... though John Fahey would employ a similar strategy on America’s second side (after a dose of fretboard gymnastics on “The Waltz that Carried Us Away” and “Knoxville Blues”), with “Mark 1:15,” it is “Voice of the Turtle” that comes across as the true pivot point for the guitarist as a composer. And it was just that, which he was becoming. From revivalist interpreter, to experimenter, to composer of, perhaps, the most fundamentally American works . . .
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