Review Summary: Christmas primitive guitar.
There are just nine days left until Christmas and snow is on the ground. At night, the majority of homes are gently lit by gaudy decorations - the white powder turns to bright shades of green, red, white and blue. Television stations will begin playing
A Christmas Story and
It's a Wonderful Life ad nauseam for the next week or so, as we feast on freshly baked cookies and the ten pumpkin pies our grandmothers made us in earnest.
This certainly is the holiday season. Yet, it would be nothing without the music; carols, songs and hymns that flood through every crevice during this time of the year. These often short pieces reflect the spirit of Christmas perfectly, whether it be through sleigh bells, choirs, piano or guitar. Phil Spector approached the music as if it were a stocking, filling as much space as he possibly could with maximum sweetness. On the other hand, those such as Vince Guaraldi have sought to recreate the by-the-fire warmth of the season with effervescent, piano based interpretations of classics, all wrapped in glistening nostalgia.
And then there is John Fahey, considered by many to be one of the greatest and most influential acoustic guitarists of all time. Over the years in which he lived, Fahey remained true to his roots in folk, blues, and classical music - blending each flawlessly through a masterful fingerpicking style and unmatched improvisational skills. It's obvious that he also shared a piece of his heart with Christmas music, having released at least five seasonal albums in his forty years of recording.
Christmas Guitar Volume One, much like the rest of Fahey's catalogue, is filled to the brim with assured and confident playing. Although most of the songs here barely deviate from the original composition, Fahey manages to incorporate plenty of subtle twists and turns to keep one interested. "Joy to the World" immediately begins the album with his easily recognizable tone and playing; the alternating bass lines and thin jangling, the rolling melodies and quiet drones. This, along with others such as "Santa Claus is Coming to Town" and "Christmas Time's A-Comin," contribute to the more jaunty and celebratory side of the season.
Elsewhere we are presented with even more excellent renditions. "Auld Lang Syne," "The Christmas Song," and "It Came Upon a Midnight Clear" are all played with beauty and careful attention, bringing forth feelings of wistfulness and longing through a piano-like style of sensitivity. Irving Berlin's "White Christmas" is in good hands too, though it's hard to imagine any version that eclipses Bing Crosby's. Fahey also finds the time to include older, sometimes less obvious works such as "Lo, How a Rose E'er Blooming" and "Good Christian Men Rejoice." Many of these songs conjure images of Israel and the birth of Christ, bringing the tone down to a more realistic and earthly level.
At first glance
Christmas Guitar may seem daunting; after all, twenty-six songs of Christmas music played soley on acoustic guitar could easily become tedious. Thankfully, John Fahey's approach to the guitar and music in general give the album an advantage over the vast majority of cloying, monotonous holiday albums put out each year. If you really want to embrace the most wonderful time of the year, you owe to yourself to listen to
Christmas Guitar.
Happy Holidays
