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Cover of the 1997 reissue The Transfiguration of Blind Joe Death is a 1965 by and composer. Originally issued in a hand-lettered edition of 50, it was Fahey's first album to be released by a label other than his own. As with all of Fahey's independently released early albums, it had little critical recognition upon release. The album has grown in stature since its reissue on CD in 1997 and is now highly regarded critically. It was Fahey's fourth album to see release, though after his fifth album, was labeled Guitar Vol. 4, reissues of The Transfiguration of Blind Joe Death were subtitled John Fahey, Volume 5.
Contents. History The title refers to a fictional bluesman named Blind Joe Death, first introduced by Fahey on his debut album. For years Fahey and continued to treat the imaginary guitarist as a real person, including booklets with their LPs containing biographical information about him and that he had taught Fahey to play.
The Transfiguration of Blind Joe Death was issued by Riverboat Records, initially in a hand-lettered edition of 50, before The Great San Bernardino Birthday Party ( Guitar Vol. 4), but was later reissued by Takoma. Once reissued by Takoma, it became Volume 5, but was already labeled Volume 5 on the Riverboat album sleeves.
It was the first Fahey album to be released in the UK, on. The original 1965 liner notes came in a separate booklet, were lengthy and were written by John's roommate of though attributed to one Charles Holloway, Esq. They begin: 'A disgusting, degenerate, insipid young folklorist from the Croat & Isaiah Nettles Foundation for Ethnological Research meandered mesmerically midst marble mansions in.
It was an unsavory, vapid day in the summer of 2010 as the jejune air from Back Bay transubstantiated itself autologically and gradually into an ozone-like atmosphere.' The Transfiguration of Blind Joe Death was partly recorded on the East coast, but more tracks were needed to make the album., Fahey's friend and some-time producer and contributor, stated: 'We didn't have the budget for a legit studio for that one. So I found someone who had a real nice home recorder and a quiet room. I pretty much set John up and let him play. He was all by himself for most of it. I wasn't even around for many of the takes.
He sat there with a dog at his feet. There's one track where the dog barks in the middle of the music—it was my decision to leave that false start in.' Cover The distinctive cover of The Transfiguration of Blind Joe Death is briefly focused on in a shot of a record store in 's film. The jacket design and drawing are. Reception Professional ratings Review scores Source Rating (not rated) (no rating) A+ After its reissue in 1997, 'The Transfiguration of Blind Joe Death' received highly laudatory reviews. In his review for, Chris Smith gave it an A+ rating and wrote 'Fahey excels at conjuring up a painstakingly developed sense of time and place in his playing, and if its predecessor at times accurately mapped out the restive confines of the dark night of the soul, this record no less vividly represents a (mildly acid-fried) return to the front porch and the prairie.' Calling 'On the Sunny Side of the Ocean' the 'undeniable highlight of the album', he refers to the rest of the songs generally as '.unpredictable, complex, and evocative as any of Fahey’s previous, more aggressively daring work.'
Likewise, a 5 out of 5-star rating from reviewer Steven McDonald conceded the album 'has a lot of rough edges in terms of the recording but a tremendous amount of power when it comes to the music. Fahey was at the top of his game.' Said it '.balances whimsy and dignity, melody and dissonance, in a wholly original and very bent manner.' And music critic Jeff Lindholm, writing for the and magazine, called it '.a mix of old-timey country, ragtime, Spanish flamenco, Indian classical music and more.
Quiet, beautiful and jaw-droppingly intricate.' In a review for the 1967 Takoma reissue, called the liner notes '.a paranoid vision of reality unrivalled since. Nothing is what it purports to be directly, but everything is 'in a certain sense' — people make statements like characters in B-grade horror films, the trivial becomes significant, the meaningful, nothing.' Reissues.
The Transfiguration of Blind Joe Death was reissued on by Riverboat Records in 1967, 1970 and 1972. The Transfiguration of Blind Joe Death was reissued on by in 1968. The Transfiguration of Blind Joe Death was reissued on LP by Takoma Records in 1967 and 1973. The Transfiguration of Blind Joe Death was reissued on LP by in 1980. The Transfiguration of Blind Joe Death was reissued on CD by Takoma Records in 1997 with notes by pianist and guitarist. Track listing All songs by John Fahey unless otherwise noted.
Song times are from the original release. Fahey, John. Takoma Records.
Retrieved January 5, 2010. Sullivan, John Jeremiah (2009). Gordon, Robert (2001). Simon and Schuster. David, Rebecca.' Blind Owl Blues'.
