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More Info Following the intermittent connection between John Fahey at Sam Charters at Vanguard Records since the former had sent his first 1959 small-scale Takoma album release to Vanguard, it was almost inevitable that Fahey and the well-known folk label would combine. Though initially confused and sceptical about his music, Charters had not failed to notice how Fahey's music had crept into and been welcomed by the cognoscenti. The records were finding their place, and his playing was becoming distinctly influential, so by 1967 this became the second of two albums (the other being “The Yellow Princess”) that Vanguard Records put out. The move was in part brought about by Fahey's increasing sophistication with recording after his somewhat embryonic beginnings and his interest in developing other sounds in his records. Takoma had remained a small company so John had looked around for a deal that could allow him to extend what he did. Vanguard's better resources permitted him to travel and record 'found' sounds that attracted him, like a particular bridge that made a clanging sound when cars crossed it. These sounds, or what has become known as Fahey's 'musique concret' can be found here integrated with his guitar playing in the four sections of ‘Requiem For Molly’, making this album very distinct from all those Takoma issues that had preceded it Tracklist 1 Requiem For John Hurt2 Requeim For Russell Blaine Cooper3 When The Catfish Is In Bloom4 Requiem For Molly5 Requiem For Molly6 Requiem For Molly7 Requiem For Molly8 Fight On Christians, Fight On Show more