Morrison, Big Country, Kirsty MacColl, Boyzone, Saw Doctors and others all played on The Main Stage.

Capercaille, Michelle Shocked, The Dubliners and others appeared on The Time Out Stage. John played on the Time Out Stage at 6:15pm.

A short introduction to John is included in the event programme and is reproduced below.

JOHN MARTYN

To describe John Martyn as a ‘cult figure’ is to miss the point by around 1.61 kilometres. Martyn has spent his musical life ignoring trends and fashions, preferring instead to hack his own way through the musical jungle. Occasionally – as with ‘May You Never’ and his freak ‘Somewhere Over The Rainbow’ hit – he and the mainstream collide, but you get the impression that it’s more through accident than design.

Born in 1948 and raised in Glasgow, Martyn was taught to play guitar by influential Scottish folk singer Hamish Imlach. His two debut albums were both recorded in 1968, but his first real success came as a duo with his then-wife, Beverly. In 1970, they travelled to New York and recorded the classic ‘Stormbringer’ album with various members of The Band. By the time ’73’s ‘Solid Air’ was released, Beverley had given up touring in order to raise their children. John’s use of the ‘echo-plex’ (an early electronic guitar effect) and his characteristically whisky creased voice had by this time become recognisable trademarks. ‘Stormbringer’ also marked the beginning of a long-term musical association with Pentangle bassist Danny Thompson that continues (if somewhat erratically) to this day.

John Martyn has collaborated with some of the most influential artists in the world. 1977’s ‘One World’ was recorded in Jamaica with Lee ‘Scratch’ Perry and Burning Spear, Phil Collins produced ‘Grace And Danger’ (which coincided with the break-up of his marriage with Beverly) and was featured on ‘Glorious Fool’ together with Eric Clapton, while ‘Sapphire’ and ‘Piece By Piece’ were both produced with Robert Palmer.

Martyn’s music has been described as ‘laidback jazz-folk’, but that’s not even half the story. Over the years, Martyn has collected influences like a schoolboy collects stamps and he’s not averse to changing reference points mid-song. His latest albums, ‘The Apprentice’ and ‘Cooltide’, are proof of this and point to a more mellow, if no less aggressive side of Martyn’s character coming to the fore.

Jim Driver