Listening to John Martyn: Interview excerpts, clips and inspirations

Written By: 
Randall Roberts
Tags: 
Share:
  •  
Photo by Andy Carlin

Ever the explorer, the British folk guitarist and songwriter carved a singular path, mixing jazz, dub and Echoplex textures.

Few testimonials carry more weight than that of the King of Heaviness, Lee “Scratch” Perry. Asked about one of his 1970s British collaborators, the dub producer replied with a compliment and an observation:

“Great fun to work with, John Martyn. He’s willing to hear, willing to listen, try anything… And he love to drink rum…”

Born in post-World War II England, Martyn arrived at precisely the right moment, at least from the perspective of a young man obsessed with folk music, the acoustic guitar and experimentation. He turned 20 in 1968, just as kindred spirits across the UK were making an impact in clubs and at festivals.

His output over the next four decades would be as varied as it is inspired. We’ve delved into Martyn’s deep discography; in fact, the listening session we’re hosting at ISC NYC this afternoon will be curated by Dane Majors, who contributed to a primer for ISC on Martyn’s records you should read called Sunshine’s Better: John Martyn Deep Cuts, B-sides and Rarities.

Those curious about this era might want to pause this overview right now and grab a copy of Electric Eden: Unearthing Britain’s Visionary Music, by Rob Young. The most in depth account of that era, it traces Martyn’s rise alongside kindred spirits including Richard Thompson, Martin Carthy, Sandy Denny, Nick Drake, Roy Harper, and dozens more.

Here’s a brilliant excerpt on Martyn from the book. The scene: in front of a stereo in a London flat where “a rotating cast of characters,” including a young woman named Robin Frederick (who had a thing for a soft-spoken mutual friend named Nick Drake), had just gotten a copy of the first album by the Incredible String Band.

Writes Young:

In the moments when the needle was lifted off Martyn’s copy of Sgt Pepper, and he left off practising on his newly acquired sitar, the pair would pick up their guitars and trade songs. Frederick brought a souvenir from France: “Sandy Grey,” a song she had written inspired by her feelings about the indistinct, in-between colours of Nick Drake’s elusive persona. “[Drake] asked me to meet him one evening at La Rotunde, a cafe where we all used to hang out,” recalls Frederick, over forty years later. “I showed up and waited for him but he never turned up. One of his roommates was there; whether Nick sent him or he just happened to be there, I don’t know. I remember [Martyn] making excuses for Nick – ‘Oh, that’s just the way he is’ – but I wasn’t having any of it. I waited for a long while at the cafe and then left when I decided he wasn’t coming. My pride was hurt. I remember being quite upset about it. In ‘Sandy Grey’ I cast Nick in the role of wandering, rootless, fatherless boy.”

Continues Young:

Martyn had not yet met Drake, and Frederick never told him about the origin of the song, but some aspect of it clearly touched Martyn’s nerves, for he recorded ‘Sandy Grey’ on London Conversation, the LP he made as the first white solo performer Chris Blackwell contracted to Island Records. ‘Those were the days of the dancing, whirling dervish,’ Martyn recalled. ‘I breezed through them.

Martyn said yes to a lot of interviews over his life, and when he did he was a quote machine. In what turned out to be his final interview, he spoke to Uncut. He didn’t pull any punches:

Uncut: Given that you’ve often criticised British folk, how did you feel to be awarded a Lifetime Achievement at this year’s BBC Radio 2 Folk Awards?

Martyn: [Cackles] I’ve never been critical of the British folk scene. I just don’t like when they put a 4/4 against a lovely traditional tune. Fairport Convention, Steeleye Span, go away! It’s like a cross between a swan and a duck – the rhythm section being the duck. As soon as you put that bass and drums on it, it coarsens it and changes the nature of the music and makes it into something quite unacceptable to me. I love Martin Carthy and Dick Gaughan, I love proper folk music – Eliza Carthy, The Watersons and all that stuff, but as soon as they put a fucking 4/4 beat on the back of it, it’s no good at all. A purely commercial move.

In 1973, Martyn gave an interview to NME. The guitarist went on at length about the lack of heart, of sweat, of real-life experiences, in contemporary music of the time:

It’s all too easy for sensitive people to prostitute themselves in this society but pandering to the establishment is quite simply an evil choice. It’s not good that someone like me should earn £250 a night when my father has to sweat his guts out for his £30 a week. But I’m not into bloody revolution, I’m interested in watching what’s going on very carefully.

