JOHN FAHEY Live in Sausalito, September 9, 1973

Total Page:16

File Type:pdf, Size:1020Kb

JOHN FAHEY Live in Sausalito, September 9, 1973 DESCRIPTION The finger-picking guitarist and blues enthusiast John Fahey enjoyed a long, influential and distinguished career. Born in Washington DC in 1939 and raised in Takoma Park, Maryland, he launched his own Takoma label to issue self- produced work in the late 1950s and then delivered his master's theses on the blues of Charlie Patton at UCLA. Then, while based in the radical town of Berkeley, California in the San Francisco Bay area, began issuing filed recordings of forgotten blues legends, such as Bukka White . With his own work, Fahey began borrowing from eastern elements such as Indonesian gamelan and Tibetan vocal chanting, reflecting his interest in esoteric eastern religion, as well as birdsong, animal calls, and other naturalistic elements. This beautiful 1973 performance, delivered in the sleepy town of Sausalito, California, comprises most of Fahey's Fare Forward Voyagers LP (1973), as well as earlier material, including "Dance Of The Inhabitants Of The Palace Of King Philip XIV Of Spain", from his 1964 release, Death Chants, Breakdowns and Military Waltzes . TRACKLISTING A1. Thus Krishna On The Battlefield A2. Fare Foward Voyagers JOHN FAHEY A3. Dance Of The Inhabitans Of The Palace Of King Philip XIV Of Spain B1. Intro Live In Sausalito, B2. Christ Saints Of God Fantasy September 9, 1973 B3. Stomping Tonight On The B4. Pennsylvania-Alabama Border B5. In Christ There Is No East Or West Label B6. Beverley ALTERNATIVE FOX HIGHLIGHTS • A beautiful 1973 performance by finger-picking guitarist and blues enthusiast Format John Fahey , delivered in the sleepy town of Sausalito, California. LP • Comprises most of Fahey's Fare Forward Voyagers LP (1973), as well as earlier Catalog Number material, including "Dance Of The Inhabitants Of The Palace Of King Philip XIV Of FOX 027LP Spain", from his 1964 release, Death Chants, Breakdowns and Military Waltzes . EAN 5060672883276 Also available: u(0GA67C*SSNMRQ( (DTD 021CD) FAHEY, JOHN: Your Past Comes Back To Haunt You 5CD BOX/BOOK [880226002121] Store Price $12.39 (IMPREC 183CD) FAHEY, JOHN: The Mill Pond & Collected Paintings CD [793447518329] (IMPREC 185CD) THREE DAY BAND (JOHN FAHEY/AYAL SENIOR): Three Day Release Date Band CD [793447518527] 02/14/20 (KH 9039CD) FAHEY, JOHN: Record Plant, Sausalito CA, September 9th 1973 CD [5291012903921] Territory NORTH AMERICAN EXCLUSIVE (PTYT 037DVD) FAHEY, JOHN: 1978 Live At Audimax Hamburg DVD [5060174952982] Genre FILE UNDER - F - ROCK Press Contact: [email protected] Exclusively Distributed by 60 Lowell St, Arlington, MA 02476 ph: (781) 321-0320 • fx: (781) 321-0321 [email protected] .
Recommended publications
  • View Geff's Resume
    Geffery B. Stewart 1347 Gorsuch Ave Baltimore, Maryland 21218 443.454.1875 [email protected] Summary/Bio My name is Geffery Stewart. I was born in 1985 in Baltimore, MD. I was raised in Pasadena, MD where I attended public school. I am a self taught musician specializing in string instruments, mainly guitar, banjo, violin/fiddle, and mandolin. With the influence of my parents, I came obsessed with music of all kinds at a very young age. In my elementary school years, I discovered I had a keen ear and began singing along with music I heard at home and in church. At age 10, I began teaching myself guitar, with tuning and some chording assistance from my father. I was soon able to tune by ear. I worked hard at my 3 first chords, and played incessantly. More musical influence from my father began to influence my direction, and obsession such as Experimental, Jazz, Punk Rock, Reggae, Folk, Bluegrass, Hip Hop and more, but it was the Blues that grabbed my attention. My life was altered after hearing the Blues/Gospel of Blind Willie Johnson. Country blues and pre-war American music became a full time passion around age 15. The other pivotal musical experience was hearing John Coltrane at some point in Middle School. This opened my ears and mind to the possibilities of improvisation. At this time I was attempting to translate some of these concepts that I was hearing in country blues, punk, and jazz onto electric guitar. I was trying to comprehend using alternate tunings, using a slide, and eventually alternating bass fingerpicking from various American Folk Music.
