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In the Heart of the Moon
(2005)
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by
Ali Farka Touré/Toumani Diabate
In the Heart of the Moon is a duet recording by Malian guitar slinger Ali Farka Toure and Mandé lineage griot Toumani Diabate on kora. There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without ...
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Endless Road
(2005)
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by
Tommy Emmanuel
Originally released in 2002 in Tommy Emmanuel's native Australia (where he's a jazz and folk guitar legend) but not available in the States until 2005, Endless Road is a solo acoustic album that in its revamped form adds a pair of unimpressive vocal numbers. Emmanuel's fingerpicking style is heavily influenced by Chet Atkins, who appears here on a ...
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Guitar Music
(1981)
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by
Leo Kottke
Twelve solid guitar instrumentals. Chip Renner, All Music Guide
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The Transfiguration of Blind Joe Death
(1965)
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by
John Fahey
A strange man, John Fahey, with an unusual set of guitar styles. This album, originally released on Riverboat Records and later reissued by Fahey's own Takoma label, 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, alternately playful and dark, so ...
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Days Have Gone By, Vol. 6
(1967)
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by
John Fahey
Sam Graham once referred to Fahey as the "curmudgeon of the acoustic guitar," while producer Samuel Charters noted that Fahey "was the only artist I ever worked with whose sales went down after he made public appearances." This tumultuous spirit, in turn, made tumultuous music on albums like Days Have Gone By, filled with odd harmonics, discord, ...
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The Legend of Blind Joe Death
(1996)
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by
John Fahey
The saga of Blind Joe Death is an extremely confusing one, for those listeners who haven't been following Fahey's career from the beginning. In short: Fahey originally recorded Blind Joe Death in 1959, in an extremely rare, self-released edition of less than 100 copies. Though few heard it, his debut album was a groundbreaker on the acoustic folk ...
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The Early Years 1946-1957
(2007)
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by
Chet Atkins
In 1947, when the first material in this five-disc box set was cut, Chet Atkins (still using his given name Chester) was a struggling journeyman guitarist looking for a steady gig. By the end of disc five, Atkins was firmly established as one of Nashville's top-call sessionmen and a successful producer and A&R man at RCA Victor's Nashville office, ...
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The Dance of Death & Other Plantation Favorites [CD]
(1965)
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by
John Fahey
The title The Dance of Death and Other Plantation Favorites might lead some to believe that this is a collection of public-domain items that go back to the Deep South of the 19th century. However, while this 1964 session does contain a song titled "Dance of Death," most of the material (including that tune) was written by Fahey himself in the ...
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Bluegrass Guitar
(2003)
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by
Bryan Sutton
Bluegrass guitarist Bryan Sutton isn't one of Nashville's most in-demand session players for nothing, as is evident on his second solo outing, the appropriately titled Bluegrass Guitar. Straightforward and clean, Sutton's fingers fly over top of these 12 tunes, accompanied by simple banjo, mandolin, fiddle, and bass. The warmth and intent of the ...
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The Essential Chet Atkins [Legacy]
(2007)
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by
Chet Atkins
Chet Atkins is more esteemed as a session musician and producer than as a solo artist, and critics have rightly noted that much of his immense catalog as a solo artist is unimpressive. It might thus be assumed that it would be difficult to pick a two-CD, 40-track career-spanning retrospective that would both represent much of his finest solo ...
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Sixty Six Steps
(2005)
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by
Leo Kottke & Mike Gordon
The second collaboration of Leo Kottke with ex-Phish bassist Mike Gordon finds the duo exploring breezy Caribbean sounds, with a few surprise covers. The musicians work wonderfully together, with Gordon's meaty yet malleable bass grounding and darting around Kottke's distinctive and agile fingerpicked lines. Percussion reinforces the island sound ...
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Rhythms
(1995)
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by
Badi Assad
While Badi Assad isn't a jazz singer per se, the singer/acoustic guitarist clearly thrives on improvisation and spontaneity. This is no doubt one of the main reasons she ended up on the jazz-oriented Chesky Records. When Rhythms was recorded at St. Peter's Episcopal Church in New York, Chesky treated the project much as it would treat a jazz ...
