John Fahey

Christmas-Guitar-Soli-With-John-Fahey

Christmas Guitar Soli With John Fahey

  • Release Date: 29 Oct 2013
  • FAN-34805-02

Guitarist John Fahey's concept of Christmas music was a little different from the norm.

The New Possibility: John Fahey's Guitar Soli Christmas Album, the acoustic guitarist's visionary 1968 set, was a scintillating collection of solo steel-string adaptations of beloved traditional Yuletide melodies ("Joy to the World," "We Three Kings of Orient Are," "God Rest Ye Merry Gentlemen"). It reportedly sold more than 100,000 copies on Fahey's own Takom… MORE

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ABOUT JOHN FAHEY

John Fahey

 

Acoustic guitarist John Fahey (1939-2001) was impossible to classify. His eclectic music included traditional-sounding folk pieces, Indian ragas, blues, and unpredictable modern works, not fitting securely into any specific category but somehow always sounding personal.

Born in Takoma Park, Maryland, Fahey collected early blues and country music, major inspirations on his playing. In 1959 while at college, he recorded an album, using as his name Blind Joe Death, and pressing only 95 copies.

The founder of the Takoma label (named after his hometown), Fahey performed instrumentals that, because of his use of space and atmosphere, hinted at New Age a couple of decades before that genre was born, but his music generally contained much more variety and expressed quite a few different moods, often unpredictably.

The reissue called The Legend of Blind Joe Death includes all but one of the songs from the original 1959 recording although some are remakes from 1963 and 1967 (a few numbers are heard twice) because Fahey felt that his technique had greatly improved. Even on these early compositions, Fahey’s approach to playing blues and folk music was quite unique and his guitar tunings were unusual. The Transfiguration of Blind Joe Death is another early set that keeps one guessing, alternating moods constantly.

Despite its title, The Dance of Death & Other Plantation Favorites (1964) contains mostly original material. The guitar recital mixes together blues, Appalachian hillbilly music, and country, yet is strikingly original. There is even an Indian raga and a version of the Western swing classic “Steel Guitar Rag.”

Days Have Gone By could be considered avant-garde folk music, an otherwise largely nonexistent style. Fahey’s mixture of folk styles from a variety of cultures, all infused with the blues, some dissonance, and skillful finger-style guitar, is unique. Few other musicians would title a song “The Portland Cement Factory at Monolith, California.”

Death Chants, Breakdowns and Military Waltzes contains all of the music recorded on Fahey’s two albums of the same name from 1963 and 1967, with most of the songs heard in two versions. Although containing original material, Fahey’s music often looks back to the 1800s not only with nostalgia but with a bit of whimsical distortion. How else to explain songs with the titles of “The Downfall of the Adelphi Rolling Grist Mill” and “Dance of the Inhabitants of the Palace of King Philip XIV”?

America contains a pair of lengthy pieces (“Mark 1:15” and “Voice of the Turtle”) and the whimsical title “The Waltz That Carried Us Away and Then a Mosquito Came and Ate Up My Sweetheart.” The CD reissue also adds quite a few previously unreleased selections to the program, ranging from a Skip James blues to “Amazing Grace,” “America,” and a classical piece.

While all of the recordings mentioned thus far are solo acoustic guitar sets, The Voice of the Turtle features Fahey playing duets with a variety of artists and ranging musically from Indian ragas to ancient blues, early country, and rockish psychedelia. His other Takoma sets that are available on CD include The Great San Bernardino Birthday Party and Other Excursions, which is a collection of odds and ends circa 1962-1966, and The New Possibility: John Fahey’s Guitar Soli Christmas Album/Christmas with John Fahey, Vol. II, a reissue of his popular low-key sets of Yuletide favorites.

John Fahey sold the Takoma label in the mid-1970s but continued recording for other labels and retained his unusually open style. Health problems began to dog him from 1986 on. Fahey defeated the infectious Epstein-Barr virus but it weakened him and left him in poverty. He was on the brink of making a comeback, cutting a new record in 1997, when he died after bypass surgery.

John Fahey’s unique music is well worth exploring for no one sounded quite like him.