John Fahey

The Great Santa Barbara Oil Slick - (Water/Revenant)

What I've always liked about John Fahey is that he doesn't fit the stereotype of the "musician's musician" although his impact was felt on more than a few guitar players.  His music didn't fall into a category where you had to appreciate his technical proficiency in order to get something out of his music.  Nor does it sit in the background, fostering a "Sunday morning music label" that attaches itself to instrumental music so much - which I've found loosely translates to "I don't feel like paying that much attention".  One of Fahey's greatest talents was the confrontational nature of his music.

I know that sounds very "punk" thanks to using the word "confrontational", but the fact is that Fahey played music that you had to "deal" with.  From his early Blind Joe Death days to his 90's resurgence (thanks to endorsements from the likes of Thurston Moore), the eclectic Fahey made music that became synonymous with the man behind the guitar rather than becoming a case of being able to mimic simply by knowing when and where to put your fingers on a guitar's neck. 

The Great Santa Barbars Oil Slick is an enthralling tribute to Fahey's talent.  Recorded at The Matrix in San Francisco in 1968 and 1969, we hear Fahey in a natural live setting, nicely produced here by Glen Jones.  Across the 17 tracks here (although one is simply "Fahey Blows His Nose", 46 seconds of exactly what it's title states), Fahey's playing covers the full range he offered up to that point in his career, from "In Christ There Is No East Or West" (originally appearing on his 1959 Blind Joe Death LP) to the then-new "Lion" (from The Yellow Princess).

These aren't note-for-note performances, though.  "Dance Of The Inhabitants Of The Palace Of King Philip XIV Of Spain" is almost doubled in length, and there are hints of his 1971 America in his treatment of "When The Sprintime Comes Again". Fahey's playing, alternating for delicate to absolutely fierce (his guitar takes a real beating at the end of "When The Catfish Is In Bloom"), displays an instinctive expression.  The songs are as long or as short as he feels they should be, which is why it's no trial to listen to his 10 minute version of "Magruder Park".

With any luck, more recordings such as these will surface, or the better-known Fahey bootlegs will get the legitimate treatment.  Still, they'd have to go to great lengths to compete with The Great Santa Barbara Oil Slick.

8.5