Twilight On Prince Georges Avenue: Essential Recordings
Download links and information about Twilight On Prince Georges Avenue: Essential Recordings by John Fahey. This album was released in 2010 and it belongs to Blues, World Music, Songwriter/Lyricist, Acoustic, Contemporary Folk genres. It contains 10 tracks with total duration of 50:51 minutes.
Artist: | John Fahey |
---|---|
Release date: | 2010 |
Genre: | Blues, World Music, Songwriter/Lyricist, Acoustic, Contemporary Folk |
Tracks: | 10 |
Duration: | 50:51 |
Buy it NOW at: | |
Buy on iTunes $9.90 | |
Buy on Amazon $9.49 |
Tracks
[Edit]No. | Title | Length |
---|---|---|
1. | The Thing At the End of New Hampshire Avenue | 3:30 |
2. | Atlantic High | 2:06 |
3. | Dianne Kelly | 7:42 |
4. | A Minor Blues | 4:40 |
5. | Black Mommy | 8:05 |
6. | Sunset On Prince George's County | 4:14 |
7. | Twilight On Prince Georges Avenue | 4:05 |
8. | Rain Forest | 6:45 |
9. | Improv In E Minor | 7:27 |
10. | Lava On Waikiki | 2:17 |
Details
[Edit]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 Girlfriend's & 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 Georges Avenue: Essential Recordings 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.