Of Rivers and Religion | ||||
---|---|---|---|---|
![]() | ||||
Studio album by | ||||
Released | August 15, 1972 | |||
Recorded | 1972 | |||
Genre | Folk, jazz | |||
Length | 37:40 (Original LP) 34:49 (Reissue) | |||
Label | Reprise | |||
Producer | John Fahey, Denny Bruce | |||
John Fahey chronology | ||||
|
Of Rivers and Religion is an album by American folk musician John Fahey, released in 1972. It was his first recording on a major label ( Reprise Records) and is credited to John Fahey and His Orchestra. It marked a significant change from Fahey's previous releases, incorporating a backing band and performing songs and arrangements in a Dixieland jazz style. Although Time picked it as one of the Top Ten albums of 1972, it was also a difficult album to market and had little enthusiasm at Reprise. [1]
Of Rivers and Religion was the first album Fahey recorded with producer/manager Denny Bruce. Bruce had negotiated the contract with Reprise after failing to negotiate with Fahey's previous label, Vanguard Records. [1]
Bruce arranged for the musicians, beginning with Jack Feierman who wrote the majority of the arrangements. [1] Many of the New Orleans session players had previously contributed to Walt Disney's soundtrack for Song of the South. [2] Some of the same musicians would appear on Fahey's second release for Reprise, After the Ball. [1] Multi-instrumentalist and session musician Chris Darrow later commented, "I remember the first time I ever heard him, I thought they'd turned the record from 45 to 33 or something, 'cause I couldn't believe how slow he played." [3] The session band appeared on "Dixie Pig Bar-B-Q Blues", "Texas and Pacific Blues" and "Lord Have Mercy". [4]
Speaking of both Of Rivers and Religion and After the Ball in a 1998 interview for The Wire, Fahey recalled, "I don't understand why they got bad reviews. It's like every time I wanted to do something other than play guitar I got castigated." [5]
The album cover featured a photo staged at Disneyland's Tom Sawyer's Island. [4]
Review scores | |
---|---|
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Christgau's Record Guide | A [6] |
The Encyclopedia of Popular Music | ![]() ![]() ![]() ![]() ![]() |
The Great Folk Discography | 8/10 [8] |
The Rolling Stone Album Guide | ![]() ![]() ![]() ![]() ![]() |
Spin Alternative Record Guide | 6/10 [11] |
Tom Hull | A [10] |
Time picked Of Rivers and Religion as one of the Top Ten albums of 1972. [1]
In his AllMusic review, critic Brian Olewnick called it "A fine effort and certainly something that belongs on the shelves of any fan of the late, very great guitarist", [3] while music critic Robert Christgau said "[it's] not for everyone, but I think this is his best" and gave it an A rating; [6] later, Christgau would rank it as the twenty-fifth best record of the decade. [12]
In his 1972 review for Rolling Stone Bob Palmer praised the change in direction and said, "[Fahey] uses traditional motifs to construct pieces of dazzling contrasts, counter-balancing their deep feelings and dark undertows with a dry but devastating sense of humor... it's Fahey's show most of the way and the guitarist makes the most of what is surely his finest hour." [13]
Production notes
Of Rivers and Religion | ||||
---|---|---|---|---|
![]() | ||||
Studio album by | ||||
Released | August 15, 1972 | |||
Recorded | 1972 | |||
Genre | Folk, jazz | |||
Length | 37:40 (Original LP) 34:49 (Reissue) | |||
Label | Reprise | |||
Producer | John Fahey, Denny Bruce | |||
John Fahey chronology | ||||
|
Of Rivers and Religion is an album by American folk musician John Fahey, released in 1972. It was his first recording on a major label ( Reprise Records) and is credited to John Fahey and His Orchestra. It marked a significant change from Fahey's previous releases, incorporating a backing band and performing songs and arrangements in a Dixieland jazz style. Although Time picked it as one of the Top Ten albums of 1972, it was also a difficult album to market and had little enthusiasm at Reprise. [1]
Of Rivers and Religion was the first album Fahey recorded with producer/manager Denny Bruce. Bruce had negotiated the contract with Reprise after failing to negotiate with Fahey's previous label, Vanguard Records. [1]
Bruce arranged for the musicians, beginning with Jack Feierman who wrote the majority of the arrangements. [1] Many of the New Orleans session players had previously contributed to Walt Disney's soundtrack for Song of the South. [2] Some of the same musicians would appear on Fahey's second release for Reprise, After the Ball. [1] Multi-instrumentalist and session musician Chris Darrow later commented, "I remember the first time I ever heard him, I thought they'd turned the record from 45 to 33 or something, 'cause I couldn't believe how slow he played." [3] The session band appeared on "Dixie Pig Bar-B-Q Blues", "Texas and Pacific Blues" and "Lord Have Mercy". [4]
Speaking of both Of Rivers and Religion and After the Ball in a 1998 interview for The Wire, Fahey recalled, "I don't understand why they got bad reviews. It's like every time I wanted to do something other than play guitar I got castigated." [5]
The album cover featured a photo staged at Disneyland's Tom Sawyer's Island. [4]
Review scores | |
---|---|
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Christgau's Record Guide | A [6] |
The Encyclopedia of Popular Music | ![]() ![]() ![]() ![]() ![]() |
The Great Folk Discography | 8/10 [8] |
The Rolling Stone Album Guide | ![]() ![]() ![]() ![]() ![]() |
Spin Alternative Record Guide | 6/10 [11] |
Tom Hull | A [10] |
Time picked Of Rivers and Religion as one of the Top Ten albums of 1972. [1]
In his AllMusic review, critic Brian Olewnick called it "A fine effort and certainly something that belongs on the shelves of any fan of the late, very great guitarist", [3] while music critic Robert Christgau said "[it's] not for everyone, but I think this is his best" and gave it an A rating; [6] later, Christgau would rank it as the twenty-fifth best record of the decade. [12]
In his 1972 review for Rolling Stone Bob Palmer praised the change in direction and said, "[Fahey] uses traditional motifs to construct pieces of dazzling contrasts, counter-balancing their deep feelings and dark undertows with a dry but devastating sense of humor... it's Fahey's show most of the way and the guitarist makes the most of what is surely his finest hour." [13]
Production notes