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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.
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 .
The mythical bluesman named Blind Joe Death, first introduced by Fahey on his debut album Blind Joe Death, appears again in the liner notes of The Voice of the Turtle.For years Fahey and Takoma continued to treat the imaginary guitarist as a real person, including booklets with their LPs containing biographical information about him and that he had taught Fahey to play.
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."
The Return of the Repressed: The John Fahey Anthology is a compilation album by American fingerstyle guitarist and composer John Fahey, released in 1994. Fahey's career, health and personal life had been in decline. The release of The Return of the Repressed, along with an article in Spin magazine by Byron Coley served to provide a renewal of ...
"Jiroscho Ascopi" (Fahey, Terry Robb) – 5:20 "Saint Patrick's Hymn" (Traditional) – 2:38 Note that both "Layla" and "The World Is Waiting for the Sunrise" were originally issued on the previous year's Let Go album, and did not appear on the vinyl release.
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 ...
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]