DRAKE, NICK Five Leaves Left (Hannibal / Ryko) cd 16.98

DRAKE, NICK Fruit Tree (Universal Island) 3cd+dvd 60.00
This all time beloved AQ tresure, out of print for ages, finally gets reissued, in time to give as a gift, to ANYONE you know who might not have this, because everyone should own these records. Some of the most breathtakingly lovely folk music EVER. Now with new artwork, and with the addition of the recent Nick Drake documentary A Skin Too Few. To make room for the dvd, they bumped the odds and sods collection Time Of No Reply, but is not such a loss, as much of that stuff has surfaced in one form or another in the recent spate of collections gathering up anything and everything Drake ever recorded.
But here, in addition ot the movie, you get everything you need, all three classic albums: Pink Moon, Bryter Layter and Five Leaves Left. Breatless, intimate, heartfelt, tragic, lovely, dreamy, wistful, heart breaking, personal, intense and mysterious folk music that sounds as otherworldly as it does timeless.
In a super nice box, with a new 100 page book. Absolutely essential.

DRAKE, NICK Fruit Tree (Hannibal / Rykodisc) 4cd 55.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Pink Moon, Bryter Layter, Five Leaves Left, Time Of No Reply all packaged together in a box along with a small booklet covering Drakes life. For the price, if you think you might be buying these all eventually, you should just dump the change and pick this up. Quite a worthwhile investment.

DRAKE, NICK Made To Love Magic (Island) cd 15.98
Here's an odd posthumous release that very well may only appeal to those hungering for *any* 'new' Nick Drake recordings. If you have Time Of No Reply, some of these songs might seem a little familiar. Many of that album's songs appear here in alternate versions that were either recently 'discovered' or have had one or all of the following applied to them: rerecorded, remixed, remastered. Released thirty years after Drake's passing, Made To Love Magic has a few moments that are indeed a bit sticky. Some artistic decisions were made that obviously Drake had no say in -- for instance, the addition of some very recently recorded orchestral arrangements to a couple of songs. This compilation closes with the one truly previously unreleased track "Tow The Line". For Drake completists only.
MPEG Stream: "Time Of No Reply"
MPEG Stream: "Tow The Line"

DRAKE, NICK Pink Moon (Hannibal / Rykodisc) cd 10.98
As heard on TV... Yes, this record has come to unfortunately be synonymous with television commercials for automobiles, but please don't let that dissuade you from visiting (or revisiting) a truly great album!

DRAKE, NICK Tanworth-In-Arden 1967/68 (Anthology) cd 22.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE, SO PLEASE DO NOT ORDER IT. SORRY.
Long a treasured 'bootleg' amongst Drake fans, these are 18 rare home recordings that sit comfortably beside his 4 other essential albums. So lovely!

DRAKE, NICK Time Of No Reply (Hannibal / Rykodisc) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

DRIFTWOOD, JIMMY Voice Of The People (The Omni Recording Corporation) cd 17.98

DUBUISSON, PIERRE Sept Regards Sur L'Esprit De La Mort (The Guild Of Funerary Violinists) cd-r 12.98
Another strange and mysterious collection of lost and forgotten musicks, perhaps the last volume (of four) in this series of archival recordings, collecting the very few existing performances and recordings that fall under the umbrella of a mysterious movement of musicians and composers known as The Guild Of Funerary Violinists. 
Pierre Dubuisson was France's foremost Funerary Violinist, having made his name in the great funerary duels that became a bit of a fashion for a brief spell, where the deceased would leave a bit of melody to be performed after his death, two violinists would then improvise on the theme doing their best to wring more tragedy from the notes than their opponent, the winner of course was the one who drew the most tears from onlookers. Dubuisson eventually became president of the French branch of the Guild Of Funerary Violinists, and helped to integrate Funerary Violin into the Catholic ritual before disappearing under dubious circumstances during the infamous Funerary purges. 
These recordings were made by Pierre's grandson Jacques, who after running away from an abusive home and an overbearing father, was discovered playing some of his grandfather's pieces at a concert in 1913, by an archivist from the Biblioteque Nationale De France, who convinced Jacques to make wax cylinder recordings of some of his grandfather's recordings. Jacques is of course not the player his father was, or his grandfather before him, but the pieces carry their own powerful emotion which easily overcomes any sort of deficiencies in the performances. 
Oh, right, we always seem to forget the most important part, none of the above is true? Not a bit. Or is it? Hard to say. Or so a few of us think. Some here choose to believe (Mulder?) since the mythology is almost as fascinating and nuanced as the recordings, and imagining this lost art is so much more fun, while others are just happy to listen to this amazing music. And amazing it is. Perfectly and beautifully rendered to sound as old and antique as it most likely is not. Wailing, plaintive funereal laments on solo violin, sad and morose, lilting and so completely lovely, bathed in all manner of grit and hiss, fuzz and antique distortion, sounding like the old wax cylinders these recordings purport to be. Imagine some old timey violin music treated by Tim Hecker, and spun  in some ultra morose DJ set by Philip Jeck...
The music is so evocative, of dark clouds at dusk, rain swept fields, huge brooding stone houses, lush gardens beneath grey skies, and of course, funerals, and the slow stately trudge of the funeral procession to the grave site. We've gushed about pretty much every volume so far, and by now are probably just repeating ourselves, but we just love these discs, read the other Funerary Violinist reviews for more on the music and the mythology, and you'll realize just why it seems impossible to us to not fall totally in love with such a well executed piece of what ultimately amounts to performance art. The music, dark and delicate, creepy and so beautiful, even removed from the mythology is totally amazing, the story and the text is as well (there's even a book you can track down, detailing the entire recorded history of the Guild) but the two together, are simply magical....
MPEG Stream: "Marche Funebre - Lent Pose Et Majestueux"
MPEG Stream: "Vol - Magnanime Et Degage"
MPEG Stream: "Marche Funebre - Sombre, Pourtant Ouvert Sur L'Avenir"

DUVALL, AL Coroner & Knives (Boontling Recordings) cd 9.98
We got some olde style banjo storytelling here! It's sparse and earnest. Sort of dark and damaged, maybe even drunken. It's rythmically spastic, melodically sour. The vocals are atonal and a little out of rhythm, but absolutely endearing. A musical saw sweetens things up on "Nymph Du Prairie". This album's totally awesome! Features Al's brother, Andy Duvall (formerly of Zen Guerilla) on percussion.
MPEG Stream: "Saxonburg, Ohio"
MPEG Stream: "Nymph Du Prairie"

EARLE, STACEY Simple Gearle (Gearle/E-Squared) cd 15.98
Quaint old timey twang, warm and intimate from Steve Earle's sister. Not only does she kinda look like Mary from local darlings Virgina Dare, but this album will appeal to fans of V. Dare as well as Freakwater.

