John Fahey Twilight On Prince Georges Avenue: Essential Recordings
- Released: May 10, 2010
- Originally Released: 2010
- Label: Rounder / Umgd
- $0.99 on iTunes1.The Thing at the End of New Hampshire Avenue
- $0.99 on iTunes2.Atlantic High
- $0.99 on iTunes3.Dianne Kelly
- $0.99 on iTunes4.A Minor Blues
- $0.99 on iTunes5.Black Mommy
- $0.99 on iTunes6.Sunset on Prince George's County
- $0.99 on iTunes7.Twilight on Prince George's Avenue
- $0.99 on iTunes8.Rain Forest
- $0.99 on iTunes9.Improv in E Minor
- $0.99 on iTunes10.Love on Waikiki
Song previews provided courtesy of iTunes
Personnel: John Fahey (guitar).
Recording information: Cascade Recordings Services, Portland, OR (02/1983-??/1990); High Tech Recorders, Portland, OR (02/1983-??/1990); Spectrum Studios, Portland, OR (02/1983-??/1990).
Illustrator: Martin Spreafico.
Photographer: Deeann Hall.
Guitarist John Fahey recorded four albums for Rounder's Varrick imprint during the 1980s, before being rediscovered by indie rock and vanguard music fans in the '90s, shortly before his death. These recordings -- LET GO (1983); RAIN FORESTS OCEANS & OTHER THEMES (1984), I REMEMBER BLIND JOE DEATH (1986), and OLD GIRLFRIENDS & OTHER HORRIBLE MEMORIES (1988) -- were given some marginal notice, but generally weren't regarded as among his best. That said, one could rightfully argue that some of that criticism came from journalistic quarters that were more interested in music that was currently happening rather than music of quality in its own right. The ten selections compiled on TWILIGHT ON PRINCE GEORGE AVENUE and taken from those albums are proof that the critics were dead wrong. While Fahey may have been struggling with health issues and personal poverty, his guitar playing continued to reflect his sense of adventure and wry humor; it blended various world musical traditions with American roots music from folk-blues to Appalachian country melodies, and was never better (despite his being tagged as a "new age" musician, a catch-all phrase at the time) or more canny in its sense of blurring time between past and present. Each selection here is worthy, and so were the albums they came from. This is an excellent introduction to an obscure period in the father of American Primitive guitar playing's strange, nearly mythological career. It won't set you back much and may indeed prod you into seeking out the very recordings represented on this budget compilation.
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