It is with considerable surprise that Takoma presents its third album of the creations of John Fahey. I had last seen John and Barth on a hot dusty night in Washington D. C. last August. Sitting by the banks of the Sligo we had we had discussed the horror of the terrible events which were occurring about us. Then he and Barth had left for their fateful journey to the South. I never imagined that after that conversation John and Barth had gone to the Adelphi Studios and in an incredible all night session left posterity hours of his finest music. As I listened to the tapes I realized that he had poured forth his soul as if he had a premonition ofwhat was to come in the months that followed. The sense of urgency that these pieces unfold is comprehensible only if the listener recalls the well known events of that August.

Everywhere the forces of darkness and evil were rampant. Before their onslaught, everywhere the goodguys were falling back in what were then described as strategic retreats. Skepticism as to the existence of the master plan was rife. I still retain a yellowing clipping on the inferior wartime paper from the popular folk magazine Guaranteed Bullfrog, soon itself to be swept from the scene in a horrible night of fire and death.

Fall of City Imanent

KEY BRIDGE August 24 1964 - special to the Bullfrog: This reporter learned today from the refugees who have been crossing the Potomac in a steady flood since the dawn in russet mantle clad first walked the Virginia hills with almost all of the stocks of being. Piecing together the conflicting fragments hurriedly poured forth by the terrified and shattered remnants of the forces of good, the following account was obtained:

As the setting sun cast shadows across the crossroads where poor Bob yet stands, a truce was agreed upon between the good guys and THEM. The good guys garrison had gone celebrating to the hospital with its badly wounded troops hoping that this respite would see conditions favorable for peaceful coexistence beginning to form. When the troops were at their weakest, slumbering, forgetful of the price of liberty, the forces of evil descended, quickly poisoning or drugging the guards and putting them to the sword. They worked thru the night loading boxes of being into a small German vehicle, and were gone before the light revealed their acts.
Information received from a high source reveals that THEM do not intend to abide by the results of the internationally supervised elections of the Fall. They have established a new capitol, perhaps in their hideout in New York where several shipments of being have been diverted by their agents. A dark Mantle is reported to be guarding the stolen being with arms of solid suburban money.

Morale is at a low point among the few surviving troops, many of whom believe that before that before the monsoon season when counter offensive operations can begin, that the powers of THEM will utterly destroy the city and the good guys.

Late in the summer of 1965 he played an unprecedented two weeks at the Odyssey followed by a gig at the Turks Head. At last John had become as Ed Freeman had predicted in the dark days of March, "a legend". The leading critics of the nation were present at these triumphs. Judging from their reviews in contemporary issues of Broadside of Boston, he took them by storm, also.

Fahey himself was ill of germ warfare, Barth had suffered a broken foot and I was in shock as a result of direct physical assault. Only the prompt and effective medical team at the Washington Hospital Centre had saved our lives. As we parted on that evening none of us expected to see the others alive again.

Quite naturally during the following months as the good guys painfully marshalled their forces, all of our attention was taken up with the effort of just surviving in our secret underground head-quarters and we never guessed what had taken place at Adelphi on that evening. Reports of Fahey's death came from Texas and we fully believed that never again would masterpieces flow from that fertile brain.

In the Spring of 1965 I stopped in Monolith, California, to inspect the work on the statue that a grateful community was erecting to Fahey's memory. One hot dusty evening while I was strolling towards the Portland Cement Plant, a dark man hurried from the surrounding night and pressed a note into my hand. I reached for my flashlight but the batteries failed. Cursing, I quickly reached into my pocket for the two Everready batteries I had bought for just such an occasion and fired a few random shots into the darkness. By the time I got my light working the only moving object was the dust from a subsiding grain elevator which I had accidentally mortally wounded. My attention turned to the note:

Fahey is risen       ef you wan oracular tapes go Berkely wait for contact
but believing it to be the work of a drunk peasant who had brooded too much over the legend that Fahey was King Arthur and would rise in the east and lead the forces of good to victory, I ignored the note.

