- Audio CD (26 Nov 1991)
- Format: Import
- Label: Vanguard Records
- ASIN: B00005NEK4
- Other Editions: Audio CD | Audio Cassette | Vinyl
- Amazon Bestsellers Rank: 743,773 in Music (See Top 100 in Music)
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Product details |
Track Listings
| 1. Morning Joy |
| 2. Norwegian Wood (This Bird Has Flown) |
| 3. White Wind |
| 4. Bianca |
| 5. Spring |
| 6. Sunshine |
| 7. Rainy Day Raga |
| 8. Road To Marscota |
| 9. April In Cambridge |
| 10. River |
Product Description
CD Description
* This was Peter Walker's first album, released in 1966. Often mentioned in the same breath as John Fahey, Robbie Basho and Leo Kottke, Walker's work was greatly influenced by Indian classical and Spanish flamenco traditions.
* He studied with Ravi Shankar and Ali Akbar Kahn, worked with Timothy Leary and was a close friend of Sandy Bull and Karen Dalton.
* This is mastered from new transfers from the original master tapes. The sleeve note is based on a recent interview with Walker.
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2 reviews
9 of 11 people found the following review helpful
Gossamer Guitar
1 Sep 2003
Format:Audio CD
Never celebrated like John Fahey, Leo Kottke, Sandy Bull or Chris Smithers. . . Peter Walker plays celestral strings on the DNA of musical being. In other (and more reasonable) words - Walker has been overlooked and yet is a clear underground or cult favorite in the realm of raga guitar style musicians. Jam groups like Phish and D. Matthews owe much of their flowing style to folks like Peter Walker. Highly recommend!
2 of 2 people found the following review helpful
RE-RELEASE OF A BEAUTIFUL ALBUM
4 Dec 2010
Format:Audio CD|Amazon Verified Purchase
46 minutes in length approximately. The sound is very good-warm and clean, with good delineation between the various instruments, and the highs and lows. The booklet contains a synopsis of Peter Walker's life in and out of music, including a short piece by Walker concerning the album. There's also a couple of period photos of Walker, and a reprint of the original album cover for the booklet.
Peter Walker's music is a cross between acoustic folk guitar, middle eastern raga music, and a bit of flamenco, all blended together to make a (even today) soothing, interesting, exciting, attention getting album. The use of bells and tambourines (Bruce Langhorne-familiar from his association with Bob Dylan), a 12 string guitar used for a droning sound (Alex Lukeman), flute (Jeremy Steig), a tamboura (Jean Pierre Merle) for more percussion, an "Om" (Peter Winters), and another 12 steel-string guitar (Monte Dunn), to beef up the sound-really gives this music an edge. All the tunes are by Walker except THE BEATLES' "Norwegian Wood".
Walker fits in with then contemporaries John Fahey, Leo Kottke, Peter Lang, Sandy Bull, etc. in his attempts to broaden the use of the acoustic guitar in instrumental music. His deft finger picking or rapidly strummed chords (sounding at times a bit like Tim Buckley and Lee Underwood) is a delight to hear. His arrangements range from soft, quiet passages ("Norwegian Wood"), to a fuller sound ("Road To Marscotta"), which give the album much needed depth and breath. Jazz player Jeremy Steig's flute work is very delicate and fits Walker's music perfectly, and when playing together ("Spring"), it's easy to get lost in there wonderful interplay. The various percussion instruments were fairly unknown at the time (mid/late 60's), and give the music at times, a decidedly exotic sound.
Anyone who likes Fahey/Kottke/Lang/Bull/et al will like this album. Even after all these years the music is still exciting, still important, still a delight to hear, and can sit next to other guitarists working in the same area. "April In Cambridge" or "River" are both beautifully played as any of the above guitarists work-listen and hear for yourself.
Peter Walker's music is a cross between acoustic folk guitar, middle eastern raga music, and a bit of flamenco, all blended together to make a (even today) soothing, interesting, exciting, attention getting album. The use of bells and tambourines (Bruce Langhorne-familiar from his association with Bob Dylan), a 12 string guitar used for a droning sound (Alex Lukeman), flute (Jeremy Steig), a tamboura (Jean Pierre Merle) for more percussion, an "Om" (Peter Winters), and another 12 steel-string guitar (Monte Dunn), to beef up the sound-really gives this music an edge. All the tunes are by Walker except THE BEATLES' "Norwegian Wood".
Walker fits in with then contemporaries John Fahey, Leo Kottke, Peter Lang, Sandy Bull, etc. in his attempts to broaden the use of the acoustic guitar in instrumental music. His deft finger picking or rapidly strummed chords (sounding at times a bit like Tim Buckley and Lee Underwood) is a delight to hear. His arrangements range from soft, quiet passages ("Norwegian Wood"), to a fuller sound ("Road To Marscotta"), which give the album much needed depth and breath. Jazz player Jeremy Steig's flute work is very delicate and fits Walker's music perfectly, and when playing together ("Spring"), it's easy to get lost in there wonderful interplay. The various percussion instruments were fairly unknown at the time (mid/late 60's), and give the music at times, a decidedly exotic sound.
Anyone who likes Fahey/Kottke/Lang/Bull/et al will like this album. Even after all these years the music is still exciting, still important, still a delight to hear, and can sit next to other guitarists working in the same area. "April In Cambridge" or "River" are both beautifully played as any of the above guitarists work-listen and hear for yourself.
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