EARLE, STEVE The Revolution Starts Now (Artemis) cd 16.98
Continuing his album-a-year pace, outspoken roots rebel Steve Earle is showing no signs of letting up. On this studio follow-up to 2002's Jerusalem (he also had a live one called Just An American Boy released in 2003), he's sounding his most youthful and invigorated in years. With his steely-eyed focus and weathered, sandpaper-y voice (akin to Americana rock contemporaries Paul Westerberg, Howe Gelb, and younger'un Ryan Adams), Earle has unleashed an equally politically charged companion piece to his aforementioned Jerusalem (his response to the events and aftermath of September 11th). Many music writers have already pointed this out, and we fully concur that the album's lone weak point is "Condi Condi" a tongue in cheek ode to Condoleeza Rice.
MPEG Stream: "Rich Man's War"
MPEG Stream: "F The CC"

EARLE, STEVE Townes (New West) cd 16.98

EARTH Hex; Or Printing In The Infernal Method (Southern Lord) cd 14.98
It's all been leading up to this. In the early nineties, when most of us heard Earth for the first time, our minds were totally blown. What was that massive slab of fuzzy sludge doing on Sub Pop? Why didn't it sound like Soundgarden or Mudhoney or Tad? It didn't take long before we stopped asking questions like that and began wondering where the hell were all the other bands that sounded like Earth. Well, it took 10 years, but now that whole downtuned slow motion sludge thing is an actual genre. With more and more new bands popping up every day. All honoring the mighty sludge that was Earth. But those of you who were into Earth the first time around, might remember the band changing directions pretty dramatically, adding a drummer, and playing actual songs, even doing a Hendrix cover at one point, the Earth of old having mutated into a groovy sort of stoner post rock, propulsive swinging riffs, relentless chugging guitars, all wrapped in a druggy spacy swirl. Back then we were all a bit bummed out, as Earth became, well, more normal, at least to our ears. It was as close to selling out as Earth were liable to get.
Back to the present day. Recordings started popping up here and there, along with rumors of actual Earth shows, limited 7"s and tour only 12"s, all filling us with an impossible anticipation. Earth was back. But if they were back, why were all the recordings from live shows and all several years old? It made sense, the sound of the new Earth practically picked up right where they left off, stretched out, spaced out, druggy post rock with simple drumming and wavering distorted riffs, not heavy per se, but dark and dreamy and mesmerizing. But none of that could have prepared us for the desolate, sun baked, slow crawl, shuffle and twang beauty of long-awaited new studio album Hex. Definitely hewing closer to Earth's more recent post rockisms, Hex is warm and expansive, slow building and contemplative, with simple drums, heavily reverbed, not distorted, guitars, occasional lapsteel, the whole thing unfurling into a haunting twang, a ghost town desert lullaby, a Cormac McCarthy novel in song, tumbleweeds, miles of scrub and windblown landscapes, old dead trees, plenty of space for the cymbals to sizzle and each riff to drift into black clouded skies. Drone / doom / dirge / sludge purists (if there can be such a thing) may well be a bit disappointed, or at the very least confused. And Earth's history / reputation for black hole heaviness might be an albatross at this point as this new sound falls squarely within the territory of groups like Low, Codeine, Friends Of Dean Martinez, Calexico, Scenic, Torrez, Sixteen Horsepower, even Mazzy Star or Godspeed You Black Emperor. But ultimately none of that has anything to do with the fact that Hex is just simply beautiful. A dark and mysterious and truly haunting record. Huge swells of instrumental tension dissipate into warm washes of drift and shimmer, melodies are slowly uncoiling snakes, waking drowsily and slithering off sun baked rocks, every note and every drum beat, every slippery lapsteel swoop, every stretch of near silence, are all draped lazily over broken fences, fallen power lines, rusted out tractors, fallow fields. Dark clouds drift above, across a steel grey sky, sending small shadowy shapes scurrying across the landscape like mysterious creatures, the breeze is warm and smells of death and desolation. Every one is lost and alone, out of money, out of time, just waiting around to die. The mood is bleak, but the sound of Hex is so so beautiful. Somehow hopeful and full of joy, but the sort of joy that comes from being powerless and close to despair, and simply choosing joy over misery, finding happiness the way animals in the desert seek out moisture. The heart of Hex is heavy, the sound appropriately heavy as well, but in a way few conventionally heavy records can manage. A brooding, storm about to break, dam about to burst, soul about to loose itself from its earthly moorings and escape to a better place kind of heavy. The sound of the desert, and the human spirit, of death, of sadness and horror, of loneliness, of abandonment, of hearts breaking, lovers lost and drifting apart, of life. The sound of laying in the dry dirt, the breeze stretched across you like a moth eaten old blanket, eyes closed, the sun sending all sorts of shapes spinning behind your closed eyelids, memories becoming fuzzy and drifting away, your whole body and soul wrapped in a warm darkness, the world fading into nowhere, you fading into nothing.
MPEG Stream: "Lens Of Unrectified Night"
MPEG Stream: "An Inquest Concerning Teeth"
MPEG Stream: "Raiford (The Felon Wind)"