A month later, however, I was contacted in Berkeley by an eccentric political leader who had somehow gotten the tapes from the Adelphi session. Hearing them I realized that the prophecy of the Transcendental Waterfall would be fulfilled. I purchased the tapes for a handful of tracts and beads and began to await the day when the political situation in the folk world would permit their release.

At the March celebrations of the battle of Boston the Appalachian Division of Music Research informed me that the owner of Fonotone records had been contacted in the liberated area. Writing to him for information I received a discography of Fahey's recordings for his company. This discography together with the information gotten from sources which I still not at liberty to reveal will be found in the Appendix to these notes. I believe that the new information will go far to dispel many foolish rumors which have arisen concerning the recording career of John Fahey.

The greatest surprise of all was gotten at the July Total Victory Celebrations held in the capital city after the ignominious capitulation of THEM in late April *. There I learned that Fahey still lived. At once our friends in Boston were informed and Fahey was able to resume his career as a musician now that the forces of evil were finally defeated.

* I still remember the surviving forces of evil emerging from the flaming bunker of their hopes waving a tattered yellow sportshirt as a token of surrender.


WORRIED BLUES is a familiar song in the white mountain tradition. This version owes much to the playing of Frank Hutchison, one of the best of the early white guitarists to record.

VARIATIONS ON THE COOCOO seems to be a variant of the Coocoo by Clarence Ashley. Fahey once said of this piece "everybody thinks that's far out".

POOR BOY is a variant of the same song by Bukka White as recorded for the Library of Congress in the late 1930's. It is only a miracle which permitted this song to come to ears of any, since it has been consistent policy of the Library to allow its material to rot rather than allow the public to hear any of it. God alone knows how many masterpieces have decayed beyond salvation in their vaults. This nation needs more thieves and less librarians.

THE DANCE OF DEATH is a European peasant song sung before lighting the bonfires on many a pestilent occasion. quite naturally no recordings survive of the original 12th century performances but they live on in the folk traditions of Takoma park and in the Etruscan River Valley Basin Delta Region. Joe Death heard the old massa gently strum this piece on an old baby's coffin while watching the mansion burn in 1865. Moved, the youth subtly shifted the rhythm to a more Afrocentric style and using the folk process, which he had learned from his father, he changed the dirge into a dance. Many in Takoma park recall the old darky shuffling his feet and humming the only surviving song from the white slave tradition. The white slaves in America after their liberation by the victorious Bessarabian armies migrated to New York and Berkeley, and their descendants, yet living in their quaint shanties, are known as White Negroes or "hippies". The failure of American society to integrate these people into national life can only have serious consequences in the future, and this piece is included in the hopes of increasing intercultural understanding and friendship of all people.

THE LAST STEAM ENGINE TRAIN combines elements of white mountain music, Stephen Foster and Nashville rock and roll. It is assured great hostility.

REVELATION ON THE BANKS OF THE PAWTUXENT was had by John as he, like so many of his generation were wont to do, wandered along the banks of the green Pawtuxent marvelling as it caressed the open brown flanks of the earth. No one who is familiar with the English "Water Poets" could fail to notice the influence that rivers have had in John's work.

ON THE BANKS OF THE OWCHITA was inspired by the theme music of the Apu Trilogy. At its first performance, given at a private party of select people in a suburb of the nation's capitol, the hostess was so overcome that she gave John and his friends 3/4 of a chocolate cake, 2 plates of spagetti, a fifth of bourbon, and 8 penicillin pills.

GIVE ME CORN BREAD WHEN I'M HUNGRY is a childrens skip rope song from Afghanistan. many Afgans moved to California following the merciless suppression of their nation by the evil red forces of Great Britain in the 19th century. Shortly after their arrival, they taught the miners in Plumas county how to ski and thus introduced the sport to this nation. John learned the song from a group of children whose parents were attending the National Afgan Liberation Day festivities. Believing the San Francisco Bay Bridge to be an entrapped goddess which will return them to their native land, the entire Afgan population solemnly gathers together on May 22 and, standing on the span, they pelt the shore with rotten eggs so that it may wish to release the bridge.