    [Show full text]
  • Punk Aesthetics in Independent "New Folk", 1990-2008
    PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames
    [Show full text]
  • The History of Rock Music - the 2000S
    The History of Rock Music - The 2000s The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Bards and Dreamers (These are excerpts from my book "A History of Rock and Dance Music") Bards of the old world order TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved. Traditionally, the purposefulness and relevance of a singer-songwriter were defined by something unique in their lyrical acumen, vocal skills and/or guitar or piano accompaniment. In the 1990s this paradigm was tested by the trend towards larger orchestrastion and towards electronic orchestration. In the 2000s it became harder and harder to give purpose and meaning to a body of work mostly relying on the message. Many singer-songwriters of the 2000s belonged to "Generation X" but sang and wrote for members of "Generation Y". Since "Generation Y" was inherently different from all the generations that had preceeded it, it was no surprise that the audience for these singer-songwriters declined. Since the members of "Generation X" were generally desperate to talk about themselves, it was not surprising that the number of such singer- songwriters increased. The net result was an odd disconnect between the musician and her or his target audience. The singer-songwriters of the 2000s generally sounded more "adult" because... they were.
    [Show full text]
  • John 1 Page Bio Epk Revised 2017
    Artist Biography: John Stano The trademark of singer/songwriter John Stano’s sound is a distinctive blend of acoustic and slide guitar, harmonica and expressive vocals, developed over many years of performance and study. He sometimes adds a little mandolin, banjo or cigar box guitar to the mix as well. His style could be described as acoustic folk-blues or Americana. Initially self-taught, John went on to study American fingerstyle guitar at the Wisconsin Conservatory of Music and harmonica with national blues legend, Jim Liban. ‘Sing Out’ compared John’s music to early Bob Dylan while ‘Dirty Linen’ was reminded of Country Joe McDonald. John studied English and creative writing at U.W. Madison. A skillful use of language adds an original spark to his lyrics. Besides his own songs, John also performs his own arrangements of urban and country blues classics, instrumentals and contemporary songs, covering music by artists such as; John Prine, Bob Dylan, Greg Brown, Robert Johnson, Mississippi John Hurt, John Fahey, Gillian Welch, Leo Kottke and Tom Waits. John is a flexible and engaging performer who works regularly at a variety of indoor and outdoor venues. He also teaches guitar, harmonica, banjo and other acoustic instruments privately and in the schools. • John was nominated for a 2016 WAMI Folk Artist Award and the 2015 WAMI Singer Songwriter of the Year Award. • John won the Wisconsin Singer Songwriters Series Songwriter of the Year award for 2013. • John represented Wisconsin in the International Blues Challenge in Memphis on historic Beale Street in the solo/duo category after winning the regional competition in 2012 • Two songs from John’s CD Caribou Bar & Grill, ‘Soul Is’ and ’Pontiacs No More’ earned John the title of ‘Big Top Chautauqua Songwriter of the Year Finalist for 2010’ and he performed them along with some of his other songs under the Big Top.
    [Show full text]
  • TWO LOUIES, March 2001 John Fahey 1939-2001
    Joanna Bolme of the Stephen Malkmus Band 2 – TWO LOUIES, March 2001 John Fahey 1939-2001 ohn Fahey was a giant influence on the cultur- Chants, Breakdowns, and Military Waltzes, I al development of America. He was the first asked, “Who are these two guitar players?” I pic- Jperformer to expand American folk-blues tured a couple of 50-year-old masters whose melodies into a concert style similar to Segovia— vision of music and spatial technique reminded that is, one man, one guitar, and one grand vision me of pianist Glenn Gould. Here was a performer that encompassed the spiritual essence of Delta who carried his genre to a higher level, whose Blues, cosmic folk, and classical music. probes were deeper, whose vision was wider, “Here was a performer who carried his genre to a higher level, whose probes were deeper, whose vision was wider, whose understanding of the universe was more complete and profound than any before him.” Without John Fahey, there may not have whose understanding of the universe was more been a Windham Hill label of acoustic guitar mas- complete and profound than any before him. John ters. There would have been no Takoma label, gave us the same kind of breakthroughs that we which featured John’s first seven albums and got from Debussy and Stravinsky. It may not have more. There may not have been a Music been possible without him. Millennium... certainly not as we know it. It was It’s incredible that so much talent was John Fahey’s music that inspired the Millennium brought out in a guitarist in his twenties from a founders to open their little Portland record shop little town in Maryland.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges.
    [Show full text]
  • The Bard Observer Is Free."