EARTH Hex; Or Printing In The Infernal Method (Southern Lord) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's all been leading up to this. In the early nineties, when most of us heard Earth for the first time, our minds were totally blown. What was that massive slab of fuzzy sludge doing on Sub Pop? Why didn't is sound like Soundgarden or Mudhoney or Tad? It didn't take long before we stopped asking questions like that and began wondering where the hell were all the other bands that sounded like Earth. Well, it took 10 years, but now that whole downtuned slow motion sludge thing is an actual genre. With more and more new bands popping up every day. All honoring the mighty sludge that was Earth. But those of you who were into Earth the first time around, might remember the band changing directions pretty dramatically, adding a drummer, and playing actual songs, even doing a Hendrix cover at one point, the Earth of old having mutated into a groovy sort of stoner post rock, propulsive swinging riffs, relentless chugging guitars, all wrapped in a druggy spacy swirl. Back then we were all a bit bummed out, as Earth became, well, more normal, at least to our ears. It was as close to selling out as Earth were liable to get. Back to the present day. Recordings started popping up here and there, along with rumors of actual Earth shows, limited 7"s and tour only 12"s, all filling us with an impossible anticipation. Earth was back. But if they were back, why were all the recordings from live shows and all several years old? It made sense, the sound of the new Earth practically picked up right where they left off, stretched out, spaced out, druggy post rock with simple drumming and wavering distorted riffs, not heavy per se, but dark and dreamy and mesmerizing. But none of that could have prepared us for the desolate, sun baked, slow crawl, shuffle and twang beauty of Hex. Definitely hewing closer to Earth's more recent post rockisms, Hex is warm and expansive, slow building and contemplative, with simple drums, heavily reverbed, not distorted, guitars, occasional lapsteel, the whole thing unfurling into a haunting twang, a ghost town desert lullaby, a Cormac McCarthy novel in song, tumbleweeds, miles of scrub and windblown landscapes, old dead trees, plenty of space for the cymbals to sizzle and each riff to drift into black clouded skies. Drone / doom / dirge / sludge purists (if there can be such a thing) may well be a bit disappointed, or at the very least confused. And Earth's history / reputation for black hole heaviness might be an albatross at this point as this new sound falls squarely within the territory of groups like Low, Codeine, Friends Of Dean Martinez, Calexico, Scenic, Torrez, Sixteen Horsepower, even Mazzy Star or Godspeed You Black Emperor. But ultimately none of that has anything to do with the fact that Hex is just simply beautiful. A dark and mysterious and truly haunting record. Huge swells of instrumental tension dissipate into warm washes of drift and shimmer, melodies are slowly uncoiling snakes, waking drowsily and slithering off sun baked rocks, every note and every drum beat, every slippery lapsteel swoop, every stretch of near silence, are all draped lazily over broken fences, fallen power lines, rusted out tractors, fallow fields. Dark clouds drift above, across a steel grey sky, sending small shadowy shapes scurrying across the landscape like mysterious creatures, the breeze is warm and smells of death and desolation. Every one is lost and alone, out of money, out of time, just waiting around to die. The mood is bleak, but the sound of Hex is so so beautiful. Somehow hopeful and full of joy, but the sort of joy that comes from being powerless and close to despair, and simply choosing joy over misery, finding happiness the way animals in the desert seek out moisture. The heart of Hex is heavy, the sound appropriately heavy as well, but in a way few conventionally heavy records can manage. A brooding, storm about to break, dam about to burst, soul about to loose itself from its earthly moorings and escape to a better place kind of heavy. The sound of the desert, and the human spirit, of death, of sadness and horror, of loneliness, of abandonment, of hearts breaking, lovers lost and drifting apart, of life. The sound of laying in the dry dirt, the breeze stretched across you like a moth eaten old blanket, eyes closed, the sun sending all sorts of shapes spinning behind your closed eyelids, memories becoming fuzzy and drifting away, your whole body and soul wrapped in a warm darkness, the world fading into nowhere, you fading into nothing.
THE VINYL HAS SUPER DELUXE PACKAGING, DIFFERENT ARTWORK AND AN EXTRA TRACK NOT ON THE CD!! The colored vinyl copies are gone. It's all black vinyl from now on.
MPEG Stream: "Lens Of Unrectified Night"
MPEG Stream: "An Inquest Concerning Teeth"
MPEG Stream: "Raiford (The Felon Wind)"

EATON, WILLIAM Music By William Eaton (EM Records) cd 23.00
Japan's EM Records, our new favorite label for totally unknown reissue surprises -- from singing saw records to electronic brainwave music to New Age psych -- come through YET AGAIN with this fantastic album of guitar music by a long-haired, Viking-looking dude from the '70s named William Eaton! A gentle soul, judging by his gorgeously mellow music on this disc, all instrumental, all improvised, originally self-released on vinyl in 1978 in an edition of just 1000 copies. The simple drawing on the cover, with the rays of the setting sun and puffy clouds in the sky, really gets at what these 18 tracks are all about. Languid, blissed-out acoustic and electric string caresses, music that seems heaven-sent... You can imagine him sitting, cross-legged, eyes closed, with a meditative calm belying the virtuosic skill with which he plays. Rooted in hippy psych folk this is, but with some hints of more difficult, avant-garde new music, for sure like John Fahey, and perhaps like a very very listenable Derek Bailey, or better yet, like FMP-label guitarist and inventor Hans Reichel. And if we say it's just a bit New Agey, don't let that scare you off. We think all fans of the whole wonderful "wooden guitar", John Fahey / Robbie Basho worshipping, neo-Appalachia, modern day "American Primitive", steel string guitar improv scene today -- Jack Rose, James Blackshaw, Ilyas Ahmed, Richard Bishop, Matt Valentine, Sean Smith, etc. -- will really find a lot to like here!!
Another point in common with Hans Reichel, is that the instruments Eaton plays here he built himself. A mystical luthier from the Arizona desert, William Eaton crafted some AMAZING instruments, depicted in the pages of the thick cd booklet. Totally baroque-looking works of art like his 26 string Elesion Harmonium, or his beautifully sculptural harp guitar. And just check out the curves of his double neck Quadrophonic electric... wow.
So, totally recommended. Oh, and this disc is one of the first beneficiaries of EM's new Japanese AND English liner notes policy! Yep, English language liner notes, and lots of 'em... along with the usual full-color photos and album art found in most EM cd booklets.
MPEG Stream: "track 2"
MPEG Stream: "track 10"
MPEG Stream: "track 17"

EHLERS, EKKEHARD A Life Without Fear (Staubgold) cd 15.98
What the fuck? We shouldn't be the only people baffled by this record; and A Life Without Fear was probably engineered with that confusion in mind. A few years back, Ekkehard Ehlers was the darling of the Max / MSP faction of electronic artists, recontextualizing any number of artists into a delirious pixel-pointed fizz of digitized sound fragments, following in the foot steps of Christian Fennesz and Stefan Mathieu. As great as Ehlers recontextualizations of Cornelius Cardew, John Cassavettes, and Albert Ayler were, this micro-genre of soundsculpting seemed a bit faddish and a slave to technology. Needless to say, Mathieu has shifted his focus to more organic materials and instrumentation, and Ehlers has followed suit by dropping his Max / MSP patches in favor a gritty blues minimalism. With the press release making comparisons to Jim O'Rourke's emulation of John Fahey, Ehlers' recapitulation of turn of the 20th century blues has a studied hollowness about it. While sonically, these rough-hewn guitar chords and back-porch stomps have all of the trappings of any old archival recording (i.e. scratchy sound, tinny production, etc), they nevertheless lack any real soul (unlike O'Rourke's jubliant finger-picking and carnavelesque arrangements on Bad Timing.) There's also an ill-conceived bout of West-African / Congolese thumb-piano playing to futher complicate the matters at hand. The avant-garde meets the assimilatory attributes of imperialism? A curious application of 'authentic' patinas? A miscalculated attempt of cross-cultural communication? How about a faux-Jandek outsider thing? Who knows? Again we return to the ultimate question about this record: what the fuck?
MPEG Stream: "Ain't No Grave"
MPEG Stream: "Maria & Martha"

