364:"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 from this period. Sometime in 1956 he was smote to the ground by a bolt of lightning. Upon awakening he heard Blind Willie Johnson singing and from that time onward he ceased playing hillbilly and concentrated upon blues. His first recordings were made under somewhat mysterious circumstances for the Fonotone company—a pioneer in the folkfield.
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and Blind Thomas. The next morning the A & R man would awaken with a slight headache and a stack of unidentified masters. Needless to say this has left some ambiguity in the records of the company. We have here listed all recordings made by any of these artists, regardless of the name used on the label. While doubtless some of them are by Death or Thomas or even Firk, all of them are of considerable merit and we felt it best to take the risk of including a few too many, rather than risk leaving any out."
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In the liner notes for the 1999 reissue, Lee
Gardner comments " 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
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Of the sessions, Fahey recalled, ""It was an interesting session. It was the only one I ever did on marijuana and whiskey. 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
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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. The melody came from a musical refrain composed by Ravi Shankar and used throughout Indian director Satyajit Ray's 1958 film The
369:
Shortly before she met her tragic end by impalement when a chair rung she was tuning slipped from place under terrific pressure, Mrs
Petranick informed us that John had the knowledge to operate recording equipment and that he was a hypnotist. Evidently, he would go to Fonotone with Blind Joe Death
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described Fahey's liner notes in a 2006 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. He renames his
Fonotone patron "Joseph
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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 taking the tunes to places they hadn't been before... a classic; it
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World of Apu. "I went to see that a number of times the year I was flunking out of
Berkeley," Fahey recalls. "I was severely depressed because I couldn't find a girlfriend and I couldn't pass philosophy exams. Although it's very major-key and all that, my associations with it are very somber."
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Buzzard," records as Blind Joe Death, or else espouses his work as "expert" Elijah P. Lovejoy." and noise guitarist and writer Alan Licht noted that Fahey "did as much to take folk out of the hands of squares as his music did," and he suffered lightly those that pined for the past."
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Fahey continued writing liner notes in a similar vein as his previous two releases, attributing them to "Elijah P. Lovejoy". 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
286:, naming his label after Fahey's song "The Downfall of the Adelphi Rolling Grist Mill". He also claimed three other unused tracks from these sessions were used on subsequent releases by Fahey. Over 30 songs were recorded during the three-day sessions.
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formally created Takoma
Records in 1963. With increased distribution, Fahey's albums began to enjoy increased sales and popularity, though he had not as yet publicly performed on stage. As Matt Hanks stated in his article "Age Against the Machine" for
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In his review of the 1999 reissue, Alex
Henderson called the CD "...essentially a folk album, but a folk album with strong country and blues leanings... this album makes it clear that even back in 1964 Fahey was quite original."
279:, "I do hope that nobody will try to make me out as a child of the sixties. I was playing what I play before and after the sixties. This period had very little influence on me. I was never a hippie, and had no hippie friends."
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included the album on their list of "The Top 100 Alternative Albums of the 1960s", calling it "a gorgeous, holistic, and wildly exploratory album, the reverberations of which continue to bubble up everywhere — from
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called it "One of Fahey's less eccentric early efforts, featuring relatively straightforward instrumentals showcasing his deft finger work and occasional keening slide."
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was simply a white cover with black lettering of the title. It was reissued by Takoma in 1967 with new artwork similar in style to that of the 1967 reissues of
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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."
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included an extensive discography and the basic theme of the notes is the search for John Fahey and his musical legacy:
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The album was recorded at
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752:"Tulip (AKA When You Wore a Tulip and I Wore a Big Red Rose)" (Arr: Fahey, Jack Mahoney,
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In the early 1960s, Fahey was enrolled in the graduate program in folklore studies at
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and it had a real high action, so I couldn't hold the strings down very well."
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loved it." For his part, Fahey stated in his liner notes for his 1996 release
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Original liner notes: The Dance of Death & Other
Plantation Favorites
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1015:"The Fahey Files - John Fahey - Notes on the Songs - The Dance of Death"
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Georgia Stomps, Atlanta Struts and Other
Contemporary Dance Favorites
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1224:(2004). "John Fahey". In Brackett, Nathan; Hoard, Christian (eds.).