Bowie’s a poseur, too. I don’t think he’s lived a quarter of the things he sings about and, to me, living it is crucial. Life is real. Life’s in earnest. It isn’t a play. People are real and they have hearts, whether they realize or not. It’s no battle to get up there and sing whatever’s in your head at the time, but it’s a whole other scene to lay your heart on people. I want to be able to take myclothes off in front of everybodyand say: ‘See? I’m just likeyou’. That is the happeningthing, not whatever bullshit the papers tell us. It’s always beenwhat’s happening and it always will be.

Below, a few of the Martyn records that we’ll be playing as part of our weekly Monday listening series at ISC NYC.


John & Beverley Martyn ‎- The Road To Ruin (1970)

The Road to Ruin marks a pivotal stepping stone in the multi-faceted career of our patron saint John Martyn. Not only was it the last collaboration with his then-wife, vocalist and songwriter Beverley Martyn, it was also the first album to show signs of Martyn’s defining sound, the heavy jazz and effect driven folk of his later records. Andy Childs of cult brit-rock magazine Zigzag wrote in 1974, “The Road To Ruinstands apart from other John Martyn albums… it enjoys distinctly jazz instrumentation in what is basically a rock format.” John later recalled of this transitional shapeshifting period saying, “By the time Beverley and I recorded our second album my ears were opening a little and I was listening to a lot more music. I’d been to a lot more gigs and was hanging out with other musicians non-stop. I was exposed to more music every day through other people’s record collections, gigs they took me to and gigs I went to on my own.”

In essence, the album is a beautiful folk-rock record played by an all acoustic jazz lineup. Though the album as a whole is fully a masterwork, there is need of mentioning A3 Auntie Aviator. Wholly unique in that it’s somehow beautiful and also quite terrifying (much like the cover image), the track is a stunning mix of ghostly vocals, improvisational piano, and wild guitar effects that all come together to form a swirl of jazzy psychedelic darkness. Like a bad trip you, for some reason, don’t want to end.

The Road to Ruin unfortunately also marked the beginning of John’s descent. It was recorded in the last years of John and Beverley’s idyllic happiness as a couple. Soon after John would blossom as a solo artist, composing his most praised and renowned work but at the dark expense of traveling deeper into alcohol, drugs, and a violent depression that would ultimately dominate his life. — ISC Team

Inside Out (1973)

Inside Out has been described by John Martyn as “everything I ever wanted to do in music… it’s my inside coming out.” More experimental and free-form than his previous releases, the album showcases John slowly turning electric and jazzy. Martyn’s muted, almost submerged electric guitar solo on opener “Fine Lines” is breathtaking and really shows his skill as a guitarist. Ex-Pentangle member Danny Thompson shines throughout with his warm double bass playing. Martyn: “I think I’ll always use Danny Thompson because he’s got a real feel for my music and I’ve got a real feel for his.” — ISC Team

Solid Air (1973)

Cited as being an entry point to genres such as trip hop and ambient, Solid Air is undoubtedly John Martyn’s magnum opus. A true balance of dark and light, the album name and title track serve as a dedication to his friend and label mate Nick Drake whose noticeable depression was of deep concern to him. The record plays through a various array of emotions and expressions, bringing you up before letting you stay too low with its juxtaposing track sequencing. – Jonny Garciaros

One World (1977)

When, in 1976, Island Records’ Chris Blackwell suggested that Martyn head to Jamaica to work with Lee “Scratch” Perry, the guitarist did so, resulting in one of Martyn’s greatest works. Here’s Dane Majors on what happened next:

Even Martyn himself was unsure how much time he actually spent at the Black Ark camp and in Kingston, stating “several weeks” in one interview and in a later one “several months.” Debauchery aside, John admitted it was a necessary journey, saying, “I honestly believe I would have gone completely round the bend had I not gone and done that.”

Martyn returned to Hastings reinvigorated by reggae rhythms, the atmospheric, drowned-out sounds of dub and began plotting his own imaginative ideas for production. Finally putting to rest his experiments in Arabic and Moroccan scales that he clung to in the Inside Out era, he  worked out a new dub-informed approach. With the help of two small drum machines and his Echoplex, Martyn laid down his first recordings in almost a year and composed the demos for what would be One World. He sent them to Blackwell, who immediately upon receiving them knew that Martyn was onto something special. Blackwell created a proper venue for the recordings by assembling a conceptual studio at his countryside Woolwich Green Farm in West Berkshire.