EHLERS, EKKEHARD Plays (Staubgold) cd 15.98
You suckers without turntables get yet another temporary reprieve, as Ekkehard Ehlers' five lovely mini-albums, previously released only on vinyl, are here compiled onto one handy cd. And lovely is most certainly an understatement. This is some of the most gorgeous, sublime and moving electronic/glitch/sample based music we have ever heard. Sounds are completely recontextualised into cloudy, indistinct but somehow emotionally and sonically spot-on homages to some of Ehlers' influences. Falling somewhere between Stephen Mathieu and Oval, Ehlers adds remarkable depth and emotion to what is quite often a cold and clinical artform.
Tracks one and two are the "Plays Cornelius Cardew" lp and are lovely layered soundscapes as only Ehlers can conjure. Sampled sounds are seamlessly woven into dense, textural tone poems again highly reminiscent of Wolfgang Voigt's Gas. The second (track three and four) in the "Plays" series is a 'tribute' to the German beat poet Hubert Fichte. Where those previous tracks are dominated by ephemeral drone work with refined patinas of digital corrosion, this piece curiously sounds like Pole doing free jazz, with erratic squiggles of granular synthesized saxophone and really lazy strums from a guitar seeping up from an electronically sculpted metallic haze. Even those slowly developed basslines that Pole plops into his neo-dub show up in "Plays Hubert Fichte" although Ehlers disregards Pole's structuralism in favor of an amorphous improvisation of deep hovering movements. "Plays John Cassavetes" (tracks five and six) is part three in Ehler's series of 'tributes' and for these pieces he seamlessly weaves orchestral samples into beautiful landscapes of sonic reverberations. Very reminiscent of Wolfgang Voigt's work as Gas, or those brief, subtle moments of bliss found on My Bloody Valentine's "Loveless" record. Tracks seven and eight find Ehlers sampling fragments of Albert Ayler. However, as with most of these pieces, it is debatable as to how much Ayler is actually present on this recording, musically. Consisting entirely of digitally altered cello recordings, these two sidelong pieces gently swell, teeter and expand, forming beautiful, haunting drones that lie beneath digital snippets of arrhythmic ephemera. Somehow, Ehlers manages to restructure a mundane cello recording into a wonderfully reticular songpoem. The final two tracks are from the 'Plays Robert Johnson' 7" which we were never able to get enough of to list. Two short tracks: the first is an abstractly plucked, slow-motion, Reynols-on-cough-syrup style tarpit blues jam, while the final track is all throbbing four-on-the-floor Kompakt style minimal/heroin house.
Trust us, we plow through a lot of pretentious electronic crap that takes itself too seriously -- and while the conceit of the five Ehler tributes might suggest that he could fall into this trap -- he does not. Ehlers delivers, and you'll love this. We all do.
RealAudio clip: "Plays Cornelius Cardew"
RealAudio clip: "Plays Hubert Fichte"
RealAudio clip: "Plays John Cassavetes"
RealAudio clip: "Plays Albert Ayler"
RealAudio clip: "Plays Robert Johnson"

EL-G Tout Ploie ((K-RAA-K)3) lp 15.98
We didn't know a whole lot about El-G, aka French pop weirdo Laurent Gerard, other than he was supposed to be sort of like a twisted modern day Serge Gainsbourg, and hearing this now, that's really not that far off the mark, he even has a female foil to further cement the Gainsbourg comparison. Mix in some Animal Collective weirdness, some Kemialliset foresty folk, and you'd be getting close.
French ballady folk is definitely the core of Gerard's sound, but the tracks here vary wildly, compiled as they are from a handful of super limited previous releases. But a quick sampling reveals laid back French pop, breezy and dreamy, brushed snares, subtle electronics drifting over finger picked guitars, fractured blues drenched in wheezing organ and random percussion, peppered with deep bassy throbs and grunted garbled vocals, Abstract fractured folk, soft female vocals over shimmery organs, rubbery basslines and howled male background vox, the final track of the A side builds from a folky whisper to a soaring layered drone, all buzzing tones and warbly organ, strangled guitar leads and lurching low end melodies. The rest of the record hovers close-ish to French folk and pop, but tweaks them just enough to keep it interesting, at one point converting the main riff from the Smiths' "How Soon Is Now" into a backdrop for some ethereal crooning. Cool stuff. Definitely recommended for fans of any of the above mentioned bands, as well as the softer side of freak folk and the weirder side of French pop.

ELGGREN, LEIF & THOMAS LILJENBERG 9.11 (Firework Editions) cd 14.98
These two Swedish conceptual / sound artists are quite amused by their actions which have warranted 58 minutes of their laughter, which runs through a litany of guffaws, giggles, evil cackles, hoots, and hollers. In the end it's certainly absurd in scope and strangely enjoyable in a delirious kind of way. As baffling as it may seem, Mr. Elggren decided to release this conceptual fuck-you as one of his Firework Editions. Strangely enough, I believe we only have one of these in stock at the moment...

ELLIOTT, RAMBLIN' JACK Bull Durham Sacks & Railroad Tracks (Collector's Choice Music) cd 16.98
Originally released in 1970, this album of influential folkster Ramblin' Jack Elliott features mostly covers of well known tunes such as: Me & Bobby McGee, Folsom Prison Blues, I'll Be Your Baby Tonight, Don't Let Your Deal Go Down, Lay Lady Lay, With God On Our Side, and more. Has a teeny weeny bit of Elliott's infamous "Ramblin'", but not enough to really amount to much on this disc.

ELLIOTT, RAMBLIN' JACK Young Brigham (Collector's Choice Music) cd 16.98
1968 release by Mr Elliott, now available on cd. Elliott performs If I Were A Carpenter, Tennessee Stud, Rock Island Line, and more.

