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Fahey in studio with Recording King guitar, c. 1970 While Fahey lived in Berkeley, Takoma Records was reborn through a collaboration with Maryland friend ED Denson.Fahey decided to track down blues legend Bukka White by sending a postcard to Aberdeen, Mississippi; White had sung that Aberdeen was his hometown, and Mississippi John Hurt had been rediscovered using a similar method.
American primitive guitar is a fingerstyle guitar music genre, developed by the American guitarist John Fahey in the late 1950s. While the term "American primitivism" has been used as a name for the genre, [ 1 ] American primitive guitar is distinct from the primitivism art movement.
Death Chants, Breakdowns & Military Waltzes is a 1963 album by American fingerstyle guitarist and composer John Fahey. [1] Various sources show either a 1963 or 1964 original release. It was Fahey's second release and the first to gain a national distributor.
CMJ New Music wrote that Fahey's "... newest work is slightly more subdued than last year's Let Go, but equally as radiant. A nimble-fingered master... Fahey has continually created profound expressions on the acoustic guitar, in a mystical yet intimate setting". [3]
The Best of John Fahey was reissued on CD in 2002 by Takoma and included three bonus tracks taken from three later albums. It includes liner notes and commentary by such guitarists as Leo Kottke, Peter Lang, Jim O'Rourke, and George Winston, some of whom had recorded numerous Fahey compositions on their own albums or who were once signed to his Takoma label.
The notes on The Dance of Death included an extensive discography and the basic theme of the notes is the search for John Fahey and his musical legacy: "Prior to his discovery in 1958 by a Takoma research team Fahey had played as a guitarist for a bluegrass band; often appearing with Bill Hancock and Greg Eldridge, but no recordings are known ...
Music critic Richie Unterberger called the film "well done" and respectful, but noted the film "could have been more comprehensive." [5] Writing for The Quietus, Sean Kitching praised the film as a "wonderful, expressionist documentary [that] admirably portrays the many facets of the man behind the music and the myth."
In his Stylus review, music critic Stewart Voegtlin compares the "old" and "new" Fahey, and cited "the most striking music" as those tracks from Georgia Stomps" which provided Fahey "the chance to maintain his moving target status, eschewing big-bodied acoustic for shimmering electric."