The Phantom Tollbooth
 
Tangled Souls
Artist: Martyn Joseph
Label: Grapevine Records (UK)
Time: 12 tracks /40:01

Some artists are not destined to have that huge hit song, but can still sell albums. Despite the success of his top 30 single "Dolphins Make Me Cry" several years ago, Martyn Joseph is happy enough to sit in that camp when it frees him from the pressures of writing for single releases only. That position saw the end of his relationship with Sony and now, a couple of indie releases later, he is working with a more sympathetic record label--Grapevine Records--which is also home to artists like Emmylou Harris, Sinead Lohan, and Mary Black.

Martyn Joseph's reputation rests on his abilities as a writer of intricate guitar work and passionate songs filled with a heart for social justice and spiritual truth. At times his work suggests Bruce Cockburn or Van Morrison, but Joseph is very definitely his own man with very British concerns. The overtly political songs are not as prominent here as in albums past, even if some of the themes do crop up in places, and this is an album which sees Joseph in the contemplative mood to which he is no stranger. Co-written with noted poet Stewart Henderson (yes, the one working with Over the Rhine), "Strange Way" is a very clear lyric about the "strange way to start a revolution" employed by Jesus. While it is a simple song in many ways, this refrain particularly appealed to me:

Unlike some previous work this album is not totally dominated by acoustic guitar. There are the songs which are simply Martyn Joseph and his trusty acoustic, but a group of musicians have been drafted to provide some backing. Mal Pope and Mike Haughton (Iona) are two of those whose names will be recognized by followers of Joseph's earlier career. My feelings on the arrangements are mixed. Some of the tracks have a slightly over-done feel and are not as tightly focused as they could be, "What a Day, What a Universe" is a case in point. The following track, "Better Than That," however, features a programmed beat and a fair range of instrumentation, yet it is a good backing for a moody number with Joseph's clear but sorrowful voice in fine form. The solo songs, "I Feel Your Pleasure" and "Sing to My Soul" are both mellow numbers. The guitar work on the latter, understatedly moving between strong rhythm and nice picking, makes this a standout for me. These lines from the former are another example of Joseph's insightful strength as a lyricist: At the end of the day, this album probably will not be a classic, but it is enjoyable and a showcase for the strength of this songwriter. Hopefully as he settles into his new direction the albums will keep getting better; this is a good foundation.

By James Stewart (8/26/98)