Q - 4/01, p.1173 stars out of 5
- "...Finger-picking acoustic folk and blues with a strong avant-garde streak....marvelously strange..."
Mojo (Publisher) - 2/01, p.100
"...Essential....one of the most extreme in his psychic ethnology..."
Personnel includes: John Fahey, Nancy McLean.
Producers: John Fahey, Ed Denson, Barry Hansen.
Engineers: John Fahey, Ed Denson, Chris Strachwitz
Recorded at Sierra Sound Labs, Berkeley, California.
Digitally remastered by Joe Tarantino.
Personnel: John Fahey (guitar); Nancy McLean (flute); Flea (organ).
Audio Remasterer: Joe Tarantino.
Liner Note Author: Bill Meyer.
Recording information: Cambridge, MA (11/1965-??/1966); Los Angeles, CA (11/1965-??/1966); Sierra Sound Labs, Berkeley, CA (11/1965-??/1966); Washington DC (11/1965-??/1966).
This hodgepodge of tracks from 1962-66 was among the last of Fahey's early Takoma albums to make it onto CD (which it did in 2000). Perhaps that's because Fahey himself has a low estimation of the record. Nevertheless, it stands as his most, well, far-out work, and one of his most innovative. Edited together from several pieces, the 19-minute "The Great San Bernardino Birthday Party" anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings. The six briefer pieces that comprised the rest of the record also broke ground with their unsettling moods and dissonances: "Knott's Berry Farm Molly" suddenly moving from a characteristically placid instrumental to backwards tapes that Fahey assembled on a tape recorder, and the lo-fi "Will the Circle Be Unbroken" putting some aggressive picking against a mysterious church organ played by Flea. The beautiful "900 Miles" also had unexpected instrumental accompaniment, by Nancy McLean on flute, while future Canned Heat member Al Wilson played "veena" (sitar) on "Sail Away Ladies." Despite Fahey's curmudgeonly dismissal of the record several decades later, it's an important, if uneven, effort that ultimately endures as one of the highlights of his discography. ~ Richie Unterberger