DAYS HAVE GONE BY

The Revolt Of The Dyke Brigade

Played in open C tuning. Originally called "Pat's Blues". Fahey heard Pat Sullivan playing a song in this tuning in late 1962 and later tried to recreate it and came up with this . Sullivan claims her song is not at all the same. Fahey renamed it after a parting of ways. Later when Fahey and Sullivan had become friends again, Fahey said he would give it its original name but for the fact that everyone had come to know of it by its present title. To quote DPB "This song is a remarkably cheerful song for Fahey. In it he generally shows the joi de vivre which he might occasionally feel when and if he found occasion to do so. If you like Fahey you'll like this one."


In a unprecedented fit of political correctness, retitled 'The Union Pacific' at a later date.

Impressions Of Susan

Played in open G minor . It is a lovely piece which opens a new vista in Fahey's musical development. The piece shows clear influence of and perhaps confirmation of the famous Jungesque theory equating the genetive principle with the animalistic nature of a particularly bovine variety of creature. [from the liner notes]

The Susan in question was Susan Turner of Takoma Park

Joe Kirby Blues

There is a Charley Patton song called "Joe Kirby". In JF's book on Patton it turns out that according to Son House Joe Kirby was a white fellow who owned a plantation off Highway 61 at Clayton, Mississippi. At the time Fahey wrote his thesis no copy of Patton's "Joe Kirby" had been discovered. One turned up in 1977. So this present piece is a ghostly companion to "Some Summer Day" - and see also comments on "Requiem for Molly" later.

Night Train Of Valhalla

Composed in 1960, at the gas station where John was working at the time. "Open G tuning, but played in the key of D. The title is kind of a joke -- remember 'Night Train To Memphis' by Roy Acuff? The song is king of frightening though, reminding me of a train speeding faster and faster. Kind of a scary song." [Barry Hansen - Return of the Repressed]

The Portland Cement Factory At Monolith California

Played in open C. Composed by Fahey in late 1962 or early 1963 after driving from Albuquerque to Berkeley. Fahey was impressed by the contrast between this enormous edifice, the smoke which poured from it and the surrounding green hillsides. Upon arriving in Berkeley he took a bath, had Pat over for dinner and composed it in her presence later in the evening. [from the liner notes]

A Raga Called Pat Parts One and Two

The notes suggest that this piece (the guitar, that is) was recorded live at the Ash Grove folk club. JF in 1968: "Sound effects come from a Folkways record entitled "Sounds of a Tropical Rain Forest" and from another record which contains the sound of a steam engine train travelling from Jackson, Mississippi to Houston, Texas. I forget the name of the album*. I borrowed both from Barry Hansen. The peculiar effects on part two are done by putting the turntable in neutral and running it backwards and forwards at variable speeds onto channel two (this was before I went stereo) when the music was already on channel one. I did this on the equipment in the Folklore and Mythology Department recording lab at UCLA while I was still going to school and working in the lab also."

Editors' note: we believe the techniques described here were also extensively utilised during the later Hip-Hop period of African-American music. Fahey's "scratching" proved something of a dead end in folk music, however.

Readers may be entertained by a comparison of the present piece with "A Raga Called John" by avant-noise group Pelt.

*Claudio Guerrieri identifies this as Steam Railroading under Thundering Skies issued in 1961. He adds that the actual steam engine at the beginning of this track has been preserved and is at present located at the Edaville Railroad in South Carver, Massachusetts.

For Fahey fans of a zoological bent, Claudio helpfully identifies the creatures heard in Part Two in order, including a chestnut headed tinamou and a three wattled bell bird.

My Shepherd Will Supply My Needs

Played in standard tuning, mostly in the key of C . Improvisation upon and statement of the theme of an Appalachian folk hymn. [from the liner notes]

One IFC member says that even people who don't like Fahey will like this one. My Grandfather's Clock

Standard tuning, key of C, accompany guitar is R. Gubbert Gardner, capoed way up the neck somewhere. [from the liner notes]

Days Have Gone By

Recorded at Frederick, Maryland at the phonytone recording studios, April 1962. Accompanying voices are Harmonica ED, Jolly Joe Buzzard and the Spider Lady. Fahey speaks once. Played in standard tuning with the bottom E string lowered to a D, key of D. [from the liner notes]