Photo by Graeme Thomson

The small rural farmhouse converted on the estate was buried in the middle of a flooded gravel pit surrounded by water. Blackwell hired Phil Brown, the Island Studios engineer turned outdoor recording pioneer, to design a unique recording outdoor/indoor studio. With his help, they converted a 12×15 horse stable into the main studio and then mic’d the entire expanse, an intricate system with a live feed across the lake so they could record in the open air and purposely pick up the surrounding ambiance, most notably the movement of the water.

“That was possibly the seed of recording One World that way,” Phil Brown recalls. “I don’t think at this point there was any great plan about using the water. That just kind of evolved once we got set up and realized the possibility of the place. The ten days we spent at Chris’ recording it, we were recording outdoors, pumping whatever John was playing through a PA system and across the lake and miking it up, because of that aspect, it rather made the thing magical.”

The atmosphere of the One World studio, Blackwell recalls, was like “a circus.” Martyn and his band, including ex-members of Traffic, Gong, Fairport Convention and Pentangle, all lived in the small 12×15 stable during the recording process. At the same time, a large cast of characters visited. Friends, family, musicians and, most notably, a friend from Jamaica. It’s at this rural English countryside barn that “Scratch” and Martyn reunited to record their most famous collaboration and their only co-written effort, “Big Muff.”

Grace and Danger (1980)

Reportedly shelved for a year by Island Records’ Chris Blackwell because he found the songs too personal and unsettling, Grace & Danger is a heartbreaking portrait of John Martyn’s failed marriage with his longtime partner and previous collaborator Beverly. Later reflecting on the situation, Martyn said, “I freaked: ‘Please get it out! I don’t give a damn how sad it makes you feel – It’s what I’m about: direct communication of emotion.’” The album features Genesis drummer Phil Collins, who was spending a lot of time with Martyn during this period as both musicians were going through painful divorces, along with Wham! musical director Tommy Eyre, and bassist John Giblin, who played with Kate Bush and Scott Walker. With melodic fretless bass, synthesizers, and shades of R&B and fusion, Grace & Danger remains one of Martyn’s best from his ‘80s period. — ISC Team