EMPYRIUM Where At Night The Wood Grouse Plays (Prophecy) cd 14.98
All-acoustic, gloomy folk music from this German "black metal" band, who have abandoned the raspy vocals and distorted electric buzzsaw guitars of their previous releases (we're guessing, haven't heard 'em) for mournful string strum and doleful chant. Allan thinks this is beautiful, Andee considers it 'renaissance faire metal' without the metal. For fans of "Kveldsjanger", the acoustic masterpiece by Norwegian black metal eccentrics Ulver (I'm guessing that Empyrium are). And, c'mon, how can you resist a song (and album) title like "Where At Night The Wood Grouse Plays"??

ENOCKSSON, ERIK Farval Falkenberg (Kning Disk) cd 15.98
Another disc we knew nothing about and just luckily stumbled across (with our interest whetted due to its label affiliation, Kning usually being quite interest-ing). We were initially struck by the gorgeous cover, an embroidered landscape, all oranges and blacks, the texture of the background fabric adding grit to the already dark and mysterious shapes and hues in the foreground. The words Farval Falkenberg printed in huge gold metallic letters, strangely poetic song titles.
We later discovered that this is in fact the soundtrack to a Swedish film, a coming of age story, sad and bittersweet, and the music couldn't be more perfect. The opening track had us completely smitten within seconds. A gorgeously melancholy acoustic guitar, spinning a soft sad melody, mournful and moody, the main melody is whistled, giving the track a certain childlike vibe, a bit of a Morricone / Bjorn Olsson feel too, it seriously gives us shivers just writing about it. Then the 'chorus' kicks in, and adds soft focus piano plinking in the background, another guitar higher up in the mix, simple tambourine percussion. It's so evocative, you can't help but let your mind start making up different scenes from this movie you've never seen. Lonely walks, sitting by the window, rain pouring down, wandering along railroad tracks, laying in bed staring at the cracks in the ceiling. Wow.
And the rest of the record is just as compelling. Every song a mini super emotional epic. Organs wheeze ominously, acoustic guitars flutter and flit, chimes drift and shimmer, the piano returns in dense swells, bits of static and glitchy hiss intrude like someone changing stations on the radio, there are creaks and groans, distant rumbles, bits of electronic skitter, subtle drones, chimes, bells, even the occasional vocals, but it's always about the guitar, it's delicate dreamlike melodies, and how it's so perfectly intertwined with the piano and the organ. So moving and intense. Think Rachel's, Dirty Three, Pinetop Seven, Japancakes, Godspeed, but somehow much less arty, and more genuine, subtly experimental, but practically perfect, dark, emotional, so incredibly moving. Makes us want to see the film so bad, but in the meantime, it's the ideal music for whatever film you have running through your head. And of course the absolutely perfect soundtrack for lonely walks, staring at the ceiling, staring out the windows in the rain, wandering along railroad tracks, etc...
MPEG Stream: "The Joy Of D.H. Lawrence"
MPEG Stream: "Dusk Settles In"
MPEG Stream: "The Breaking Of Waves"

ENTRANCE The Kingdom of Heaven Must Be Taken By Storm! (Tiger Style) cd 14.98
Entrance is the solo project of 21 year old Guy Blakeslee, who has also played bass for Baltimore's Convocation Of... Though this stuff is not much like that band's proggy post-punk, that's presumably why he landed on the same record label as that band. Also maybe 'cause he's performed with Will Oldham and Cat Power, and done a split 7" with Papa M... Anyway, Entrance could be better compared to Guy's friend and touring partner, the wonderful Devendra Banhart (you've all got his album, we know!). Playing solo with just an acoustic guitar and his voice, and maybe a tambourine or somesuch, Guy sounds a bit like Syd Barrett and looks a bit like Marc Bolan. As he proved here not long ago when he played an instore with Devendra, Guy can project his music quite well with no help from amplifiers or microphones! This disc is much in the same spirit as that instore. Rambling lovely string tangle, dramatic late-night laments, violent strumming, and vocal outpourings building on the folk-rock vibes of mystic fellows of decades past. The disc features mostly originals (apparently never played the same way twice, thanks to Entrance's loose, in-the-moment aesthetic and reliance on enthusiasm rather than training technique-wise) but also some suitable covers by blues/folk forebears Skip James ("I'm So Glad") and Bob Dylan ("Tommy Thumb's Summertime Blues"). Basically, Entrance is somewhere between the eccentric folk troubadour vibe of pal Devendra Banhart and the more aggro attitude of the White Stripes' damaged, stomping garage rock n' roll... if you can imagine them in the person of one fuzzy haired guy with an acoustic guitar, which is a stretch. At any rate both are historically minded and inspired, if you know what I mean, making for some timeless music that's immediately understandable.
RealAudio clip: "Valium Blues"
RealAudio clip: "The Night Was Dark"

ESCOVEDO, ALEJANDRO A Man Under The Influence (Bloodshot) cd 15.98
The fifth collection of songs from this amazing songwriter. In recent years, his music has been labelled Americana, roots rock, alt-country, but call it what you will -- this is simply a wonderfully earthy and lush album. A long long way from his punk rock beginnings in The Nuns, and later in Rank And File, this is perhaps his most fully realized album to date. Bittersweet. His supporting cast here includes such notables as Ryan Adams, Chris Robinson, Mitch Easter, and Chris Stamey. In case you're unfamiliar with the Escovedo family, well, you should know their musical roots are deep, diverse and astoundingly expansive boasting such talents as Santana percussionist Pete Escovedo, Sheila E, The Zeros, and Elvez.

ESPERS The Weed Tree (Locust) cd 14.98
This new 37 minute release from psychedelic Philly folksters Espers isn't exactly their eagerly-awaited second album proper (which remains tantalizingly on the horizon). Instead, with The Weed Tree they offer up a sort of "teaser" disc that consists almost entirely of cover songs, with the only Espers original being the the grand and morose "Dead King" that closes the album. The covers include a couple of traditional tunes ("Rosemary Tree" and "Black Is The Color") alongside an eclectic but in the end utterly appropriate mix of material from the likes of the Durutti Column, Nico, Michael Hurley, and even Blue Oyster Cult. Although that might seem like a diverse bunch, in the hands of Espers these songs all do seem to belong together in one natural organism, the roots and branches and leaves of this Weed Tree. Echoing '70s artists like the Incredible String Band, Linda Perhacs and Vashti Bunyan, Espers' music (or here, their take on other people's music) is delicate and dreamy, sad but lovely acoustic folk with a lurking psych presence coming from the humming organ drones and acid guitar flashes... and these songs all lean heavily upon the band's sweet female vocals and harmonies.
Their folky, vaguely madrigal-like take on BOC's "Flaming Telepaths" builds into a freaked-out (but far from hard rock) climax, sounding the most of anything here like something from Espers member Greg Weeks' Awake Like Sleep album (beloved here at AQ). As are Espers themselves! Really nice. If you haven't heard Espers before, but like the other current acid-folk stuff happening such as Josephine Foster and Six Organs and Vetiver and P.G. Six and so forth, this would be a fine place to start! And of course fans will be pleased, as this helps tide us over until the true full-length follow up to their debut appears.
MPEG Stream: "Rosemary Tree"
MPEG Stream: "Blue Mountain"

