He mentioned that he was sick and tired of his landlord, whom he said he felt like blowing away with a gauge shotgun. But Fahey couldn't possibly have gotten by as a workaday musician, not if his life depended on it -- which, unfortunately, is more or less how things finally went for him. It offers a good insight into the man and his playing.
He seems to have been a complex and random personality. Thank you Butterboy. Best wishes for Christmas time!! Hayes and the late musician Jack Rose. Posted by Butterboy at PM. Labels: Blues , Box Set , Folk. Butterboy December 20, at PM. Mrdude44 December 20, at PM. Bob Mac December 20, at PM. Crab Devil December 21, at PM.
Butterboy December 21, at PM. Manolis F December 22, at AM. Butterboy December 22, at AM. Blind Thomas - Zekiah Swamp Blues. Blind Thomas - Nobody's Business.
Blind Thomas - Weissman Blues. Blind Thomas - Dasein River Blues. Blind Thomas - Old Country Rock. Blind Thomas - Little Hat Blues. John Fahey - Some Summer Day. John Fahey - Saint John's Hornpipe. John Fahey - Sail Away Ladies. John Fahey - Miles. John Fahey - Prince George's Dance. John Fahey - Brenda's Blues. Vandiver - In The Pines.
Vandiver - Pretty Polly. Vandiver - Take This Hammer. John Fahey - Yazoo Basin Blues. Mississippi Swampers - Green Blues.
Mississippi Swampers - Stone Pony. John Fahey - St. Patrick's Hymn. John Fahey - House Carpenter. John Fahey - How Long.
It's for anyone interested in the story of American music, from its Appalachian string bands and mean-moaning Delta blues singers to the hymns sung from its church pews and the country-rock anthems soon enough crafted by its hippies. But Your Past Comes Back to Haunt You is not only the story of the musician John Fahey, it's also the story of the songs that have become crucial to his country, a place that Fahey explored from one end he was raised in Maryland to the other he lived in Hawaii at one point and died in Oregon.
Somewhat comparable to the sprawling ethnomusicological work of Alan Lomax, Harry Smith, Art Rosenbaum, Nick Perls, and others like them, Your Past Comes Back to Haunt You is a rich overview of America's musical bedrock-- only here, it's told through the hard-won, fast-paced development of a guitarist who, in turn, changed the way future players could consider their instrument. A must-have collection of lore, music, and history, it's a unified, brilliant, and often very challenging archive.
During four decades between the time this set was recorded and Fahey's death in , the guitarist would cover expansive musical ground, from transfixing, blues-based tone poems that stretched the boundaries of his instrument to, years later, luminous drones that synced with the interests of a new generation of his advocates.
As Robbie Basho said in an oft-repeated explanation, "Fahey and myself are playing frustrated little symphonies on guitar. However, here on these either unreleased or very hard-to-find tracks, he's a young American adult rifling through his friends' record collections and taking road trips to rural lands to find the music and musicians that he really loves-- raging country blues and blissful acoustic hymns, written and recorded by the likes of Charley Patton, Robert Johnson, Elizabeth Cotten, Bukka White, Will Moore, Mississippi John Hurt, and a canon of others, all while building his own style.
Emotionally, technically, and stylistically, Fahey makes for a suitably uneven tour guide through these dusty back pages, like a metabolic personification of Greil Marcus' old, weird America. On one version of "Poor Boy Blues", recorded in , he plays with a great, repetitive sadness, the year-old doing his best to sing like a Mississippi septuagenarian, as if inborn with an inescapable melancholy.
About a year earlier, he'd folded the same tune into "Libba's Rag", an apparent homage to mentor Elizabeth Cotten. It sounds young and vaguely hopeful, always on the verge of lifting off. Nearly two years later, he wove a glimpse of another version of the tune-- learned from his master of sorts, Charley Patton-- into "Dasein River Blues", the kind of slow, wobbly, serpentine country-blues stagger that would eventually give some of Fahey's best-known music its trademark, trance-like essence.
Fahey sometimes navigates these tunes with crystalline clarity, as with his stately reverence for the fifth-century "St. Patrick's Hymn" or his haunted slide guitar dirge behind "In the Pines", a duet with mountain singer Fran Vandiver.
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