Related Articles

Sort By
12th Isle
2 Tone
2020
2022
2023
33rpm
45rpm
4AD
5 Selects
5 Seletcs
7"
99 Records
A&M
Abbey Lincoln
Aboriginal
Abstract
Ace Tone
Acid
Acid Archives
Acid Folk
Acid House
Acid Mt. Fuji
Acid Punk
Acid rock
Acid Techno
Acoustic
Adrian Sherwood
ADS
Africa
African
Afro
Afro House
Afro-Cuban
Afrobeat
Alan Braufman
Alan Ginsberg
Alan Greenberg
Alan Thicke
Albert Ayler
Album Cover
Alex Patterson
Alice Coltrane
All Genre
Altec
Amaro Freitas
Amazon Music
Ambient
Ambient Jazz
ambient techno
American Primitive
Amoeba Music
Amplifier
Analog
Anatolian Rock
Andrew Weatherall
Andy Warhol
Anenon
Animal
Animation
Anna Butterss
Antonio Zepeda
AOR
Aphex Twin
Aquarium Drunkard
Archie Shepp
Archival
Armenia
Art
Art & Design
Art Dudley
Art Film
Art Pop
Art Rock
Artform Radio
Arthur Russell
Article
Arvo Part
Ash Ra Temple
Asian Underground
Audio Note
Audiogon
Audiophile
Audiovisual
Austin Peralta
Australia
Autechre
avant
Avant-Garde
Avant-pop
Avant-Rock
Avent-Garde
Balearic
Bali
Ballad
Bargain Bin
Bark Psychosis
Baroque
Baroque Pop
Basquiat
Bass
Bauhaus
Bayou Funk
BBC
BBC Radiophonic
Beat Scene
Beats
Beats in Space
Bebop
Belgium
Bennie Maupin
Berlin-school
Best of 2020
Beverly Glenn​-​Copeland
Bhutan Stamps
Big Band
Bill Laswell
Black Ark Studios
Black Jazz
Blaxsploitation
Blood & Fire
Blue Note
Blues
Blues Rock
Bob Marley
Bola Sete
Bollywood
Boogie
Book
books
Boom Bap
Boredoms
Bossa
Bossa Nova
Boymerang
Brainfeeder
Brazil
Brazilian Folk
Breakbeat
Breezy
Brian Eno
Broadcast
Bruce Weber
Bruton Music
Buddhism
Budget Audiophiler
Cabaret
Calypso
Cambridge Audio
CAN
Candombe
Cannanes
Canterbury
Cape Jazz
Cape Verde
Caribbean
Carla Bley
Cartridges
Casio
Cassette
Cats
CD
Celluloid
Chamber Jazz
Chamber Music
Chamber Pop
Chan Marshall
Channel One Studios
Chanson
Charles Lloyd
Charles Mingus
Chee Shimizu
Chet Baker
Chicago
Chicha
Chillout
Chinese
Chiptune
Choral
Christmas
City Pop
Classic Album Sundays
Classical
Classics
Clothing
Club
Cocteau Twins
Coctueau Twins
Coffee
Coldwave
Colorfield
Comedy
Commercial
Community
Compass
Compass Point
Compilation
Concept Album
Condesa Electronics
Conlon Nancarrow
Conny Plank
Contemporary Jazz
Cool Jazz
Cornelius
Cosmic
Cosmic Disco
Cosmic Folk
cosmic jazz
Country
Country Pop
Country-Rock
Covers
Cult Classic
Cumbia
DAC
Dacne
Daft Punk
Dance
Dance Music
Dancehall
Daniel Aged
Dark
Dark Entries
David Behrman
David Bowie
David Byrne
Davida
Dedicated listening session
Deep Dive
Deep House
Deep Listen
Deep Listening
Delia Derbyshire
Dembow
Demo
Dennis Bovell
Denon
Detroit
Devotional
DFA
Diasporic Disco
Dick Verdult
Diggin in the Mags
Digi-Reggae
Disco
Discogs
DIY
DIY / Amateur
DJ
DJ Shadow
Documentary
Dogs
Don Buchla
Don Cherry
Donald Byrd
Doom Metal
Downtempo
Dowtempo
Dr. John
Dream House
Dream Pop
Dreamy
Drone
Drum & Bass
Drum Break
Drum Machine
Drum n Bass
Drums
Dual
Dub
Dub Poetry
Dub Techno
dublab
Dubstep
Dubwise
Durutti Column
Düsseldorf School
Dust and Grooves
Eames
Earl King
Early Electronic
East African
Easy Listening
Eblen Macari
EBM
ECM
ecoustic
ecoustics
Electric Lady
Electro
Electronic
Electronic Jazz
Electronica
Elegant Pop
Elvin Jones
Emahoy Tsegué-Maryam
Enossified
Environmental Music
EOY
Eric Dolphy
ESG
Esoteric
ESP Institute
Essential Listen
Essential Listening
Essential Listenning
Ethereal
Ethiopian Jazz
Ethnic
Event
Events
Exotica
Experimental
