So Far So Good
Island Records 9484
Coming out of the innovative folk from the British Isles in the late 60s, this Scottish musician was perhaps the first white artist to sign with independent label Island Records. This 1977 anthology houses cuts from the previous Island albums (1971 – 1975) and concludes with a rocking live cut from Martyn’s self-released classic Live at Leeds (1975). Other than the instrumental “Glistening Glyndebourne,” the album features vocal cuts by Martyn. Likely bassist Danny Thompson (Pentangle) plays on all the dates, two from 1975 also featuring guitarist Paul Kossoff.
This collection provides an excellent overview of the Island years and showcases Martyn’s skills as a songwriter and a guitarist. The cuts are all teasers, informing the listeners of the quality of this artist’s work, and likely causing most to seek out each and every one of these Martyn albums from Island Records.
— winch (author of
LINK TO SELLERS
so far so good LP
Produced by Francis Rossi (Status Quo)
Only album from this Scottish hard rock outfit which served as a launching pad for vocalist Ian Muir (aka Finn Muir), best known as the vocalist of Waysted.
The lack of talent in the lyric department either subtracts or adds to the package, depending on the listener, and while the guitars are a huge part of the songs (which often appear to be heavily inspired by Thin Lizzy), they mostly keep a rein on excess.
While this set has some variety, it fortunately avoids going into ballads, and at its best seems to come out of a mix of UFO and Thin Lizzy. Unfortunately, this band never comes close to those outfits and while unintentional silliness runs through this set and some cuts are bad enough that it’s not even funny, other Lizzy-inspired cuts (“Backroom Boys” and “Glasshouse”) make this a worthwhile listen for hardcore fans of 70s hard rock.
flying squad LP
Good Shit *****
First U.S. release by this folk guitarist from Scotland, half of the selections from Bert Jansch(1965), the others from It Don’t Bother Me (1965), this collection alternating between vocal cuts and acoustic guitar solos, the latter especially strong but the vocal cuts powerful as well, some of them strong enough to put a chill to your bones.
The cautionary tale “Needle of Death,” is as poignant as any drug song, ranks up there with Lou Reed’s song about the same subject matter, this one in sharp contrast to the celebratory drug songs of the 60s. Other highlights include the traveling tales “Running From Home” and “Rambling’s Gonna Be the Death of Me.”
While the selections come from two albums, they fit together like cars in a freight train, the instrumentals chiming like chains, the sequencing creating a musical journey, a train ride through various landscapes, occasionally slowing down to gaze at people along the way.
This clearly influenced much of the music that followed, not just folk singers but rock artists as well. It puts most of the competition to shame.