WINE & ROSES is a graceful minor melody learned by Fahey from an old Indian he met while visiting the Mississippi Monner Monument Coffee and Gift Shop in West Heliotrope, Maryland. He was given to understand that the song was an anthem used by the Indians in their heroic struggle on Capitol Hill in the early 1930's against the political entrenchment of the brief alliance of the Episcopal Ministry with Captain Marvel and the Mole Men.

WHAT THE SUN SAID is a musical creation of a mural by Frank Lloyd Wright which stands to this day 15 miles north of Tempe, Arizona. The mural illustrates the discovery of "dry long so" by the folk of Mississippi. The theme of the piece is given in an article Fahey wrote for Arizona Folkways, the CIA magazine.


Prior to his discovery in 1958 by a Takoma research team Fahey had played as a guitarist for a bluegrass band; often appearing with Bill Hancock and Greg Eldridge, but no recordings are known from this period. Sometime in 1956 he was smote to the ground by a bolt of lightning. Upon awakening he heard Blind Willie Johnson singing and from that time onward he ceased playing hillbilly and concentrated upon blues. His first recordings were made under somewhat mysterious circumstances for the Fonotone company - a pioneer in the folkfield.

Shortly before she met her tragic end by impalement when a chair rung she was tuning slipped from place under terrific pressure, Mrs Petranick informed us that John had the knowledge to operate recording equipment and that he was a hypnotist. Evidently, he would go to Fonotone with Blind Joe Death and Blind Thomas. The next morning the a & R man would awaken with a slight headache and a stack of unidentified masters. Needless to say this has left some ambiguity in the records of the company. We have here listed all recordings made by any of these artists, regardless of the name used on the label. While doubtless some of them are by Death or Thomas or even Firk, all of them are of considerable merit and we felt it best to take the risk of including a few too many, rather than risk leaving any out.

All Fonotone recordings are made at 78 rpm (that's the big brittle record with the small hole) and all were recorded in Fredrick Maryland unless otherwise stated. No master numbers are given. They are presumably identical with the issue numbers in 50% of the cases. All listed Fonotone records, with the exception of those marked "op" (out of print) are available from: FONOTONE RECORDS, Joe Bussard, 503 Fleming Ave, Fredrick, Md. 21701. The price is $1.10 per record plus $0.30 for packing and mailing. The catalog of this company contains many items of interest to the lover of American folk music.

1.	early 1958 ?			JOHN FAHEY

	Fot 1157	Takoma Park Pool Hall Blues/

			Transcendental Waterfall (op)

	Fot 1182	Buck Dancer's Choice/

			Barbara Namkin Blues

	Fot 1184	St. Louis Blues/

			On Doing An Evil Deed Blues

	Fot 1185	In Christ There is no East or West/

			Stak O'Lee Blues

			If You Haven't Any Hay / C.C. Rider

		add PAT SULLIVAN - vocal

2.	late 1958			BLIND THOMAS

	Fot 1199	Mississippi Boweavil Blues/Green River Blues (op)

3.	later 1958			BLIND THOMAS

	Fot 511	Over the Hill Blues/Labas Rag (op)

	Fot 607	Pat Sullivan Blues/(this may be a one sided record) (op)
Fahey has no knowledge of Labas Rag and believes the title to be mistaken. He also
believes that the flip side of Pat Sullivan Blues was Chris's Rag - being named after Chris

4.	early 1959	Spotswood's ancestral home, Westmoreland Hills, Md.


	John - g=1, Elmer - g=2, voc. & g=3, Harold - voc. & g =4

	On Doing An Evil Deed Blues - 1	Railroad Bill - 3,1

	Buckstonk Blues - 1		Easy Ridin Buggy - 3,1

	Brenda's Blues - 1		One by One - 3,1

	John Henry - 2,1		If You Feel Like Your In Love 

	Blues in E - 2,1			Don't Just Stand There 3,1

	Blues in C - 2,1		Tell Me Who's Been Fooling You - 4

	Add vocals by Elmer, Harold and Kelly at various times
Rock Is My Pillow
The War is Over

So far as I can determine, these are the only known recordings by the Williams Brothers and Kelly. Their home was once located on New Hampshire Ave just beyond the DC line, presently the site of either a Safeway or a highway. By wise and judicious placement of modern highways, the local governments of suburban Maryland have increased property values by simultaneously creating easy access for modern transportation and by ridding the countryside of unsightly negro and poor white shacks. As a result of this policy there seem to be no negroes or farmers left in the lower half of Montgomery county. The suicide rate is rising.