ESPERS The Weed Tree (Locust) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
NOW ON VINYL!
This new 37 minute release from psychedelic Philly folksters Espers isn't exactly their eagerly-awaited second album proper (which remains tantalizingly on the horizon). Instead, with The Weed Tree they offer up a sort of "teaser" disc that consists almost entirely of cover songs, with the only Espers original being the the grand and morose "Dead King" that closes the album. The covers include a couple of traditional tunes ("Rosemary Tree" and "Black Is The Color") alongside an eclectic but in the end utterly appropriate mix of material from the likes of the Durutti Column, Nico, Michael Hurley, and even Blue Oyster Cult. Although that might seem like a diverse bunch, in the hands of Espers these songs all do seem to belong together in one natural organism, the roots and branches and leaves of this Weed Tree. Echoing '70s artists like the Incredible String Band, Linda Perhacs and Vashti Bunyan, Espers' music (or here, their take on other people's music) is delicate and dreamy, sad but lovely acoustic folk with a lurking psych presence coming from the humming organ drones and acid guitar flashes... and these songs all lean heavily upon the band's sweet female vocals and harmonies.
Their folky, vaguely madrigal-like take on BOC's "Flaming Telepaths" builds into a freaked-out (but far from hard rock) climax, sounding the most of anything here like something from Espers member Greg Weeks' Awake Like Sleep album (beloved here at AQ). As are Espers themselves! Really nice. If you haven't heard Espers before, but like the other current acid-folk stuff happening such as Josephine Foster and Six Organs and Vetiver and P.G. Six and so forth, this would be a fine place to start! And of course fans will be pleased, as this helps tide us over until the true full-length follow up to their debut appears.
MPEG Stream: "Rosemary Tree"
MPEG Stream: "Blue Mountain"

ESTRIBOU, GENE / JEAN-PAUL PICKENS Intensifications (Locust) cd 14.98
Quite the intriguing reissue here. It's a San Francisco '60s artifact that could be just as easily be something brand-new from one of the underground acid-folk artists beloved by all you Ptolemaic Terrascope/Broken Face readers, like Six Organs of Admittance or Jack Rose. Anyone who likes them will want this! Likewise if you're into Fahey and Basho and other Takoma label string-pickers. Gene Estribou and Jean-Paul Pickens each took a side to themselves of the original LP release to ramble down some dusty old roads that lead them to acoustic Delta Blues, Indian raga, and Appalachian country-folk. Both these guys sure are fleet of finger, Estribou playing acoustic guitar and Pickens (is that his real name?) doing his thing on the banjo. Imagine David Rawlings (of Gillian Welch fame) hopped up on moonshine and just ripping... Wow. Intensifications indeed. Another excellent Locust release (they just keep 'em coming!) but we've gotta give them a packaging demerit 'cause of the one-sheet insert they opted for instead of a proper cd booklet. Otherwise, great.
MPEG Stream: GENE ESTRIBOU "Eeee Minor"
MPEG Stream: JEAN-PAUL PICKENS "Shady Grows"

FAHEY, JOHN America (Takoma) cd 16.98

FAHEY, JOHN Days Have Gone By (Takoma) cd 16.98
Another welcome reissue from fingerpickin' folk guitarist John Fahey, who died earlier this year. We miss him, especially in light of the more current experimental guitarwork he was exhibiting. This album, however, was recorded in 1967 and contains his mostly traditional take on folk themes and even pseudo-"ragas". Ten seconds of listening to this and you'll recognize Fahey's signature style. Lovely.
RealAudio clip: "My Grandfather's Clock"
RealAudio clip: "A Raga Called Pat - Part One"

FAHEY, JOHN Death Chants, Breakdowns, and Military Marches (Takoma) cd 17.98
"John Fahey and many of his contemporaries and fans consider this disc to be his finest work. It contains both the 1963 and 1967 versions of Death Chants, Breakdowns, and Military Waltzes. The striking differences between the two point up the dramatic stylistic approaches Fahey was exploring during those few short years." (from the liner notes on the album). This is some of the loveliest solo guitar work and folksy fingerpicking that we've ever heard Fahey or anyone else do! Essential!

FAHEY, JOHN Georgia Stomps, Atlanta Struts (Table of the Elements) cd 15.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Five fantastic solo guitar performances recorded live from a show in Atlanta in 1997. Powerful yet beautiful pseudo-improv Fahey-style avant-twang. The last few years have seen the coming of many imitators; recordings like this put them back in their place.

FAHEY, JOHN Great San Bernardino Birthday Party (Takoma) cd 16.98

FAHEY, JOHN Hard Time Empty Bottle Blues (1-4) (Table Of The Elements) 12" 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Ultra limited, one sided clear vinyl 12" from the late John Fahey. Recorded live in 1996 at Table Of The Elements' Yttrium Festival, these four tracks harken back to his pre-electric period, a gorgeously melancholy, dreamily casual, wandering, and melodic appalachia that only Fahey could produce. Spare and unhurried, this four part suite unfurls lazily, melodies blossoming shyly, with each part ending quite abrubtly, as if Fahey just decided to stop when he felt like it, reminding us how intimate and playful Fahey could be live. Beautifully silkscreened woodcut image in mauve ink on clear vinyl in a clear sleeve. Striking. Oh, and did we mention...LIMITED!

FAHEY, JOHN Hitomi (LivHouse) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fahey's first studio album since "Womblife" so many moons ago finds the guitarist/theologian/ ethnomusicologist fingerpicking his way through an assortment of folk, blues, and garage numbers played with all of his lovely tonality.
The press release claims that this is the first album since 1964 that "John has produced and recorded entirely unfettered from 'correction' by commercial interest." Is this a happy John Fahey? What has the world come to?!

