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It ain't easy being a legend. Sometimes the fire of a man's spirit burns brighter after he is gone, leaving behind only faint traces of who he was: a few splintered guitars, maybe some old 78s. John Fahey was a man that lived and bled the blues. But aside from being one of the most influential guitarists of the folk-blues revival in the 60s, he was also a scholar and a great thinker. He brought Tibetan chants and Buddhist tendencies into American music in the same manner that the Beats did with literature. Now, five years after his death some of today's greatest indie musicians whom Fahey's music has touched are releasing a tribute album in his honor.

I Am the Resurrection: a Tribute to John Fahey begins with the somberly melodious "Death of the Clayton Peacock" as performed by Fruit Bats. The gentle pluckings reminisce of a bygone era. But not to be outdone by anyone, Sufjan Stevens, always one for the dramatic, performs "Variation on 'Commemorative Transfiguration & Communion at Magruder Park.'" Being the best song on the album, "Variation..." manages epic guitar arrangements that could have been pulled straight out of Stevens' Illinoise sessions, proving him yet again as a master composer (as if we already didn't know). Freak-folk hero, Devendra Banhart, lends his nimble fingers to "Sligo River Blues," creating a provocatively mellow finger-picking anthem that is submerged in the unique style that made him famous. Alt-country rockers Calexico take a stab at one of Fahey's more famous tunes "Dance of Death" with mixed results. The song drags on to nearly seven minutes, only really picking up about half way through. Another indie favorite, M. Ward, tries his hand with "Bean Vine Blues #2," but, clocking in at less than two minutes, the song does little to display his talent, though it does an amicable job at acknowledging Fahey's.

After influencing generation after generation of musicians, Fahey's legacy continues to live on, this time in the form of a serviceable tribute album. Despite the near total lack of vocals, I Am the Resurrection reflects a style of guitar pistol-work that is only hinted at in faint whispers with today's folk musicians. It is probably safe to say that John would approve of this collection, which would be a compliment greater than any tribute album could suffice.

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