Discography
Notes
This constitutes an authorized discography for the assemblage of musicians known as Tom Fahy. This list describes a span of productivity commencing in 1991 and ending in 2008. It should be assumed that the group's core members contributed in-part to releases from the year 1999 through 2008. Releases that predate this span are attributed in whole to Tom Fahy with co-production assistance from Baer Schlesinger; additional players from 1991-1998 include Emer Mulholland, Alvaro Macaya, Marco Falabella and Vicente Labarca.
All releases, by the request of their author, Tom Fahy, are made available through a Creative Commons Attribution-Share Alike license, unless otherwise noted.
1 January 2009: Dictates of McCarthy's will required a portion of the Tom Fahy Discography be removed from circulation and relegated to the Byrne Estate Archives (Acting Conservator). Although not perfectly representative of the oeuvre, the extant discography attempts to reflect the collaborative nature of the experimental music project known as Tom Fahy.
24 June 2009: Custodianship of the Tom Fahy Discography was transferred to the Wyndham-Byrne Estate (Active Conservator) on 20 June 2008. Upon transfer, many releases were withdrawn from circulation and remastered; still others were left unaltered but archived. While many releases will remain archived indefinitely, select works will be re-released, beginning 24 June 2009. These include an expanded selection of B-Sides, an Electric Best album and reissues of 'Gone South,' 'Saga,' 'Are You There, God?' and 'Inventor!' 'Blood And Bread,' a work on which Fahy collaborated with Zhang Li, will be released in its entirety. These issues will be released through the Stag Records Netlabel.
It has been the aim of the Wyndham-Byrne Estate to faithfully restore to the best of its abilities select Tom Fahy albums. This was an undertaking not without difficulties, due to Fahy's quixotic recording style and the broad range and general inconsistency of recording environments. No attempt has been made to remove artifactual sounds, with which Fahy did not concern himself, and which we believe were not entirely unintended. Attention was paid, however, to less subjective items, including but not restricted to gain-levels, clarity and dynamics. Where deemed necessary, select tracks were substituted with alternate recordings in an effort to best represent the original intentions of the group. This, then, describes the extent of the alterations made to the new issues.
PRTC01.III: Chesed Shel Emes