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Gross, Jason. Perfect Sound Forever. Retrieved March 5, 2009. ^ McDonald, Steven. Retrieved March 15, 2009. ^ Lindholm, Jeff (August–September 1997). 'Review: The Transfiguration of Blind Joe Death'.
^ 'Review: The Transfiguration of Blind Joe Death'.: 90. ^ Meyer, Bill (September 2003).
External links. at (streamed copy where licensed).
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The 1967 Riverboat release: The second Riverboat sleeve, circa 1970: The final Riverboat sleeve, circa 1972: The 1973 Takoma re-issue: The 1980 Chrysalis re-issue: Prior to the commercial release of this album, Riverboat pressed a limited edition of fifty numbered copies. These simply came in a plain white sleeve. Copy #1 was sent out as a promotional copy, and here is the card that accompanied it: Riverboat's 1966 sleeve names the company as 'Riverboat Records', shows their address as 12 Noyes Place, Boston, Mass 02113, and quotes a price of $5.00. The second marks the company's relocation to Cambridge around 1970; the rear paste-over now shows the address as 141 Columbia Street, Cambridge, Mass 02139 and the price remains at $5.00; the front of the sleeve is unaltered. Incidentally, the remaining stock with the Boston address were cleared as cut-outs, which is why they are sometimes found with a corner missing. The final sleeve names the company as 'Riverboat Enterprises', uses a different steamboat logo, and abandons the $5.00 price. Takoma inherited the bulk of these on acquiring the 'Transfiguration' rights in 1973 and continued to use them for some time before bringing in their own variant (dated as 1973 above, but probably not actually in use until 1975).
Here are enlargements of the two Riverboat logos: The original Riverboat graphic. It is interesting to see from the card that accompanied the pre-release edition of 'Transfiguration' that although the subsequent sleeve was not yet ready, the booklet was (I'm presuming that they didn't come with hand-written ones). Early booklets appear to have been printed 'in-house' and are much more attractive than later ones, using an ivory coloured paper and a less harsh black ink. Later booklets are on whiter, and finally white paper, with hard black lettering, suggesting fairly cheap lithography.
The printing quality of the later booklets is variable, and some have unwanted black ink stripes across the pages (like those from misfiring photocopiers). I have posted pictures of the backs of the booklets because this is where one is able to determine definitively whether a booklet is an early one; in the bottom right-hand corner are the printer's details. 12 Noyes Place was of course the address of Riverboat Enterprises at that point.
Following the move to Cambridge, the printing credit was removed. These later booklets were printed in very considerable quantities, and Takoma inherited sufficient to be able to use them until the end. Even then there was a significant quantity remaining, and Fantasy were happy to post them out to owners of the CD. This very generous supply of booklets means that many early Riverboat records have subsequently acquired booklets that date from later. I can say with considerable certainty that all those first albums that show Noyes Place as the Riverboat address have the Gringo Press credit on the back of the booklet; this means that comparisons of paper colour are thankfully unnecessary given that paper tends to discolour with age anyway.
I've got an original Blind Joe Death vinyl. Side A is normal, but you're never going to believe what's on the other side - it's not Fahey, it's not guitar.
I'll make a video of it showing you. Unfortunately, I am still in that shit of an institution they call high school.
You can also check out my youtube page to see some of my Fahey stuff. Each video has something to do with him. In the film I made entitled 'The Great Chase,' the music doesn't come on for a few seconds but when it does it's me playing 'Poor Boy Long Ways From Home.' Aside from you, no offence to the rest of the Fahey community, I am the biggest Fahey nut you'll find. We should get in contact (I've got some pretty cool rare Fahey stuff/stories). Wonderful site you've put together by the way.
Oh and here's my youtube: http://www.youtube.com/user/Arsenal123456123. I'm aware that there is a copy of 'Transfiguration' up on eBay at the moment (it started at a pretty hefty, but now it's reducing price) that claims to be a 1965 pressing in 'brown vinyl'. It can't be from 1965 since no copies on Riverboat whatever were pressed until 1966, and the copy concerned is in a 1970s sleeve (the address on the back of the sleeve is Cambridge rather than Boston - I asked). All the Riverboat-labelled copies of this album are pressed from semi-translucent coloured vinyl of a rather murky colour which I would describe as purplish (they appear black until held up to the light). As far as I know, there is no other specific 'brown vinyl' pressing, although I could of course be wrong.
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