Beginning in 1959, John Fahey’s “Blind Joe Death” excursions for solo acoustic guitar were the first to radically reconsider traditional blues and old-time music, extending by personalizing what Harry Smith did with the Anthology of American Folk Music (1952): rather than mythologizing what at that time was a largely unknown recorded legacy, as Smith did, Fahey made it breathe life, by quoting in his riffs on the traditional all manner of contemporary music. There is not a folk or jazz or avant-garde or prog rock guitarist who doesn’t owe Fahey a debt for this, for not only breaking boundaries — with which he was hyper-literate — but making such things seem irrelevant in the music he made.
“On the Sunny Side of the Ocean” is from 1965’s Transfiguration of Blind Joe Death. It is a masterpiece of droning open-tuned right-hand wonder, building steam and dimension until it opens up with an unexpected pull off that turns the entire ship eastward on its perfumed journey. It is here, in this simple but everything phrase, that Fahey’s influence is apparent, as it would echo down the years through Popol Vuh and Opeth, just as Charley Patton and Mississippi John Hurt echoed through Fahey.
Transfiguration, certainly.
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After what seemed like an eternity (yes, even at age 50, patience is not one of my virtues), my copy of the deluxe edition of SNOW LIVE by Spock’s Beard arrived this afternoon. And, the wait was more than worth it. This thing is just loaded to the max with goodness and beauty. Lots of truth as well. 2 CDs, 2 DVDs, and 2 Blu-ray disks. Additionally, the set comes with a certificate of authenticity. My authentic number is 1,887 out of 2,000, in case you were wondering. And, you were wondering, right? There are also a number of elongated postcards of the band members and a poster.
No. 5. Cosmograf, HAY MAN DREAMS. I’m pretty much a shoo-in for purchasing every thing Robin Armstrong—master of all things chronometry—does. I love the angst and the seriousness he brings to each and every note and lyric. Spirited without being gushy, and thoughtful without being pedantic. I also love how entrepreneurial he is in his approach to music—finding the best musician to fit each part he’s written. Whatever Armstrong does, he always achieves something serious and meaningful. The HAY-MAN DREAMS is no different. As with everything Armstrong does, there is gravitas.
Progarchy 