Factory Records
Faye Wong
Feel Good All Over
Fela Kuti
Festival
Field recording
Films
Fingertracks
Fingetracks
Fishing with John
Fleetwood Sound Company
Floating
Floating Points
Folk
Folk Funk
Folk-Rock
Fonts
Footwork
Four Tet
Fourth World
France
Frankie Knuckles
Free Improvisation
Free Jazz
Friends of ISC
Frippertronics
Frozen Section Radio
Fundraiser
Funk
Fusion
G-Funk
G.S. Schray
Gal Costa
Gamelan
Garage Rock
Garrard
Gems from the Dollar Bin
George Duke
George Martin
George Oban
German techno
Gifts
Gilberto Gil
Giorgio Moroder
Glam Rock
Glitch
Gogo
Gospel
Grado
Graham Sutton
Graphic Novel
Grateful Dead
Group Sounds
Growing Bin
Guide
Guitar
Gwo Ka
Gypsy
Habitat Ensemble
Haçienda Club
halloween
Hard Bop
Hard Rock
Harold Budd
Harp
Harry Nilsson
Haruomi Hosono
Hawaii
headphones
Heavy Metal
Henry Lewy
Herbie Hancock
hi-fi
hi-NRG
Hidden Gem
Highlife
Hip Hop
Hip-Hop
Hiroshi Yoshimura
history
Holger Czukay
Holiday
Hollywood
Holy Grail
Home Listening
House
Hypnotic
Iasos
Ibiza
IDM
Illbient
Illustration
Improvisation
Impulse!
In Conversation
In Stock
India
Indian
Indian Classical
Indian Raga
Indie
Indie Rock
Industrial
Ingmar Bergman
Installation
Instrumental
International
Interview
ISC Classic
ISC Collection
isc guide
ISC NYC
ISC Record Store
ISC Selects
Island Records
Isolation
Italo Disco
Italo House
Italy
Jackie McLean
Jah Shaka
Jamaica
James Baldwin
Jangle Pop
Japan
Japananese
Japanese
Jazz
jazz funk
jazz kissa
Jazz-funk
Jazz-rock
JBL
Jessica Pratt
John Coltrane
John Fahey
John Martyn
John Peel
Jon Hassell
Joni Mitchell
Judee Sill
Jungle
K-pop
K. Leimer
Kankyo Ongaku
Keiji Haino
Keith Haring
Keith Jarrett
Kid-Friendly
Kim Yaffa
Kitty Records
Klaus Schulze
Klipsch
Kompakt
Kosmiche
Kosmische
KPM
Kraftwerk
Kranky
Krautrock
Kruatrock
Kuduro
kwaito
L.Shankar
La Monte Young
Labels We Love
Lafawndah
Lagniappe Sessions
Laraaji
Larry Levan
Last Resort
Laswell
Latin
Latin Jazz
Laurel Canyon
Laurie Spiegel
Leaving Records
Lebanese
Lee Scratch Perry
Left-field
Leftfield
Lena Horne
Les Baxter
Lester Bowie
Library
Library Music
Lijadu Sisters
Liquid Liquid
Listening
Listening bar
Listening Party
Listening Session
Live Performance
Live Recording
Live Video
Loose Ends
Loren Mazzacane Connors
Los Angeles
Lost & Sound
lost and sound
Louisiana Blues
Lounge
Lounge Lizards
Love Songs
Lovefingers
Lovely Music Ltd.
Lovers Rock
Luaka Bop
Mad Professor
Magazine
Mandopop
Marantz
Marcel Duchamp
Marcella Cytrynowicz
Marcos Valle
Mark E. Smith
mbaqanga
McCoy Tyner
McIntosh
Meditation
Meditational
Meditative
Melancholic
Mellow
Melody As Truth
Meredith Monk
Metal
Mexico
Miami
Michael Franks
Microhouse
Mid-Century
Miles Davis
Milford Graves
Mills College
Minako Yoshida
Minimal
Minimal Synth
Minimal Techno
Minimal Wave
Minneapolis Sound
Mixes
Mixtape
Mizell Brothers
mo wax
Mobile Fidelity Sound Labs
Modal
Modern Classical
Modern Soul
Modular Synthesis
Moki Cherry
Mono
Mood Hut
Mort Garson
Motion Ward
Motown
MPB
MTV
Munich
Music Blog
Music from Memory
Music Interior
Music Therapy
Music Video
Musique Concrète
Mwandishi
Narrative
Neneh Cherry
Neo Soul
Neo-Classical
Neptunes
New Age
New Islands
New Jack Swing
New Music
New Orleans
New Wave
New York
News
Nico
Nigeria
Nightmares on Wax
Nina Simone
No Wave
Noise
Non-Profit
Northern Soul
Now Sound
NTS
Nubian Pop
Nubian Soul
Numero Group
NYC
OBI
Obscure
Obscure Sound
Occult
OJAS
