An Introduction

When I started posting here, it was merely with the intention of putting up pictures of the various labels used on Fahey albums, particularly those released through his own Takoma label, to help date copies, identify earliest pressings and provide a chronological perspective on John's work. But already there's a broadening of objectives with the offer of other material that will be of interest to enthusiasts rather than 'collectors'. It means that the blog title is a little outdated now, but I've got used to it so it's staying!

I must give the International Fahey Committee (henceforth the IFC) an acknowledgement here, with their very comprehensive and well researched information on the johnfahey.com website. It is by far the best Fahey site, and I have put up a couple of links to them on the right. At one point, they hypothesize a discussion in a pub where people debate different theories as to the finer points of Fahey's records, and my posts here will simply be intended to be part of that general ongoing discussion (and with the odd pint or two as well, hopefully). My particular thanks to Paul, Malcolm and David who have given both encouragement and material for posting here. And also to Glenn Jones who has put considerable time into producing some wonderful photographs, and to everyone who have donated material, all of whom are listed for contributions in the sidebar.

Since there is a little confusion, I should make clear that when I say 'Takoma' I am referring to the independent US label that existed from 1959 to 1978; not to companies that reissued material nor those that held any foreign rights to Takoma recordings. Chrysalis and Allegiance pressings are identified as such, unless the record concerned was given its original release by them.

To keep things fairly straightforward, recent posts are now shown in sequence below. You'll find older articles, downloads, and the label posts through the links on the right.

COPYRIGHT

The downloads posted here are of material that is not in commercial circulation, and there seems no obvious likelihood that it will become so. It is not clear who now holds the copyright for John's unreleased work. I hope that people will buy legitimate releases where John's work remains available (and much of it does, of course), and that someone will take on the task of releasing all the other surviving recordings. If you own the rights to any material here, and wish it to be taken down, please email me and I shall of course be happy to do so.

Unless authorship is clearly attributed to others, the written content of this blog is my own work. I am quite happy for this to be quoted elsewhere, providing that I receive an acknowledgement and a link back to the appropriate post.