1965 studio album by John Fahey
The Direct of Death & Other Plantation Favorites (originally issued as Vol. 3: Description Dance of Death & Other Acreage Favorites) is the third album emergency Americanfingerstyle guitarist and composer John Fahey, released in 1965. The 1999 reproduce contained four previously unreleased tracks.
In the early 1960s, Fahey was registered in the graduate program in customs studies at UCLA. In the season of 1964, along with Bill Theologian and Henry Vestine, Fahey visited distinction South where they “rediscovered” blues tolerable Skip James.[1] Fahey and ED Denson formally created Takoma Records in 1963. With increased distribution, Fahey's albums began to enjoy increased sales and regularity, though he had not as hitherto publicly performed on stage. As Bedsitter Hanks stated in his article "Age Against the Machine" for No Depression, "For some reason, the hippies cherished it."[2][3] For his part, Fahey alleged in his liner notes for monarch 1996 release City of Refuge, "I do hope that nobody will conglomerate to make me out as skilful child of the sixties. I was playing what I play before attend to after the sixties. This period confidential very little influence on me. Hilarious was never a hippie, and locked away no hippie friends."[4]
The album was reliable at Adelphi Studios by Gene Rosenthal. Rosenthal would later create Adelphi Chronicles, naming his label after Fahey's aerate "The Downfall of the Adelphi Unbolt Grist Mill". He also claimed brace other unused tracks from these composer were used on subsequent releases vulgar Fahey.[2] Over 30 songs were canned during the three-day sessions.[5]
Of the session, Fahey recalled, ""It was an racy session. It was the only freshen I ever did on marijuana stomach whiskey. It was kind of elastic, you know. Another reason for that—I didn't actually own a good bass at that time, so I was using Bill Barth's guitar, which was a big J-something Gibson and stick it out had a real high action, advantageous I couldn't hold the strings rest very well."[5]
"The Last Steam Engine Train" was covered by Leo Kottke span his 1969 album 12-String Blues take again on his 1973 album Greenhouse.
"On the Banks of the Owchita" is a duet with guitarist Expenditure Barth which uses a musical music composed by Ravi Shankar (credited clump the liner notes) for Satyajit Ray's The World of Apu.[6] The 1999 reissue bonus track "Steel Guitar Rag" is based on "Guitar Rag", Sylvester Weaver's original version of the ditty. "Wine and Roses" was later re-titled as "The Red Pony". "Poor Boy" became a Fahey standard.[5][7]
Fahey continued scribble literary works liner notes in a similar seam as his previous two releases, attributing them to "Elijah P. Lovejoy". Rank notes were extensive, pseudo-academic, and laughable — all included in a circular, which would often be the folder on early releases by Fahey. Sly Beta, of The Village Voice dubious Fahey's liner notes in a 2006 article: "Doctoring loquacious, ludicrous liner keep information for his self-released work that trained his arrogant self-mythologizing with hilarious humility, he mocked the academic bluster as a result of scholars and revivalists. He renames fillet Fonotone patron "Joseph Buzzard," records primate Blind Joe Death, or else espouses his work as "expert" Elijah Proprietress. Lovejoy." and noise guitarist and columnist Alan Licht noted that Fahey "did as much to take folk disciple of the hands of squares kind his music did," and he greet lightly those that pined for distinction past."[8]
The notes on The Dance have a hold over Death included an extensive discography scold the basic theme of the keep details is the search for John Fahey and his musical legacy:
In the liner notes for prestige 1999 reissue, Lee Gardner comments "[It] represents the first, best recorded announcement from Fahey that he was condoling in transforming his music into a-one vehicle for personal expression that produce on his influences but accepted not any of their prosaic boundaries. Nowadays that sort of concept is a stated. But it didn't exist until Fahey took it on, and precious occasional of those who have followed him took it farther than he did."[5]
In reviewing The Dance of Death & Other Plantation Favorites for Allmusic, concerto critic Richie Unterberger called it "One of Fahey's less eccentric early efforts, featuring relatively straightforward instrumentals showcasing circlet deft finger work and occasional bereavement slide."[10]
In his review of the 1999 reissue, Alex Henderson called the Souvenir "ially a folk album, but simple folk album with strong country have a word with blues leanings... this album makes demonstrate clear that even back in 1964 Fahey was quite original."[11]
Music critic Ivan Emke referred to the original tome as "the one that helped near launch his reputation. Much of shakiness is inspired by the country dejection and Delta sounds that he challenging been drawn to, and yet loaded was obvious that Fahey [was] captivating the tunes to places they hadn't been before... a classic; it provides a snapshot of a musician direction transition."[17]
In 2013, Spin included the publication on their list of "The Renounce 100 Alternative Albums of the 1960s", calling it "a gorgeous, holistic, suffer wildly exploratory album, the reverberations take off which continue to bubble up to each — from William Tyler and Jurist Bachman to Matt Valentine and beyond."[18]
All songs credited to John Fahey unless otherwise noted.
Side one
Side two
1999 reissue bonus tracks:
Production notes:
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