		Recorded by Pat Sullivan at St. Michael's and 

		All Angels Church in Adelphi, Maryland

Takoma C 1002	First Edition (distinguishable by the lack of

		issue numbers on either the label or the jacket)

On Doing An Evil Deed Blues

St. Louis Blues

Poor Boy Long Ways From Home

Uncloudy Day

John Henry

In Christ There is no East or West

The Transcendental Waterfall

Desperate Man Blues

Sun Gonna Shine in my Back Door Someday Blues

Sligo River Blues

West Coast Blues
From listening to these selections it is apparent that by April 1959 Fahey had absorbed direct influence from the works of Elizabeth Cotton, Two Poor Boys, Sam McGee, Barbecue Bob, Charlie Patton, Sylvester Weaver and Walter Beasley, Mississippi John Hurt or Frank Hutchison, and the Carter Family; not to mention the Episcopal Hymnal. His amazing capacity for assimilation and synthesis thus became evident early in his recording career. it is all the more amazing for the obscurity of the work of those artists before the inception of the Origin Jazz Library. it is clear that John owes a debt to the Harry Smith Anthology, that miracle which justifies, by itself, the existence of Folkways.

6.	Nov. 15, 1959		BLIND THOMAS

Fot 505	Blind Blues/Poor Boy Blues

Fot 506	Long Time Town Blues/Gulf Port inland Blues

Fot 507	Blind Thomas Blues/part 2

7.	April 15, 1960		BLIND THOMAS

Fot 610	Wanda Russel Blues/Going Away to Leave You Blues

Fot 611	John Henry/Paint Brush Blues

Fot 612	Lay My Burden Down/Hill High Blues

8.	Nov. 15, 1960		BLIND THOMAS

Fot 631	You Gonna Need Someone On Your Bond/Jesus

			Gonna Make up My Dying Bed

Fot 632	Banty Rooster Blues/Tom Rushin Blues

Fot 633	Yallaboosha River Blues/You Gonna Miss Me

Fot 634	Wissen Schaetlich River/part 2

Fot 635	Blind Thomas Blues part 3/part 4

Fot 636	Zekian Swamp Blues/Nobodies Business

9.	March 24, 1961	BLIND THOMAS

Fot 6146	Going Crabbing Talking Blues/part 2 (rejected)

Fot 6147	You Better Get Right/I Shall Not Be Moved (rejected)

Fot 6148	Weissman Blues/Dasein River Blues

Fot 6149	Racoriverate River Blues/part 2 (rejected)

Fot 6150	Ickweisnikt River Blues/Smokey Ordinary Blues (rejected)

For 6151	Old Country Rock/Little Hat Blues (rejected)

10. early 1962		St. Michael's Church, Maryland ?

			JOHN FAHEY - guitar

			FRAN VANDIVER - vocal

Brightest and Best		My Shepherd Will Supply My Need

Golden Vanity			In the Pines (Fonotone 6227)

Pretty Polly (Fonotone 6227)	Guide Me On Thou Great Jehovah (a capella)