1196:"The great folk discography. Volume 1, Pioneers & early legends"
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Sea Changes & Coelacanths: A Young Person's Guide to John Fahey
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36:
254:, Fahey visited the South where they “rediscovered” blues great
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Screamin' and Hollerin' the Blues: The Worlds of Charley Patton
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Your Past Comes Back To Haunt You: The Fonotone Years 1958–1965
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The Great San Bernardino Birthday Party & Other Excursions
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997:"CD Notes: The Dance of Death and Other Plantation Favorites"
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The Revenge of Blind Joe Death: The John Fahey Tribute Album
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was reissued by Takoma in 1999 on CD with four bonus tracks.
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Vol. 3: The Dance of Death & Other Plantation Favorites
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Weisbard, Eric; Marks, Craig, eds. (1995). "John Fahey".
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All songs credited to John Fahey unless otherwise noted.
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The Great Koonaklaster Speaks: A John Fahey Celebration
1811:
Twilight on Prince Georges Avenue: Essential Recordings
316:"On the Banks of the Owchita" is a duet with guitarist
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The Return of the Repressed: The John Fahey Anthology
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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The Dance of Death & Other Plantation Favorites
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627:provides a snapshot of a musician in transition."
1194:Strong, M. C. (Martin Charles) (3 January 2010).
712:"Revelation on the Banks of the Pawtuxent" – 2:34
1420:Death Chants, Breakdowns & Military Waltzes
664:Death Chants, Breakdowns & Military Waltzes
143:Death Chants, Breakdowns & Military Waltzes
1855:I Am the Resurrection: A Tribute to John Fahey
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770:"The Siege of Sevastopol" (Arr: Fahey) – 1:22
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1586:Old Girlfriends and Other Horrible Memories
736:"Give Me Corn Bread When I'm Hungry" – 3:12
1552:Popular Songs For Christmas and New Year's
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1790:The Best of John Fahey, Vol. 2: 1964–1983
320:which uses a musical refrain composed by
1909:Anthology of American Folk Music, Vol. 4
1504:Fare Forward Voyagers (Soldier's Choice)
792:– guitar ("On the Banks of the Owchita")
763:(A Bicycle Built for Two)" (Arr: Fahey,
1732:Leo Kottke, John Fahey & Peter Lang
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773:"Steel Guitar Rag" (Traditional) – 2:10
1434:The Transfiguration of Blind Joe Death
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161:The Transfiguration of Blind Joe Death
1558:Rain Forests, Oceans and Other Themes
1315:Emke, Ivan (November 1999). "Review:
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1337:"Photographic image of album sleeve"
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832:Jamie Putnam – reissue art direction
733:"The Last Steam Engine Train" – 2:18
696:"On the Banks of the Owchita" – 3:52
246:. In the summer of 1964, along with
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16:1965 studio album by John Fahey
882:Dunlap Jr., David (July 7, 2006).
324:(credited in the liner notes) for
293:"The Last Steam Engine Train" was
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1674:The Great Santa Barbara Oil Slick
1525:John Fahey Visits Washington D.C.
1518:Christmas with John Fahey Vol. II
1227:The New Rolling Stone Album Guide
1166:The Encyclopedia of Popular Music
823:Lee Gardner – reissue liner notes
820:John Fahey – original liner notes
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1762:The Best of John Fahey 1959–1977
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334:. The 1999 reissue bonus track "
814:Bill Belmont – reissue producer
645:to Matt Valentine and beyond."
1783:The Best of the Vanguard Years
1579:The John Fahey Christmas Album
850:Pouncey, Edwin (August 1998).
1:
1776:The Legend of Blind Joe Death
1258:Spin Alternative Record Guide
982:Liner notes from 1999 reissue
582:Spin Alternative Record Guide
544:The Rolling Stone Album Guide
464:Encyclopedia of Popular Music
338:" is based on "Guitar Rag",
1943:John Fahey (musician) albums
826:Tom Weller – original design
307:and again on his 1973 album
1704:The Epiphany of Glenn Jones
1043:Looking for Blind Joe Death
1039:Beta, Andy (January 2006).
