Mojo (Publisher) - p.1064 stars out of 5
- "A musical lam across a mythic America....The seven minute 'Irish Setter' now sounds like a miniature blueprint for Ry Cooder's LONG RIDERS soundtrack..."
Record Collector (magazine) - p.1004 stars out of 5
-- "It's a pleasant journey to take, rattling along with the odd surprising flourish to mark the way, a random piece of dissonance to keep you awake and, above all, a reassurance that you're in safe hands."
Personnel: Matt Andes (guitar); Mark Andes (electric bass); Kevin Kelley (drums).
Liner Note Author: M. Ward.
Recording information: Sierra Sound Laboratories, Berkeley, CA (08/1965).
This particular John Fahey side is a personal favorite of many of his devout fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, The Yellow Princess could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if one had taken up residency inside the sound hole of a giant acoustic guitar. The program of pieces is marvelously emotional and varied, with many moments of precisely stated harmonies moving at courageously slow tempos. The second piece on the first side, "View (East from the Top of the Riggs Road/B&O Trestle)," is surely one of his masterpieces, on a par with Charles Ives for musical Americana. It is a great added bonus to have liner notes by the artist, some of the best and most absurd text he ever came up with. Yet another reason this is one of Fahey's top sides is it allows a chance to hear one of his few collaborations with other musicians. Several members of the fine rock group Spirit are present, along with drummer Kevin Kelley, for several lovely pieces, including "March! For Martin Luther King," a remarkably heartfelt tribute that could have gone on much longer. Taped sounds and electronic effects on "The Singing Bridge of Memphis, Tennessee" certainly predict the more noisy stuff Fahey would get into in the later part of his career. ~ Eugene Chadbourne