Take This Hammer		My Horses Ain't Hungry

East Virginia			Cora is Gone

Willow Garden			Going Down the Road Feelin Bad

Dark as a Dungeon

				add FLEA - vocal

				Sparkling Blue Eyes

11. Feb. 24, 1962	St. Michael's Church, Maryland ?

			JOHN FAHEY - guitar soli

		Dance of Death

		Yazoo Basin Blues

		Stomping on the Old Pennsylvania / Alabama Border

		Night Train to Valhalla

Takoma C 1003 	Dance of the Inhabitants of the 

				Palace of King Philip of Spain

		Revelation on the Banks of the Pawtuxent River

		Dream of the Origin of the French Broad River

12. March, 1962	St. Michael's Church, Maryland 

The instrumentation and personnel of this session are extremely complex. those familiar with discography will follow it however. John Fahey, guitar -1, and vocal - 2, guitar and kazoo 13; Nancy McLean, flute - 3; Robbie Basho, guitar - 14, guitar and vocal - 4; David Gardner, vocal only - 5, tenor recorder only - 6; Grubbert Gardner, washtub bass - 7; Howard Metler, trash can - 8; Flea, kazoo - 9, vocal - 10; Eileen Gardner, vocal - 11, Any Agamenmon, vocal - 12.

Improvisation for Trash Can and Flute - 3,8

	the White Dove - 1,2,10

	Texas and Pacific Blues - 1, 13, 14, 7, 8

	Beedle Um Bum - 1, 2, 13, 9, 10

	Cajun Chanson de Mardi Gras - 1, 3, 4, 6, 7, 11, 12

	The Downfall of the Adelphi Rolling Grist Mill - 1, 3 

	(issued on Takoma C 1003)

13. Apri 1962		Fredrick, Maryland

			CHARLIE PATTON - guitar & vocal

			JOHN FAHEY - guitar


		Bird Nest Bound

		Dry Well Blues

			JOHN FAHEY - guitar & vocal


		Hammer Blues

		Heart Like Railroad Steel

		Jersey Bull Blues

		Peavine Blues -1; -2

		Maggie Campbell Blues -1, -2

		Take This Hammer

		Atlanta Blues

		1928 Ford

		Mississippi Po Boy
Other voices may also be heard on the tapes of this session. Also present, although considerably drunk were Spider Lady and Harmonica Ed. Bootlegs of this session often have selections by Lottie Kimbrough mixed in and occasionally parts of the Episcopal Youth Show. Other selections by Patton may be heard on Origin #1 and 7; a reissue LP of Jolly Joe has been issued on the now legendary Piedmont label and is probably in print.

14. May 1962	St. Michael's Church, Maryland ?


Flea, organ - 1; John Fahey, guitar - 2; Flea, vocal - 3; 

John Fahey, guitar & vocal - 4; Flea, french horn - 5; 

Nancy McLean, flute & vocal - 6; Thomas Curtis, vocal - 7.

	Will the Circle Be Unbroken - 1, 2

	Will the Circle Be Unbroken - 3, 4

	Goodbye Booze - 3, 4

	Oh Lord Remember Me - 4, 5, 6

	Untitled Sermon with Singing - 3, 4

	The Devil Makes Men Split the Atom - sermon with singing - 3, 4

	A drama - The Episcopal Youth Group imitates the

	Episcopal Discussion group - 3, 4, 7

	same day Martin's Esso Service Station, Takoma park, Md.

	FAHEY, FLEA, BOB BICKNELL & OTHERS - vocals, a drama

		The Service Station at New Hampshire and University Blvd.


			(Fahey & Firk)

Fot 6219	Black Swamper's Blues / part 2

Fot 6220	Green Blues / Stone Poney

Fot 6221	Some Summer Day #2 / Dark & Lonely Nights Blues

The first version of Some Summer Day is by Charlie Patton, 

specialists may find a comparison amusing. Firk has recorded for

Fonotone on several occasions.

16. July 4, 1962	Lewisdale, Md.

			JOHN FAHEY - guitar

			NANCY MCLEAN - flute

Takoma unissued	Kuolema (4 takes)

			Leaving Home

			Memories of Janvenpaa (17 takes)

			Frisco Leaving Jarvenpaa (12 takes)

			My Station Will Be Changed After a While

			(43 takes, abortive)

			Key Largo (one take, with firecrackers)

			Lottie Kimbrough

17. about a week later	St. Michael's Church, Md.

	same personnel

			Charleston #0

			Charleston #1

			Sail Away Ladies

			Let Us Grove (sic)

18. Summer 1962	Fredrick, Maryland


About 12 songs were recorded, the titles of which are unknown at present. 

I believe this to have been a session for Fonotone.

