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Tlrc arc certzirJy hervy blues influences, but don't
get comfortable with that. Hell flrh clerical at you and
corns back with a clean jazz riff on his way to a folk base.
For these cf Arriiczn base, who need a pigeonholed
riarffication cf Fahey's style, a3 you can come up with
is that he plays one heU cf a mean guitar.
. Veteran reviewer Paul Nelson tried to describe the
Tilry Vision- tie this: "1) he plays a Jchn Ford guitar
frfi JurHEan overtcr.es, hitt&s as many archetypes as he
can; truly American flamenco
nrnax, steel strings fastened to death and eternity; 3) his
playing centres up net the rocks but the spaces between
the rocks, ala Godard zrd other poets.
Fzhey was instrumental in setts vp the up the fcijase-
sota independent record company, Tckoma Records, fee
dies recording Leo Kctike and Peter Lan2 at one time, it
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also was the finest and moat complete catalog of dulcimer
and other folk made currently available. One of the finest
comtempcrary guitar albums on the market is on
Tckcma, and it features Kettle, Land and Fahey in an in
credible variety of mood.
Fahey differs from the two. Tilth the cbvfous limita
tions of a twelve string guitar, Kottke tends to sound
niuddJed in comparison with FaJwy. Lang tends to. be
simpler and more direct. All three toother could part the
Red Sea with their talent. Fahey could walk across it.
The guitar is a much, misused instrument. It has been
pounded on by more hacks than probably any other
fcistrument-ia tune and out.
There is a subtlety to a weU-phyed guitar that can
comer you With an emotional intensity that can rock you
from anger to self pity and sadness, and then st3 mellow
you to a point cf comprehension.
Fahey playing is a trip. He treats the guitar with res
pect while totally mastering the ound and mood. The
things they say about Fahey may be true; he may be hard
to approach.
He looks tough enough, but very few people can equal
the depth cf his record and concert work. If Fahey won't
talk, his music certainly speaks for him. I bet he's a
pussycat.
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