Personnel: John Martyn (vocals, acoustic & electric guitar, synthesizer); Richard Thompson (mandolin); Simon Nicol (autoharp); Sue Dranheim (violin); Tony Coe (saxophone); John "Rabbit" Bundrick (acoustic & electric piano, organ, clavinet); Tristan Fry (vibraphone); Danny Thompson (acoustic bass); Dave Pegg (bass); Dave Mattacks (drums); Neemoi "Speedy" Acquaye (congas).

Personnel: John Martyn (vocals, acoustic guitar, electric guitar); John "Rabbit" Bundrick (electric piano, Clavinet, organ); Danny Thompson (double bass); Dave Mattacks (drums); Neemoi Acquaye (congas).

Liner Note Authors: John Hillarby; Daryl Easlea.

Photographer: Brian Cooke.

Solid Air (whose title track was written for John Martyn's friend, songwriter Nick Drake) is one of the defining moments in British folk, in the same league as Fairport Convention's Liege & Lief, Richard & Linda Thompson's Shoot Out the Lights, and Michael Chapman's Rainmaker. Martyn stepped out of his comfort zone to record and produce it, including not only jazz and blues but rock and plenty of sound effects, and featuring Rhodes piano on some of its tracks, dismaying some fans while winning a ton more for its genre-blurring presentation. A number of its cuts -- such as the title track, "Over the Hill," "I'd Rather Be the Devil," and "May You Never" -- remained staples in his live sets until the end of his life. ~ Thom Jurek

He began as a folksy minstrel but seemed drawn to experimental, free form improvisation. Solid Air is where John Martyn's love affair with effects and echoplex became serious. The title track, dedicated to his close friend Nick Drake, became a eulogy, while the breezy "Over The Hill"--one of the greatest songs ever written about a train journey--is a feathery delight. "May You Never" and "Don't Want To Know" continued the simple, stoned ballad approach, although it is his interpretation of Skip James' "I'd Rather Be The Devil," totally reshaped with hypnotic shifts, tidal echoes, and a slurred growl, which broods over the whole album. A record that remains Martyn's youthful zenith.

Q (7/99, p.150) - Included in Q's Best Chill-Out Albums of All Time - "...the musical equivalent of a reassuring hug....a quiveringly sexy folk record."

Q (6/00, p.65) - Ranked #67 in Q's "100 Greatest British Albums"

Mojo (Publisher) (4/04, p.143) - "[A] sublime proto-chill out record on which the vaunted interplay between Martyn and double bassist Danny Thompson reached its folk-jazz zenith."

Record Collector (magazine) (p.88) - 5 stars out of 5 -- "[T]he artist's command of his craft and spirit of experimentation resulted in a jaw-dropping collection..."