FAHEY, JOHN Hitomi (Important) 2lp 17.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fahey's first studio album since "Womblife" so many moons ago finds the guitarist/theologian/ ethnomusicologist fingerpicking his way through an assortment of folk, blues, and garage numbers played with all of his lovely tonality.
The press release claims that this is the first album since 1964 that "John has produced and recorded entirely unfettered from 'correction' by commercial interest." Is this a happy John Fahey? What has the world come to?!

FAHEY, JOHN In Concert and Interviews 1969 & 1996 (Vestapol / Rounder) dvd 24.00
About ten minutes into this I came to the conclusion that I had to buy one. This is awesome. Any Fahey fan will freak out watching this dvd. The 1996 material by itself is great -- a concert at Berkeley's Freight and Salvage that maybe some of you reading this were lucky enough to attend, plus backstage interview footage wherein ol' John Fahey reveals both some of his history, and his humor. But it was the 1969 portion of this I watched first, which consists of a much more youthful, clean-shaven John Fahey guesting on some sort of guitar-oriented TV talk show, hosted by a woman who is clearly both a big fan of Fahey's playing and also somewhat bemused/confused by his musical eccentricities. She even almost scolds him for doing something that she tells her own guitar students not to do, though they determine that he had a good reason for it... Fahey proves himself to be quite a charming character, smoking a cigarette as he answers the host's questions and demonstrates his techniques, playing quite a few lovely lovely songs. It's amazing viewing for anyone already under the spell of the man's music and persona. Fans, get this!

FAHEY, JOHN Legend of Blind Joe Death (Takoma) cd 17.98

FAHEY, JOHN Live in Tasmania (Takoma) cd 15.98
Remastered, reissued 1980 live set from the inimitable John Fahey, the late great modern day legend of solo steel guitar playin'. We all miss the guy, so it's nice that these reissues keep a'comin'. As this disc's title indicates, this was indeed recorded live in Tasmania! Yep, Fahey was touring Down Under, and that means that not only did he feel obligated to do a version of "Waltzing Matilda" but you're also treated to a spoken word interlude given the title "Fahey Establishes Rapport With The Tasmanians - A Dissertation On 'Obscurity'". He gets a lot of laughs out of the crowd, being his usual charming self. Other tracks include "The Approaching Of The Disco Void" and "Steamboat Gwine 'Round de Bend". The whole show is enchanting, classic stuff. This reissue also boasts liner notes by Fahey fan Jim O'Rourke.
MPEG Stream: "On The Sunny Side Of The Ocean"
MPEG Stream: "Fahey Establishes Rapport With The Tasmanians..."
MPEG Stream: "Indian-Pacific R.R. Blues"

FAHEY, JOHN New Possibility, the: John Fahey's Guitar Soli Christmas Album (Takoma) cd 13.98
Beautiful Christmas album from the late great guitar master John Fahey.

FAHEY, JOHN Of Rivers and Religion (Collector's Choice) cd 16.98
Newly issued on disc comes this John Fahey album from 1972. It was his first album for a major label and Fahey, one of the most genius guitarists of all time, wanted to bring in some musicians to augment his twanged out blues-based American style. The major label balked but finally relented and thus you'll hear dobro, mandolin, trumpet, clarinet, piano, double bass and other instruments on this record. While half the songs are classic Fahey solo excursions, the tracks with other musicians feature a New Orleans brass band sound. It's nice, but the New Orleans style is so pronounced on its own that I felt Fahey tended to get lost in that sound. Not the first Fahey record you should get (I'd give that nod to Death Chants), but certainly not a bad one.
RealAudio clip: "Funeral Song for Mississippi John Hurt"
RealAudio clip: "Lord Have Mercy"

FAHEY, JOHN Red Cross (Revenant) cd 17.98
"Red Cross, Disciple of Christ Today, by John Fahey, Guitar Evangelist." This is the last album by John Fahey before his death in 2001, and "guitar evangelist" seems like the perfect description of his legacy. With his acoustic guitar drenched in reverb, "Red Cross" sees Fahey traversing all his signature territory, condensing the entirety of American folk-blues tradition into a uniquely emotional and present instrumental language that also touches on eastern modalities and droning psychedelia. His talent for arranging classic compositions is represented by a version of Irving Berlin's "Remember" and a truly moving, beautiful take on the Gershwins' "Summertime" (I'm always a sucker for that song, but this version really blows me away). It's hard not to read into these tracks, knowing they were recorded so soon before Fahey's passing. The last, "hidden" track especially reverbrates with a kind of somber, distant contemplation, while many of the other tracks possess the joyful but calm exhuberance that comes with being at peace with fate. If there's anything to be learned from the touching liner notes by Cul De Sac's Glenn Jones, however, it's that Fahey was a man who truly lived for today, and if the album can be read as a reflection on the past or acceptance of the future it might just be by chance. But it doesn't seem to be by chance that the last album recorded by a guitar genius decades along in his career stands alongside his very best. Simultaneously uplifting in its gorgeousness and heartbreaking in its unintended function as a final farewell.
RealAudio clip: "Summertime"
RealAudio clip: "Red Cross, Disciple Of Christ Today"
RealAudio clip: "Charley Bradley's Ten-Sixty-Six Blues"

FAHEY, JOHN Red Cross (Revenant) lp 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now available on vinyl!!
"Red Cross, Disciple of Christ Today, by John Fahey, Guitar Evangelist." This is the last album by John Fahey before his death in 2001, and "guitar evangelist" seems like the perfect description of his legacy. With his acoustic guitar drenched in reverb, "Red Cross" sees Fahey traversing all his signature territory, condensing the entirety of American folk-blues tradition into a uniquely emotional and present instrumental language that also touches on eastern modalities and droning psychedelia. His talent for arranging classic compositions is represented by a version of Irving Berlin's "Remember" and a truly moving, beautiful take on the Gershwins' "Summertime" (I'm always a sucker for that song, but this version really blows me away). It's hard not to read into these tracks, knowing they were recorded so soon before Fahey's passing. The last, "hidden" track especially reverbrates with a kind of somber, distant contemplation, while many of the other tracks possess the joyful but calm exhuberance that comes with being at peace with fate. If there's anything to be learned from the touching liner notes by Cul De Sac's Glenn Jones, however, it's that Fahey was a man who truly lived for today, and if the album can be read as a reflection on the past or acceptance of the future it might just be by chance. But it doesn't seem to be by chance that the last album recorded by a guitar genius decades along in his career stands alongside his very best. Simultaneously uplifting in its gorgeousness and heartbreaking in its unintended function as a final farewell.
RealAudio clip: "Summertime"
RealAudio clip: "Red Cross, Disciple Of Christ Today"
RealAudio clip: "Charley Bradley's Ten-Sixty-Six Blues"

FAHEY, JOHN Requia And Other Compositions For Guitar Solo (Vanguard) cd 14.98
Amazing!!! People often ask what Fahey record they should start with or totally need to have. It's so hard to answer that because so many of his albums could be 'the one'. My answer to this question changes almost every day but as Requia sits in front of me I find it hard to find a reason why this isn't "the one". Combines both his amazing fingerpicking stylings along with his early exploration of tape effects and outside explorations. Every time it's played this record makes me freeze and goosebumps start forming. This is spiritual music in all the right ways.