19. Summer 1963	Alcatraz Apartments, Berkeley, California

			JOHN FAHEY - guitar

			Guitar Excursion into the Unknown

20. Fall 1963		Berkeley, California	


Takoma C 1003	Sunflower River Blues

		When the Springtime Comes Again

		Stomping Tonight On the Pennsylvania/Alabama Border

		Some Summer Day

		On the Beach At Waikiki

		John Henry Variations

		Spanish Dance

		Take A Look At That Baby


		Episcopal Hymn

The Downfall of the Adelphi Rolling Grist Mill, which features McLean on the flute was recorded at an earlier date. This session, the first major West Coast session of Fahey, lasted two days, during which time Fahey consumed three fifths of whiskey and filled fifteen rolls of tape. The unissued tapes were destroyed by electromagnetic radiation.

21. April 13, 1964	Arhoolie Studios - Berkeley, California


Takoma unissued	Maggie Campbell Blues (guitar duet)

			Moon Going Down (guitar duet)

			New Orleans Shuffle (guitar duet)

			West Coast Blues

			Thing in G (The Television Song)

			Uncloudy Day

Takoma C 1002, second edition (with issue numbers and printed jacket)

			Transcendental waterfall

			On Doing An Evil deed Blues

			In Christ There is no east or West
The other selections on the second edition were taken from one of the few copies of the first edition to survive. West Coast Blues was not included because the record had a bullet hole through that track. When truth is known, there are many surprises.

{Fahey's Recording Notes}

22. Summer 1964	Adelphi Studios - Silver Springs - Maryland

			FAHEY & BARTH - 1

Takoma C 1004 - all selections were taken from this session

		Wine and Roses *

		Worried Blues

		What the Sun Said

		On the Banks of the Owchita River - 1

		Variations on the Coocoo

		Poor Boy

		The Dance of Death

		The Last Steam Engine train

		Give Me Corn Bread When I'm Hungry

		How Long

		Revelation on the Banks of the Pawtuxent
Takoma unissued - other titles recorded at this session include:


	Chimes Blues						

	Silent Night						

	The Television Song					

	The Sidewalks of New York				

	The Revolt of the Dyke Brigade				

	The Portland Cement plant at Monolith California	

	Southern Medley						

	Brenda's Blues						

	When You Wore A Tulip					


	Steel Guitar Rag

	C Tuning

	Camptown Races

	House Carpenter

	O Come O Come Emanuel

	Improvisation in E minor

	It Had To Be You

	Buddy Bolden Blues

	New Orleans Shuffle

	Saint Louis Tickle

	Last Thing #1

* Wine and Roses is mistitled, it is actually The Red Pony

23. Early June 1965	Topanga, California		

			JOHN FAHEY, guitar

			MAYNE SMITH, banjo

			MARK LEVINE, 2nd guitar - 3

	Train - 2, 3						

	Long Journey Home - 2, 3				

	Willie Moore								

	Texas and Pacific Blues - 2, 3 & kazoo			

	Television Rag						

	All Sing A Song of the Saints of God				

	The Portland Cement Plant at Monolith California		

	Untitled Piece in E Modal				

	How Long						

	House Carpenter					

	Bicycle Built  for Two

	Come Back Baby - 2, 

	Poor Boy

	Brenda's Blues

	The Death of the Clayton Peacock

	How Green Was My Valley

	St. Patrick's Hymn

	101 is a Hard Road To Travel

	Beautiful Linda Getchell - 2

This was originally a session for Delta which however did not issue any records.

24. late July 1965	MIT, Cambridge, Mass	


Riverboat	Orinda / Moraga

		I Am the Resurrection

		On the Sunny Side of the Ocean

		Tell Her to Come Back Home

		Bicycle Built for Two

		Old Southern Medley

		Western Medley	FAHEY - g & veena

				N.S.DUSTY 1st & 2nd guitar

		Sail Away Ladies - 1	FAHEY - g, 

					MYSTERIOUS AL WILSON - veena - 1

		Durgan Park

		The Bitter Lemon
Certain songs recorded at the Topanga session were also recorded at this session and then destroyed right after the sessions. No one remembers which ones.

