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Browse by: John Fahey (Biography) (0.21 seconds)
 
 
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As for fame, it can go to your head and you can become full of yourself.
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As for the source of the music, I believe it comes from the unconscious; that there is no such thing as talent.
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As soon as the groupie finds out that you make errors in everyday life like everybody else does and that you are human, they turn on you and hate you.
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Being worshipped is a horrible experience.
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But I say these things in an objective dispassionate manner because, you know, and I can't explain why, but being one of the greatest guitarists in the world simply is not very important to me.
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But when I come off stage, I do not want adulation, I do not want to be worshipped.
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Early Bluegrass is my favorite kind of music, not to many people know that.
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Everybody else was just trying to copy folk musicians, I wasn't trying to do that.
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From a social perspective, I am looking for friends, not acolytes.
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How can I be a folk? I'm from the suburbs you know.
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I also know that I am not a great technician.
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I do not even laugh at this like others do because the relationship between entertainers and groupies is pathological.
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I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.
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I just want to be treated like an average guy.
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I know many inferior guitarists who are very proud of the fact that they are as good as they are, when in fact they are only moderately good.
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I thought I'd be wasting my time to go to commercial record companies and make demos for them, because don't forget, I was doing what I was doing and nobody understood what I was doing.
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I was using them as teachers for technique but I was never trying to be a folk.
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In fact, I would go so far as to say that I am playing emotions and expressing them in a coherent public language called music.
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In the music I was composing I was trying to express my emotions, my so called negative emotions, which were depression, anger and so forth.
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Most musicians I know cannot open up.
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Oh, 1962. The music scene was so bad that several of us decided to come out to Berkeley and take over the folk music scene here.
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Regarding fame, fortune and Oregon I do wish I had more money.
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See my father knew a lot about music, he played the piano and he would do theory and stuff like that, but I didn't learn anything from him, but I played that for him and he liked it a lot.
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So I learnt a few country western songs, I bought a chord book, and right away I started writing my own stuff, which nobody else did that, I don't know why.
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So I was really composing for full orchestra and of course I didn't know enough chords or harmonies yet but I came up with some interesting stuff.
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So what I do is this - when I go to the venue, I become the entertainer John Fahey.
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So when people ask me how good I am, I usually cop to being brilliant, even better than that, but short of genius.
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The other thing in composition is opening up the unconscious.
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They are too focused on the audience rather than on their own emotions, or they are too focused on technique or perhaps on both.
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Well folks, that's about it for the show tonight.
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Well I was on the one hand, the more I played the guitar the more I began to really love the guitar and to love virtually any kind of music that anybody played well on guitar.
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Well when I made my first record I thought it would be a good joke to have me on one side, have the lable say John Fahey on one side, and this guy Blind Joe Death on the other side.
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When I play, I very quickly put myself into a light hypnotic trance and compose while playing, drawing directly from the emotions.
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While I recognize in the back of my mind that I am an occasionally brilliant guitar composer and arranger, innovator and player.

Biography

John Fahey (1939 - 2001) was an American guitarist and composer, and one of the first guitarists to perform solo works for the steel-string acoustic guitar. His music defies categorization, drawing inspiration from American folk music, blues, classical music, Brazilian music and Indian music. In several of his later works, he experimented with dissonance and noise; these later works have been compared with musique concrète and industrial music.

He founded the Takoma Records(http://www.wirz.de/music/takomfrm.htm) label (named after his birthplace, Takoma Park, Maryland) in the 1960s, which helped launch the career of fellow fingerstyle guitarists Leo Kottke, Peter Lang, and Robbie Basho. In 1996, Fahey formed Revenant Records which supports folk and blues artists.

In later years, Fahey was much admired and cited as an influence by a new generation of musicians, probably as much for the resoluteness with which he followed his individual path as for his interest in alternate tunings. Supporters include Sonic Youth, Nels Cline, and Jim O'Rourke, who recorded and produced Fahey's 1997 album
Womblife.

Fahey was also noted for his writing skills, having written voluminous liner notes which (among other things) satirized the folk music scholarship of his day. He is the author of three books:
How Bluegrass Music Destroyed My Life and Vampire Vultures, two books of essays, autobiographical fiction, and letters, and Charley Patton'', an analysis of the famous Delta bluesman.

External links


*Official web site
*Tribute site

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "John Fahey".
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