In Session At the BBC
Download links and information about In Session At the BBC by John Martyn. This album was released in 2006 and it belongs to Rock, Folk Rock, World Music, Songwriter/Lyricist, Psychedelic genres. It contains 16 tracks with total duration of 01:10:16 minutes.
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| Artist: | John Martyn |
| Release date: | 2006 |
| Genre: | Rock, Folk Rock, World Music, Songwriter/Lyricist, Psychedelic |
| Tracks: | 16 |
| Duration: | 01:10:16 |
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| Buy on iTunes $9.99 | |
| Buy on Songswave €1.99 | |
Tracks
[Edit]| No. | Title | Length |
|---|---|---|
| 1. | Devil Get My Woman (BBC - Bob Harris 4/6/73) | 6:25 |
| 2. | Inside (BBC - Bob Harris 4/6/73) | 7:47 |
| 3. | Beverley / Make No Mistake (BBC - Bob Harris 15/10/73) | 5:25 |
| 4. | May You Never (BBC - Bob Harris 15/10/73) | 3:39 |
| 5. | Fine Lines [BBC - Bob Harris 15/10/73] | 3:12 |
| 6. | Eibhli Ghail Chiuin Ni Chearbhail (BBC - Bob Harris 15/10/73) | 2:56 |
| 7. | One Day (Without You) [BBC - John Peel 13/1/75] | 3:42 |
| 8. | Discover the Lover (BBC - John Peel 13/1/75) | 3:24 |
| 9. | My Baby Girl (BBC - John Peel 13/1/75) | 3:05 |
| 10. | The Message (BBC - John Peel 13/1/75) | 2:51 |
| 11. | Spencer the Rover (BBC - John Peel 13/1/75) | 3:57 |
| 12. | May You Never (BBC - John Peel 4/2/77) | 3:56 |
| 13. | Certain Surprise / Couldn't Love You More (BBC - John Peel 4/2/77) | 5:42 |
| 14. | Over the Hill (BBC - John Peel 4/2/77) | 2:28 |
| 15. | One Day (Without You) [BBC - John Peel 4/2/77] | 3:23 |
| 16. | Small Hours (BBC - John Peel 16/1/78) | 8:24 |
Details
[Edit]These are the complete sessions that John Martyn recorded for two BBC disc jockeys between 1973 and 1978, and though a few have seen release elsewhere before, the majority are new to CD and a welcome addition to the Martyn canon. There's plenty of electric improvisation here, including "Devil Got My Woman" (really "I'd Rather Be the Devil") and "Inside" (better known as "Inside Out"), which get extensive workouts, and there's a 1978 take on "Small Hours" that ends the disc on a lovely, aching note. In between there's plenty of acoustic music (four tracks with a barely audible Danny Thompson on bass) that trawls through Martyn's work on three classic albums from his golden period. He pulls out some excellent performances, his fingers wonderfully agile, and his voice as deep as the bottom of a bottle of Scotch. This is good enough to be more than a footnote; for Martyn fans it's essential.