25. 3 weeks preceeding Aug. 26, 1965	New York City

			JOHN FAHEY - guitar

			WILLIAM BARTH - g, -1

This was intended to be an instruction lp illustrating 

various traditional styles.

	Title			Artist whose style is being illustrated

Smoketown Strut			Sylvester Weaver

(Steel) Guitar Rag		Sylvester Weaver

Squabblin' Blues		Barefoor Bill from Alabama

Police Sargent Blues		Robert Timothy Wilkins

Church Bell Blues		Luke Jordan

99 Year Blues			Julius Daniels

It Won't Be Long		Frank Stokes

Nobody's Business		Frank Stokes

Nobody's Dirty Business		Mississippi John Hurt

Memphis Women			Frank Stokes

Stack - o -lee			Mississippi John Hurt

Old Country Rock		William Moore

Big Road Blues			Tommy Johnson

Down the Dirt Road Blues	Charlie Patton

Maggie Campbell Blues		Tommy Johnson

A Rag Blues			Walter Hawkins

Snatch it and Grab it		Walter Hawkins

various others
A number of pieces were cut for audition purposes of John's own music. He was not paid for these and has not at this date (Jan. 11, 1966) been able to get all of the tapes returned either.

26. September ? 1965	JOHN FAHEY

Takoma unissued recorded in performance

How Long				Variations on Eck Robertson

On the Banks of the Owchita		Durgan Park

The Dance of the Inhabitants		I Am the Resurection

The Revolt of the Dyke Brigade		The Great San Bernadino 

The Death of the Clayton Peacock		Birthday Party

When the Springtime Comes Again		The Orinda / Moraga

Some Summer Day  part 2			Southern Medley

101 is a Hard Road To Travel			Willie Moore

			add ED DENSON - harmonica

					Some Summer Day  part 1

Le Vieux Soulard Et Sa Femme		I Woke Up One Morning in May
These pieces were recorded on a 4 track Roberts and probably will not be issued.

27. Nov. 28, 1965	Arhoolie Studios - Berkeley,California	


Takoma unissued	The Great San Bernadino Birthday Party

			Joe Kirby Blues

			Jim Lee Blues

			Willie Moore

			Variations on Eck Robertson

			Loch Lohman

			Untitled Epic

					add ED DENSON - harmonica

			One Day in May

			Maryland My Maryland

			Le Vieux Soulard

			The Bear Went Over The Mountain
"I believe it to be an ancient teutonic non-fertility rite, performed in the days of King Balder, on the sleu row of ancient Bromicidealvancia. The etymology should be obvious. Various haruspices would stand guard while they were reading the runes on the sacrificial lion heads.
Most of this information comes from a 4th century Herdal (not Herbal) which is a medieval book of a moralising or allegorical nature describing the various herds. These books should not be confused with the later Turdals, which described various methods of predicting the future by means of inspecting the excretions of various animals; nor with turtles. The "al" prefix or suffix of all this books of course betrays their Etruscan origins. Haruspices were of Etruscan origin.
The lion herds were kept by aniconic kings of old Iberia in the days of St. Cyr the third, and were annually or biannually (which is not known) on the days of the two solstices, lustrated, or in this case castrated, to propitiate the various Hodologs, who were then worshipped throughout the lower Syrinx river basin delta.

This delta had the very pronounced habit, during certain dry seasons, of sliding. In order to compensate for the encroachments of numerous escarpments, which were at this time always encroaching upon everyone, due to the sliding of the delta. Hymns were composed, which were sung to various gods of the delta and the escarpments. In time, the escarpments ceased to encroach, but the delta continued to slide, which was quite naturally no longer dangerous to the local volk. These hymns continued to be sung altho their aetology was long forgotten. Later they were written down in compensium of sliding delta hymns which were so named.

In 1929, a translation of one of these ancient hymn books was deposited in the University of Mississippi Library at Oxford. A janitor, by the name of Thomas Johnson (here there is a gap in the document. Only one other sentence is legible) . . . Later when a talent scout from Wisconsin Chair Mfg. Co. was in Jackson where Johnson had moved . . . . ."

