Young John Martyn, who started quite nicely in 1967 with London Conversation (quite possibly one of the best debuts by a 19-year-old folkie ever released), just got better with The Tumbler. Recorded during the late summer of 1968 and released in time for that Christmas, JM's second album was produced by Al Stewart, himself in the process of readying his own second album (the very good Love Chronicles), and some of the tracks I could easily imagine with Al's own vocals on them ("Dusty," which features the able flute-playing of the late Harold McNair, another early white signing to Island, comes to mind). JM's talent for interpreting American material ("Fishing Blues," "Goin' Down to Memphis," "Winding Boy") is also well-documented here, and he proves more than able to turn in a family-friendly track ("Knuckledy-Crunch and Slippledy-Slee Song") as well as something darker ("The Gardeners," with its pulp-horror images of demon gardeners).

Excellent as The Tumbler is, JM's pinnacle was yet to come--two fine albums with first wife Beverley and the hat-trick-plus of Bless the Weather, Solid Air, Inside Out and Sunday's Child. But all of this is worth checking out, as it cements John Martyn's reputation as a singer-songwriter and a really fine acoustic guitarist.

Being the first white musician on the Island label, John Martyn had a lot to live up to. His second album "The Tumbler" does just that and then some. His melodic folk/jazz/old time sound is just the thing to put you in a pleasant mood. This was just the beginning of Martyn's extensive career as an extremely influencing musician.

I strongly recommend this album to anyone interested in progressive rock and/or folk music. It is a must have.