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Verde [2005]
(2005)
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by
Badi Assad
The exotic, one of a kind Brazilian guitarist, singer, and rhythmic mouth and body percussionist has had a stop-and-start career with turns as mysterious and intriguing as her music. After splashing on the scene with her Chesky debut Solo in 1994, continuing the stir (including vast critical acclaim) with Rhythms (1995) and releasing Chameleon on ...
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Rain Forests Oceans & Other Themes
(1985)
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by
John Fahey
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The Complete Folkways Recordings (1958)
(1958)
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by
Joseph Spence
These recordings of Joseph Spence, made by Samuel Charters in 1958, display one of the most inventive guitar styles ever put to tape. Spence improvised on traditional tunes in a manner comparable to African-Americans Elizabeth Cotten and Mississippi Fred McDowell, like them adding rhythmic and melodic accents and changes in unexpected ways. In ...
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Friends of Fahey Tribute
(2006)
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by
John Fahey & Friends
The album may have an awkward title, but the music it contains is both touching and generally quite graceful. It's an appropriate juxtaposition, since the album celebrates the life and music of guitarist John Fahey, who was himself the same kind of walking contradiction: a notoriously difficult personality with a rare musical gift that expressed ...
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Vanguard Visionaries
(2007)
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by
John Fahey
Though John Fahey cut only three records for Vanguard between 1966 and 1969 (he cut a slew for his own Takoma label as well) , some of his most adventurous -- and some would say maddening -- work is here. Vanguard Visionaries compiles ten cuts from the latter two of these LPs, 1967's Requia & Other Compositions for Guitar Solo, and 1969's Yellow ...
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Improvika
(2004)
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by
Sir Richard Bishop
Sir Richard Bishop's guitar work harks back to an earlier time, when acoustic guitar virtuosos like Leo Kottke and Robbie Basho reigned supreme. Back then, players rarely sang, but used all of their energies to create original music that would never be confused (as is the case in the early 2000s) with new age music. This skill and seriousness is ...
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Happy All the Time
(1964)
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by
Joseph Spence
Waxed for Elektra in 1964, this has better sound than the Folkways recordings and offers some of Spence's most percussive playing. Mark A. Humphrey, All Music Guide
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Polytheistic Fragments
(2007)
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by
Richard Bishop
Sir Richard Bishop, formerly guitarist of the (in)famous Sun City Girls ensemble, has been making solo recordings intermittently since 1998, and quite regularly since 2004. In fact, Polytheistic Fragments -- his debut for Drag City -- is his fourth in as many years, and his third since 2006! The Sun City Girls broke up after the death of ...
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A Raga for Peter Walker
(2006)
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by
Various Artists
Many of the legends of acoustic guitar in the 20th century have already passed on -- John Fahey, Robbie Basho, Ali Farka Toure. Due partially to his spare recording career, Peter Walker's own reputation has not always been as well known as those of said giants, but his own influence has been considerable. A Raga for Peter Walker -- a tribute album ...
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Living on the Hallelujah Side
(1987)
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by
Joseph Spence
Bahamian guitarist/vocalist Joseph Spence's humming, flailing, sensational singing and playing combined secular flair and spiritual fervor in a manner close to that of the brilliant Blind Willie Johnson and Rev. Gary Davis. This set of 1970s performances, reissued on CD, included evocative renditions of "A Closer Walk With Thee," "More and More ...
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The Yellow Princess
(1969)
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by
John Fahey
This particular John Fahey side is a personal favorite of many of his devout fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, The Yellow Princess could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if ...
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Chet Atkins in Hollywood
(1959)
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by
Chet Atkins
If the cover of At Home evokes the 1950s, the music on In Hollywood IS the 1950s: a warm, cozy, sophisticated album of mood music in the best sense. Yet this is not an album of film music (though a handful of film themes turn up). Rather, it is exactly what the title indicates: Chet Atkins recording an album in a Hollywood studio, as opposed to ...
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The Spring of Sixty-Five
(1992)
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by
Joseph Spence & The Pinder Family
These recordings come from two separate occasions. Six tracks were recorded in New York City during Joseph Spence's first tour of the U.S., and prominently feature Spence's guitar and vocals, with harmonies and occasional lead vocals from his sister Edith Pinder. The other seven selections were recorded at the same sessions that yielded the ...
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