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The album's notes indicate that its tracks were "recorded circa 1995/96, mostly in John Fahey's room at a Salem, Oregon boardinghouse". [1] Tracks A3, A4, B2, and B3 were originally released in 1996 as Double 78 by Perfect Records .
Hard Time Empty Bottle Blues sounds "...like the “old” Fahey: forlorn, ruminative, down on his luck. There was never really Old or New John. New John was always Old; the Old was always presented in brand New ways. So, raise a glass to neither: John was always at his best with a leg hanging over either side of the fence." [3]
Fare Forward Voyagers received generally positive reviews from music critics. In reviewing the album for Allmusic, Eugene Chadbourne compared it to Indian ragas, but noted a divergence, stating, "the compositions are something in the order of unpredictable miniature symphonies, each with different sections, variations, and developments."
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.
John Fahey used the term "American primitive guitar" to describe the style of composition he developed in his releases from the 1950s onwards. Fahey employed traditional country blues fingerpicking techniques, which had previously been used primarily to accompany vocals, on solo guitar, in combination with nontraditional harmonic and melodic ...
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.
It was Fahey's first album playing solo electric guitar and was recorded at the release party for his earlier 1997 release Womblife. [ 1 ] [ 2 ] George Winston , whom Fahey had signed and first recorded on Takoma Records stated regarding Fahey's switch to electric, "He exhausted everything that he wanted to do with the acoustic guitar."
By Fahey's criteria, that counts for a lot. More importantly, the scales fell from my eyes about John Fahey. "Good!" said Fahey when I told him,"now maybe we can be better friends." Excerpt from Glenn Jones' liner notes to The Epiphany of Glenn Jones (Thirsty Ear Records CD, 1997)