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When the Catfish Is in Bloom (Patreon)

Published:
2021-06-01 16:01:04
Imported:
2026-06
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Content

Welcome back friends. We are back with another month of John Fahey, the focus being "When the Catfish Is in Bloom" as it was recorded on The Great Santa Barbara Oil Slick. 

This is a special Fahey post for me, because it is a piece I've wanted to transcribe and record for a long time. I initially thought I would wait until I locked down a Gibson made Ray Whitley Recording King for a video, which is what it I believe Fahey used for this record. That was almost 10 years ago, and I'm still looking for the right one. I ended up recording this on my 17" Euphonon, which is an equally special instrument in my opinion, thus justifying the premature (10 year wait) recording.

As far as what we have regarding the genesis of this composition, the earliest recording known to me is the album version from Requia, which was recorded late January of 1967. The second known recording is from the Reed College concert (https://www.youtube.com/watch?v=bX14WJ1CWkc&t=1825s), April 8, 1967. The third known recording is from the aforementioned live record used for the transcription, from February 14, 1968. It later morphed into "Fare Forward Voyagers," and I did not research it past 1968.

I'm sure this piece is intimidating to most because of the length of the composition, nearly 8 minutes. But, don't let that deter you from taking a look at this on. This is arguably, in my opinion, one of Fahey's most innovative and interesting guitar solos. Keep in mind, this was recorded two years before Kottke's 6 and 12 string guitar. Very before his time to use a unison guitar tuning. As I write this, I almost wonder if it may not be the earliest instance of a unison tuning. Maybe not, but what a fun project it would be to investigate. This comes from what I think of as Fahey's most innovative and musical period. I don't usually recommend this approach, but this piece is worth studying in sections because of the length. 

As typical of Fahey, he would have used only thumb, index, and middle fingers in the right hand. The left hand gets away with using minimal fingers, a byproduct of the unique variant of open C tuning, CGCGCC - the top two strings tuned in unison. He is tuned almost a half step low on the live recording.

I think most of what I have to say about this piece I mentioned in the video lesson, but if there are things I left out please let me know below or send a message. 

The transcription is attached below. I had to buy a new computer this month and my software is not fully compatible with the new OS, so apologies if it is buggy, but it looks ok on my end.

YouTube video of my recording here: https://youtu.be/CZpynqAGcPE

Video Lesson here: https://www.youtube.com/watch?v=-QVrobjQFV0

Comments

Andrew Lardner
>>127819068

Ben, This remains one of my personal favorites among all of the work here. I can undoubtedly hear a connection between the two melodies and I don't think it would be a stretch to say that it was likely Fahey was aware of some early recording of the piece and the melody could have inspired this piece. He had a remarkable ability to use pre-existing melodies yet write an entire new piece of music from just a few bars of inspiration. Sometimes obvious, sometimes not so much. I still find it hard to believe that Fahey quotes Holst's "The Planets" as inspiring the final segment of "Red Pony" where he uses the thumb to bar on the neck.

Tyler knoodle

I think this song was perhaps, at least in part inspired by Jimmie Rodgers blue yodels. The construct as you mention in your lesson is just too close to his yodeling particularly in the early part. Not to mention the obviously borrowed title.

Andrew Lardner
>>161305913

Hello Tyler. It could be, we know early hillbilly/country was an early influence on him, and yes of course "When the Cactus is In Bloom" would be a very close correlation to the title. I thought I remembered reading somewhere else one time that the title was reference to a poem or something, I'd have to try to find the reference again. In which yodel are you hearing a similar melodic motif? I'd be very interested.