Scottish folk singer John Martyn was originally hired to be his British wif… Read Full Bio ↴Scottish folk singer John Martyn was originally hired to be his British wife Beverley's back-up guitarist for recording sessions in America, the pair were signed up by Warner Brothers who sent them to Woodstock in 1969 to rehearse with producer Paul Harris. The actual recording at R&R Studios, New York, took only six days with two days mixing. The album was released in February 1970. Martyn was inspired by The Band's Music From Big Pink to experiment to find a distinctive guitar sound. Two tracks "Would You Believe Me" and "The Ocean" marked the tentative introduction to Martyn's pioneering guitar technique. Levon Helm guested on drums on the two tracks "Sweet Honesty" (Beverley Martin) and "John the Baptist" (John Martyn.)

Stormbringer!
John & Beverley Martyn Lyrics

Time's gone by calendar leaves and snows fly
I might write a poem
If I could think of the words to try
What is there to remember
The winter was December
Just one more year left behind

She never looked around to see me
She never looked around at all
All I saw was shadows on the wall

She never looked around to see me
She never looked around at all

All I heard was snow that had to fall
She left in the morning
Quietly that was her way and on returning
To find I had nothing to say
What is there to remember
The winter was December
Just one more year left behind

She never looked around to see me
She never looked around at all
All I saw was shadows on the wall
She never looked around to see me
She never looked around at all
All I heard was snow that had to fall

Lyrics © Sony/ATV Music Publishing LLC

Written by: RITCHIE BLACKMORE, COVERDALE

Lyrics Licensed & Provided by LyricFind

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Comments from YouTube:

@tonylopez8976

2y↑6

Greatest compliment for a musician, that people are talking about his songs 50 years later.

@vhsparks

5y↑14

This is such an under the radar masterpiece. Can't believe people don't know about it. RIP John.

@bizzjoe

2y↑1

Oh I know all about it ... it's magic .. beautiful piano piece in the middle

@NewGrooveVinylClub

4y↑11

Holy smokes this track has some great instrumentation and great production. Listening to it for the first time, the way that middle section is mixed really caught my ear and my attention.

The way the guitars and pianos have these curveball hard pans that produce a tight-rope act of keeping everything focused yet slightly askew and dramatic. Everything working together for the greater good of the song while still speaking their own story and having their own voice. And how those slightly Orchestral/marching band drums have narrower width in the mix that's both an anchor and a concussive strike everytime that dead-center belly flop snare drum cracks, how it pushes and pulls all the other elements, how it cradles them yet carves its own sonic space. It feels organic yet deliberate and singular. It breathes.