As Marc Goodman points out, Fahey took a lot from this guy:

The loveliest thing about this, about from the sheer joyful swing of it, is the way Hurt’s technique (again, moving first-position chord shapes up and down the neck) introduces modal harmonic flavours quite alien to the robust primary-chord feel of the melody. This isn’t an accident - undoubtedly he played it that way because it sounded good - but it’s serendipitous in the manner indicated by the line Marc quotes from Christgau about Fahey’s remaining in touch with his “inner amateur”.

The biggest mistake would be to take this as a mandate for indie-boy half-assery, amateur-ishness acting as a lazy signifier for that sort of disciplined openness to serendipity. Delia Derbyshire, judging by appearances a woman of steely discipline if also a bit of a lush, would bang the rim of a lampshade to see if it sounded good, then analyse the microtonal structure of the resulting note in order to recreate it using a bank of oscillators. The most dedicated amateur in music must surely be the late Derek Bailey, a player of fearsome technique who nevertheless managed to make the instrument sound completely new every time he picked it up…