It was kind of bouncy, you know. Another reason for that—I didn't actually own a good guitar at that time, so I was using Bill Barth's guitar, which was a big J-something Gibson and it had a real high action, so I couldn't hold the strings down very well. Fahey continued writing liner notes in a similar vein as his previous two releases, attributing them to "Elijah P. The notes were extensive, pseudo-academic, and humorous — all included in a booklet, which would often be the case on early releases by Fahey.
Andy Beta, of The Village Voice described Fahey's liner notes in a article: "Doctoring loquacious, ludicrous liner notes for his self-released work that tempered his arrogant self-mythologizing with hilarious self-effacement, he mocked the academic bluster of scholars and revivalists. 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:.
In the liner notes for the reissue, Lee Gardner comments "[It] represents the first, best recorded declaration from Fahey that he was interested in transforming his music into a vehicle for personal expression that built on his influences but accepted none of their prosaic boundaries.
Nowadays this sort of concept is a given. But it didn't exist until Fahey took it on, and precious few of those who have followed him took it farther than he did. In his review of the reissue, Alex Henderson called the CD " Music critic Ivan Emke referred to the original album as "the one that helped to launch his reputation. Much of it is inspired by the country blues and Delta sounds that he had been drawn to, and yet it was obvious that Fahey [was] taking the tunes to places they hadn't been before In , Spin included the album on their list of "The Top Alternative Albums of the s", calling it "a gorgeous, holistic, and wildly exploratory album, the reverberations of which continue to bubble up everywhere — from William Tyler and Daniel Bachman to Matt Valentine and beyond.
From Wikipedia, the free encyclopedia. John Fahey. Cover of the release of the LP. The Wire Retrieved March 15, Washington City Paper. Archived from the original on June 27, Retrieved March 10, No Depression May—June. Archived from the original on September 28, Retrieved March 17, Retrieved April 2, The haunting "On the Banks of the Owchita," another misspelled river tune worked up and performed on this recording with Barth, found its inspiration even further afield.
Although it's very major-key and all that, my associations with it are very somber. The Village Voice. Takoma Records. Add to Wishlist Your wishlist has been temporarily saved.
Limited edition of copies. He was at once a folkie, a hippie, a Delta blues man, a raga-infused guitar god, a Dvorak and Ives-drawing demon, a twisted drunk, a romantic, a dry-boned comedian, a noisemaker and a provoker, among other things. Throughout his rich discography, you can hear all these qualities come through.
I feel genuine envy for those coming to this man's work for the first time. Prepare to be hypnotised. The pieces here succeed excellently at crafting atmosphere, this album ranks among his darkest; there are some shocking and sickly excursions into dissonance on tracks like "Wine and Roses" and "What the Sun Said", whilst other tracks employ bare, spidery slide-guitar. Speaking of the title, the titular track is probably the standout here; just in the way it softly swells, almost pastorally, but with little macabre twists and turns and livelier passages.