FAHEY, JOHN Sea Changes and Coelacanths: A Young Person's Guide To John Fahey (Table Of The Elements) 2cd 24.00
John Fahey hated hippies. Well, that's no surprise coming from a curmudgeonly genius that made his dislikes very well known. In a 1997 interview printed in one of the booklets in this 2cd anthology of recordings on the Table of Elements label, he says he hated playing for audiences who only wanted to hear him play his old stuff -- "I'm picking up more of an audience from younger people who have an open mind, who are more into experimentalism. I don't want to live in the past." Which explains the subtitle of this anthology: A Young Person's guide to John Fahey. Collecting the now out of print Table of The Elements releases, Womblife (1997), Georgia Stomps, Atlanta Struts, & Other Contemporary Dance Favorites (1998, recorded live) and the limited posthumously released suite, Hard Time Empty Bottle Blues (2003), this anthology sees Fahey at his most iconoclastic. Opening with "Sharks" from the Womblife album, produced and recorded by Jim O'Rourke, Fahey's dissonant and impressionist guitar work is more predatory than pastoral, eventually careening into cinematic textures of gamelan and sandy rain. The sea theme throughout Womblife is appropriate as it sounds like it was recorded deep in the ocean giving voice to the organic shape-shifting rhythms of its creatures. Only the 13 minute closer, "Juana" recalls Fahey's early self with solo acoustic guitar. The Second Disc compiles the live set from Georgia Stomps, and here he trades his acoustic for an electric (or amplified acoustic, we're not sure) and soaks it in reverb and chorus. Seeming to take cues from Loren Mazzacane Connors stark electric guitar work, Fahey builds upon his earlier delta-inspired acoustic pieces and takes them into sparse and charged new territories. Fans of Fahey's vast Takoma catalog may not like this anthology as much, but it is amazing to see an artist late in life continuing to take his sound to new worlds. We only wish the current wave of Fahey inspired string pickers could do as much. Highly Recommended!
MPEG Stream: "Planaria"
MPEG Stream: "Hard Time Empty Bottle Blues II"
MPEG Stream: "Song For Sara"

FAHEY, JOHN The Best Of John Fahey: 1959-1977 (Takoma) cd 16.98
John Fahey revolutionized guitar folk. His immediately recognizable, simultaneously ethereal and earthy virtuosic guitar picking and compositions combined influences from the folk blues of Charley Patton to Indian ragas to classical music, and have had a vast influence on too many trad folk, neo-folk and psych artists to mention. If you have somehow managed to get by not owning any records by this guitar genius, you have a few good options of where to start, including The Transfiguration of Blind Joe Death; Death Chants, Breakdowns, and Military Marches (Windy's fave); or conveniently, this newly reissued collection of tunes originally issued on a 1977 best-of lp. Hand picked by the man himself from the Takoma back catalogue, the cd issue includes three tracks not featured on the lp, including the epic "Fare Forward Voyagers." The selections tend toward the more upbeat numbers, so for a fuller idea of what Fahey's all about which includes his more melancholy and drone-oriented works, you're going to have to dig into his albums proper. Still, this is a fine way to get your feet wet and fall in love with John Fahey.
RealAudio clip: "Some Summer Day"
RealAudio clip: "Desperate Man Blues"

FAHEY, JOHN The Best Of Vol. 2: 1964-1983 (Takoma) cd 16.98
If you want to hear a guitar being played, you just can't do much better than to listen to John Fahey (RIP)! An American original who synthesized country, bluegrass, blues, classical, and more into an untaught ('primitive') and utterly accomplished style. A true John Fahey "Best Of" will have to extend to more than just two volumes, that's for sure. This one covers material recorded for his own Takoma label between 1964-1983 (the cover picture looks like it was taken near or beyond the latter date) and some of it is until now unreleased on cd (or unreleased, period!) stuff including the 13+ minute track "The Fahey Sampler", a medley performance previously only found on a rare Takoma compilation LP from 1971. Three tracks are taken from the 'lost' album Azalea City Memories (And Dreams Of Prince George's County) which may actually date to 1991, while the rest come from such LPs as Railroad, The Transfiguration of Blind Joe Death, Death Chants, Breakdowns and Military Waltzes, Old Fashioned Love, Live In Tasmania, John Fahey Visits Washington DC, Yes! Jesus Loves Me, and others. Compiled and with liner notes by Henry Kaiser. For Fahey fans, probably essential for the unreleased/rare tracks, and for anyone who'd like to hear an idiosyncratic genius of acoustic 'folk guitar' and beyond, quite recommended.
MPEG Stream: "Frisco Leaving Birmingham"
MPEG Stream: "Sligo Mud"
MPEG Stream: "The Approaching Of The Disco Void"

FAHEY, JOHN The Dance Of Death And Other Plantation Favorites (Takoma) cd 17.98
The legendary guitarist's third album (from 1964) reissued with four bonus cuts. 'Fahey's dark sound, quirky humor and moody slide work are all in evidence on this release' it says here, and it's true.

FAHEY, JOHN The Great Santa Barbara Oil Slick (Water) cd 15.98
Ol' John Fahey, we just can't get enough of him...sadly he's gone now but every now and then we're blessed with a new reissue or, in this case, a rare live recording. The Great Santa Barbara Oil Slick was taped at the Matrix in San Francisco at two shows back in 1968 and 1969 (and is now the earliest live Fahey album out). It draws on material from his albums of the period, including The Yellow Princess, Blind Joe Death and Requia among others. Eccentric genius fingerpicked guitar and wry, charmingly mild mannered on-stage commentary doesn't get much better than Fahey, now does it? And where else are you going to hear such great music alongside brief tracks with titles like "Fahey Blows His Nose"? Comes beautifully packaged, with liners written by Glenn Jones of Cul de Sac.
MPEG Stream: "When The Springtime Comes Again"
MPEG Stream: "When The Catfish Is In Bloom"