On Screen
On-U Sound
online radio
Opera
Optimo
Organ
Organic
Organic Music
Ornette Coleman
Ortofon
OST
Oswalds Mill Audio
Outsider Pop
Overtone Singing
Painting
Painting with John
Pandit Pran Nath
Paradise Garage
Pastoral
Pat Metheny
Patrick Cowley
Paul Horn
Paul McCartney
Pauline Oliveros
PBS
Penguin Cafe Orchestra
Pensive
Percussion
Peru
Pharoah Sanders
Phillip Glass
Philly Soul
Piano
Pioneer
Pioneer Works
Plantasia
Plants
Player Piano
playlist
Playlists
Plinth
Podcast
Poetry
Political
Polygonia
Pop
Pop Art
Pop not Slop
Pop Rock
Popp
Popul Vuh
Post Bop
Post Rock
Post-Punk
Post-Rock
Power Pop
Premiere
Prince
Private Press
Pro-Ject
Producer
Productions
Professor Longhair
Prog Rock
Progressive
Progressive Rock
Prophet-5
Proto-techno
Psych-folk
Psychedelic
Psychedelic Rock
Psychic Hotline
Psyhedelic
Punk
Qobuz
Quadraphonic
QUARK
Quiet Storm
R&B
Radio
Raga
Ragas
Rap
Rare Groove
Ras G
Rave
rca victor
Receivers
Record Club
Record Fair
Record Label
Record Store
Record Store Day
Record Stores
Record Stories
Reggae
Reggaeton
Reissue
Reissues
Releases
Religious
Remix
Retrospective
Robert Wyatt
Roberto Musci
Rock
Rocksteady
Roland
Roland Kirk
Rolando Chía
Roller Skate
Room Recordings
Room Treatment
Roots Reggae
Rotary Mixers
Rough Trade
Rudy Van Gelder
Russia
Ryuichi Sakamoto
Ryuichi Sakmoto
Sacred
Sade
Saint Etienne
Sam Gendel
Samba
Sample
Samples
San Francisco
Saxophone
Sci-fi
Séance Centre
Seefeel
Sensual
Serbian Disco
Shackleton
Shamisen
share
Shibuya-kei
Shoegaze
Silver Apples
Simeon Coxe
Singer-Songwriter
Sisters with Transistors
Ska
Sly & Robbie
Smooth Jazz
Soft Rock
Solid State
Songwriting
Sonia Pottinger
Sonny Sharrock
Soul
Soul-jazz
Sound & Vision
Sound Art
Sound Collage
Sound Installation
Soundsystems
Soundtrack
South Africa
South African
South America
Southern Soul
Space Rock
Spain
Speaker
speakers
Spiritual
Spiritual Jazz
Spoken Word
Squama Records
Staff Picks
Steely Dan
Stereolab
Stereophile
Steven Halpern
Stevie Wonder
Stoner Rock
stores we love
Stories
Streaming
Street Soul
Strut Records
Studio One
Substack
Sugar Plant
Sun Ra
Sunn O)))
Supergroup
Surround Sound
Susumu Yokota
Suzanne Cianni
Suzanne Kraft
Suzanne Langille
Swamp Rock
SYNG
Synth
Synth Pop
Synth-pop
Synthesizer
Synthwave
Taarab
Tadanori Yokoo
Takoma Records
Tangerine Dream
Tannoy
Tape
Tapes
TD-160
Technics
Techno
Techno Pop
Tel Aviv
Television
Terry Callier
Terry Riley
The Beatles
The Books
The Broad
The Fall
The Loft
The Meters
The Mizell Brothers
The Music Center
The Orb
The World Stage
Theater
Thelonious Monk
Third Side Music
Third Stream
This Mortal Coil
Thomas Fehlman
Thorens
Tim Sweeney
Time Capsule
Todd Rundgren
Too Pure Records
Total Luxury Spa
Traditional
Tribal
Trip-hop
Trish Keenan
Tropical
Tropicalia
Tuareg
Tube
Turntable
Turntable Lab
TV
UK
UK Jazz
Ultramarine
Underground Resistance
Underrated
Val Wilmer
Vandersteen
Vangelis
Vanity Fair
Varia Instruments
Velvet Underground
Vice
Video
Video Art
Vince Guaraldi
Vintage
Vintage Audio
Vintage Gear
vinyl
Virginia Astley
Visible Cloaks
Visual Art
Vocal
Vocal Jazz
Vocoder
Wackies
Wah Wah Watson
Walearic
Wally Badarou
Warp
Water
Website
Wendy Carlos
Werner Herzog
West Africa
West African
Western Acoustics
Windham Hill
wiring
World
Wrecking Crew
Yacht Rock
Yamaha
Yann Tomita
Yasuaki Shimizu
Yellow Magic Orchestra
Yma Sumac
YouTube
Yukihiro Takahashi
Zamrock
Zither