The Sentinel

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Tag Archives: John Fahey

John Fahey – A Raga Called Pat Part One

Some low tech field recordings give way to some haunting bluegrass that quickly evolves into a kind of Hillbilly raga dervish. Amazing stuff from his brilliant 1967 album ‘Days Have Gone By’.


John Fahey – Wine & Roses (Live)

The man himself playing live in Hamburg, 1978. Truly magical.

John Fahey – When The Fire & Roses Are One

Pure magic from Fahey here, as ever. Incredible stuff from one man and his guitar; from his 1973 album ‘Fare Forward Voyagers’.


John Fahey – Fare Forward Voyagers

Bluegrass, Appalachian folk, Indian raga’s; all blended into the Fahey magick. Fahey’s term for this was ‘American Primitive’; an incredible display of what one man can conjure from an acoustic guitar. This is from the album ‘Fare Forward Voyagers (Soldier’s Choice)’ (1973).


John Fahey – Jesus Is A Dying Bedmaker

Opening track from 1971’s ‘America’, and Fahey is as magical as ever.


John Fahey – The Great San Bernadino Birthday Party

Epic Fahey opening track from 1966’s Volume 4. Various snippets of Fahey’s beuatiful guitar style pieced together and ending up sounding like the soundtrack to walking through a forest. You have the shaded areas, and parts where you are walking out into a clearing with the sun beating down on you.



John Fahey – Wine and Roses

American Primitive guitar from the master.


John Fahey – America

Stunning piece from the man who mixed together Appalachian Folk, Bluegrass, and Indian Raga’s into his very own ‘American Primitive’. One man, one guitar, and a whole lot of textures. Sublime.

This is from the 1971 album of the same name.


John Fahey – Special Rider Blues

Special indeed.
From 1971’s ‘America’ LP.


No Neck Blues Band – Natural Bridge

No Neck Blues Band were at the forefront of the exploding avant scene that took place in New York during the late nineties and throughout a large portion of the noughties. Although it has to be noted that No necks were operating as early as 1993. They were also lumped into the so-called US freak folk scene (or ‘New Weird America’ – shudder! What a horrible genre name, almost as bad as ‘Intelligent Dance Music’); but towered above acts like the pallid Devendra Banhart or the incredibly overrated and disappointing, but brilliantly named Sunburned Hand of the Man (who really, really wanted to be the No Necks in all honesty).No, Harlem’s No Neck Blues Band were the real deal. When they were firing on all cylinders live it was like hearing an astounding hybrid that you could only describe as Hillbilly Voodoo music. The folk that No Necks freaked with was the folk music from the Appalachian hills; and you could almost feel that other-worldliness in their music (even though they were from Harlem). In fact, they managed to dredge up the same, ancient and indescribable vibes that their hero and greatest inspiration, John Fahey, did.
There used to be a No Necks internet presence (band websites, remember them?) that is no longer there. It was a fantastic site. No frills, very minimal, with a small selections of words along the top of the screen such as ‘when’, where’, ‘how’, and ‘why’. When you clicked on ‘why’ it simply took you to an image of John Fahey.

This is from their greatest recording (this band are really all about the live experience), 1999’s ‘Sticks And Stones May Break My Bones But Names Will Never Hurt Me’ album.

Laurence Johns

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