    OBSERVER Vol. 8 No. 12 May 19, 1998 Page 1 Computer Center Staffing Debacle Leads to Upgrades Make way for tech-dom: Bard’s Henderson Computer Resources Center revamps Joe Stanco Getting It Done, Tivoli Style Mayor Marc Molinero is building a town his way. Don’t like it? Leave. Jeremy Dillahunt Firing Line Protestors Force Botstein’s Silence Demonstrators interrupt debate on the ACLU by chanting, read demands, and prevent the President from participating Anna-Rose Mathieson Page 2 The Demands [of the Firing Line Protestors] Page 3 Bard Community Reacts to the Firing Line Protest Page 5 The Bard Community Expanding to Virginia Rick Eichler Page 6 Drug Raids, Militias, and Whorehouses: Bard’s Glorious Past? Wiles spins nostalgic tales of a bygone era Nadja Carneol Upcoming Events Page 7 Security Guard Daugherty: Baddest Man in the Whole Damn Town B24 bombers and bull-riding prepared him for twelve years at Bard Abigail Rosenberg Car Caravan Keeps Pressure On Northern Dutchess Hospital Nadja Carneol Page 8 Professor Albert Reid: An Interview After nearly thirty years at Bard, he strikes out into new territory, heading for California Rosalie Purvis Page 9 Record Reviews Thirty Things That (May) Change Your Life Joel Hunt Cartoon Page 10 Mozart’s Don Comes to Annandale The full score of the nearly four hour opera is sung in English with charm, bawdy humor and passion Miciah Gault Page 11 Anatol Disappoints With Inconsistent, Dragging Delivery Yet the performance had a few breathtaking moments Joe Smith Erotic Obsessions Sardonic and Proud of
    [Show full text]
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
    [Show full text]
  • Salem Leaving Takoma Park
    Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY
    [Show full text]
  • EPK Contents ● About Terry Robb: Bio & Reviews ● Discography & Sessionography ● Recommended If You Like ● Photos ● Videos ● Contact
    ` An award-winning fingerstyle guitar virtuoso whose signature style has redefined acoustic blues guitar and made him a legend among blues musicians. EPK Contents ● About Terry Robb: Bio & Reviews ● Discography & Sessionography ● Recommended If You Like ● Photos ● Videos ● Contact Page 2 of 10 ABOUT TERRY ROBB SHORT BIO TERRY ROBB is hailed by music critics as one of the top acoustic blues guitarists of our time, garnering the praise of worldwide audiences in his prolific music career spanning four decades. A legend among blues musicians, the award-winning fingerstyle guitar virtuoso incorporates music from blues, ragtime, country, swing and jazz, lending an unmistakable one- man-band sound to his signature fingerpicking style and dynamic live performances. BIOGRAPHY TERRY ROBB has been praised by Rolling Stone, Vintage Guitar, Down Beat, Acoustic Guitar, Living Blues, Guitar Player, Blues Blast, Guitar World, Blues Matters, Blues Revue, Oprah's O Magazine and countless more esteemed journals, placing him among the top acoustic blues guitarists of our time. Incorporating elements from the Mississippi Delta, ragtime, country, swing and jazz, Robb is a dynamic live performer with an unmistakable one- man-band sound. His signature fingerpicking style has earned him international acclaim from distinguished music critics, esteemed peers and fans of all ages. “Unquestionably, Robb ranks right up there with the heavy hitters, a player of dazzling skill and technique,” said Frank Matheis of Living Blues Magazine. “It’s the rare guitarist who can whip off a killer 12-bar blues solo, then turn around and fingerpick Travis-style with speed and subtlety…Portland, Oregon guitarist and singer Terry Robb does just that,” mused Ian Zack of Acoustic Guitar Magazine.
    [Show full text]
  • FW May-June 03.Qxd
    INTERVIEW MARK O’CONNOR • FESTIVALS • CAMPS • FREE CONCERTS • MANY FACES OF FOLK FREE Volume 3 Number 3 May-June 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Many“Don’t you know that Faces Folk Music is illegal in Los Angeles?” of— WARREN FolkC ASEYof the Wicked Tinkers BY JERRY BRESEE tart with Leadbelly. Draw checking out and is a good yard- a line over to Woody stick of their musical evolution. Guthrie. Drop straight The two bands coexisted for a down to Bob Dylan, and while with the Moonshiners play- again to Neil Young. ing 100% bluegrass and the Nitty Draw your line sideways Gritty Dirt Band being eclectic. to Tracy Chapman. Draw The McCabe’s Guitar Shop gang S a line from her back up to liked playing jug band music; Les both Leadbelly and Bob points to Jim Kweskin and the Jug Dylan. Link in B.B. King. Hook Band as an influence. With both Woody Guthrie up to Bob Wills and Bob Dylan and the Beatles hap- hook them both up to Dave Carter. pening at that time, the NGDB was Then write down Bill Monroe and pulled in many directions, and the Vassar Clements. Hook them Moonshiners soon merged into the together, and then hook them both to band. Their stage shows, which Dave Carter and Bob Wills. Add were being heard at The links to Nickel Creek, Allison Kraus, Troubadour, The Ice House, The and link them both to Bela Fleck. Mecca and The Ash Grove, were Keep adding names: Joni Mitchell, made up of a broad range of mate- Ladysmith Black Mombazo, Lila rial, drawing from all their many Downs, Los Lobos.
    [Show full text]
  • “Covering” the Bluesman from a Distance
    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
    [Show full text]