829:Deb Sibony – reissue design
817:Joe Tarantino – remastering
702:"What the Sun Said" – 10:11
1969:
1565:I Remember Blind Joe Death
1261:(1st ed.). New York:
1202:. Edinburgh : Polygon
923:(May–June). Archived from
532:The Great Folk Discography
1893:American primitive guitar
1715:John Fahey Trio, Vol. One
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1133:> Review 1999 reissue"
915:"Age Against the Machine"
744:1999 reissue bonus tracks
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193:Cover of the 1968 release
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1862:Friends of Fahey Tribute
1830:Proofs & Refutations
1755:The Essential John Fahey
1291:"Grade List: john fahey"
1230:(4th ed.). London:
1169:(5th concise ed.).
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724:Variations on the Coocoo
269:, "For some reason, the
1848:A Tribute to John Fahey
1572:God, Time and Causality
1455:The Voice of the Turtle
739:"Dance of Death" – 7:39
690:"Wine and Roses" – 3:28
70:Silver Spring, Maryland
1490:Of Rivers and Religion
699:"Worried Blues" – 2:24
654:The original cover of
213:(originally issued as
1948:Takoma Records albums
1631:The Fonotone Sessions
1295:Tom Hull - on the web
1094:Unterberger, Richie.
927:on September 28, 2012
888:Washington City Paper
228:fingerstyle guitarist
1804:Vanguard Visionaries
1710:John Fahey Trio KBOO
913:Hanks, Matt (1997).
852:"Blood on the Frets"
380:Professional ratings
1532:Yes! Jesus Loves Me
1476:The New Possibility
1469:The Yellow Princess
715:"Poor Boy" (Fahey,
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1749:The Early Sessions
1511:Old Fashioned Love
617:Richie Unterberger
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358:The Dance of Death
301:on his 1969 album
60:August 22–24, 1964
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1448:Days Have Gone By
1180:978-0-85712-595-8
1127:Henderson, Alex.
1050:The Village Voice
884:"The Cosmos Club"
797:Production notes:
693:"How Long" – 2:55
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349:The Village Voice
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178:Alternative Cover
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1903:Revenant Records
1886:Related articles
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1100:> Review"
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37:Studio album
1938:1965 albums
1652:Live albums
1624:78s and EPs
1398:Discography
1322:Dirty Linen
1200:Archive.org
1142:January 26,
765:Harry Dacre
717:Bukka White
1932:Categories
1389:John Fahey
837:References
811:– engineer
805:– producer
790:Bill Barth
784:John Fahey
761:Daisy Bell
318:Bill Barth
310:Greenhouse
299:Leo Kottke
256:Skip James
248:Bill Barth
232:John Fahey
132:chronology
130:John Fahey
42:John Fahey
1636:Double 78
1614:Red Cross
1346:3 January
1206:3 January
1109:March 26,
1024:3 January
931:March 17,
898:March 10,
864:March 15,
803:ED Denson
778:Personnel
630:In 2013,
375:Reception
260:ED Denson
123:ED Denson
68:Adelphi (
1600:Womblife
1539:Railroad
1341:Spin.com
1287:Tom Hull
1163:(2011).
1137:Allmusic
1104:Allmusic
1076:April 9,
957:April 2,
857:The Wire
786:– guitar
767:) – 1:20
756:) – 2:43
730:) – 4:00
719:) – 3:19
707:Side two
685:Side one
649:Reissues
613:Allmusic
593:Tom Hull
399:Allmusic
225:American
118:Producer
57:Recorded
49:Released
39: by
1483:America
295:covered
271:hippies
238:History
165:(1965)
156:(1965)
147:(1963)
1681:On Air
1607:Hitomi
1546:Let Go
1462:Requia
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393:Rating
390:Source
111:Takoma
89:Length
65:Studio
860:(174)
525:('67)
496:('64)
221:album
106:Label
78:Genre
1348:2022
1302:2020
1267:ISBN
1236:ISBN
1208:2022
1175:ISBN
1144:2010
1111:2010
1078:2010
1026:2022
959:2010
933:2010
900:2010
866:2010
662:and
641:and
633:Spin
611:for
587:8/10
537:7/10
250:and
244:UCLA
83:Folk
52:1965
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