The editor regrets that the only surviving copy of this document is incomplete. It was found by him on a recent camping trip, in the hands of a group of artists who were using it to start fires, unknowing of its value as a document of social history.

Elijah P. Lovejoy

All music on this record Copyright c 1965 John Fahey Published by Tradition Music (BMI)

This record was recorded by Gene Rosenthal of Adelphi Studios, in Silver Spring, Md. on an Ampex Studio Tape Transport 400, using Electrovoice 676 and 664 cardiod dynamic microphones.
It was produced by ED Denson, Takoma Records. Cover design by Berkeley Free Press
Mastering by Sierra Sound Studios, pressing by Fidelatone Mfg. Co.

BUKKA WHITE: MISSISSIPPI BLUES VOL. I One of the best country bluesmen, long a legend for his recordings for Victor and Columbia in the 1930's. Recorded in Memphis Tenn. after his rediscovery in 1963. This album contains several of Bukka's best original songs (Shake Em On Down, Aberdeen Mississippi Blues) and some of the delta favorites (Baby Please Don't Go). One sky song improvised on the spot, one song accompanied by piano. On the three minute talking track Bukka tells of Charlie Patton. Recommended in Saturday
, Broadside of Boston & Sing Out, this is the first, and in our opinion the best, of Bukka's three recordings made since the war. Those of you who enjoy this Takoma LP will probably also want the two LP set on Arhoolie: Origin Jazz Library #'s 5,12, & 13 and RBF's "Country Blues" and "Rural Blues' for other recordings by Bukka.

JOHN FAHEY / BLIND JOE DEATH: This is the second edition of the record that made John and Joe legends. Serious students long felt that the more traditional Joe was superior, but as Dylan said so prophetically "Death shall have no dominion" and John has since been recognised as "easily the finest, and most original of the younger "folk" musicians now playing, " (Al Wilson Broadside of Boston) recorded in Maryland in 1959 the selections include: The Transcendental Waterfall, Desperate Man Blues, St. Louis Blues, Uncloudy Day, and In Christ There is No East Nor West. Partially rerecorded in Berkeley in 1964.

JOHN FAHEY VOL II: DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES, Recorded in Berkeley in 1963, and in Washington D.C. the album includes 12 pieces of the best work that John did in the early 1960's. It brought him rave reviews from Boston to Los Angeles where Barry Hansen said "Fahey is working at a level of seriousness which none of the other experimenters in folk music even approach, and this album (his second) is strong testimony to his achievement and future possibilities." (Daily Bruin) Titles include: Sunflower River Blues, Stomping Tonight on the Pennsylvania, Alabama Border, Some Summer Day, The Downfall of The Adelphi Rolling Grist Mill, and The Dance of the Inhabitants of the Palace of King Philip XIV of Spain.

Recorded in Maryland in 1964, among the 11 selections is a guitar duet with William Barth. The work on this record was primarily composed during the period 1963 - 1964 during which time Fahey moved in several interesting directions. The influence of Foster, India, and several newer facets of the native folk traditions are evident. In the notes there is a complete account of John's activities during the year and a discography listing over 100 songs which he has recorded. The titles include: Variations on the Coocoo, Revelations on the Banks of the Pawtuxent, Dance of Death, Worried Blues, On the Banks of the Owchita (duet).

ROBBIE BASHO: THE SEAL OF THE BLUE LOTUS: Another distinctive and original guitarist from Washington. This recording, 2 years in the making, and financed by several institutions and philanthropists, will take the listener from the Theater of North American Taoism to the realm of the Black Lotus. Recorded in Seattle, Toronto, New York and Berkeley during the period 1963 - 1965. The selections are: Seal of the Blue Lotus, Mountain Man's Farewell, Bardo Blues, Dravidian Sunday, Sansara in Sweetness After Sandstorm, and Black Lotus - Hymn to Fugen

All Takoma records which cannot be found at your local friendly superior store are available from us at $5, postpaid.


Notes transcribed by Chris Downes, Sydney, Australia,
August 13, 1998 from original record notes.