Comparing this, the lone, 1965 release of Harry Taussig, to another instrumental Tompkins Square Records re-release – that of Richard Crandell – reveal some striking differences. Even with obvious proficiency at the acoustic guitar, Taussig’s less polished playing easily places his talents a bit bellow those of Crandell.

That being understood, Taussig’s limited career is to blame for any perceived blemishes listeners find here. He does reach beyond his natural abilities, but that, in a musician, should lead to expanding one’s talent. Unfortunately, Taussig wouldn’t record again, so listeners won’t ever know.

Based solely on the contents of this album – although not really in the same league as 6 and 12 String Guitar – the potential follow-up could have been staggering.

Beginning Fate… with a Rev. Gary Davis cover forces a specific expectation. Davis, who should be considered rag-time guitar’s most creative practitioner, can so rarely be matched, that leading the disc off with “Baby Let Me Lay It on You (That’ll Never Happen No More)” could have only led to disappointment. To Taussig’s credit, he is able to imbue the song with a strong lyrical feel. The playing here just doesn’t seem to be as syncopated or assured as that of Davis’.

There are a few other covers, hinting at Taussig’s affinity for clear and danceable melodies. In his cover of a Shelton Brooks number, the guitarist is able to morph “Dark Town Strutter’s Ball” into something of his own – or at least a Rev. Gary Davis version of the song.

A great deal of the album is devoted to lithe numbers and dancing guitar, but “Dorian Sonata” is a drastic departure in tone from the rest of the disc. The pronounced chording accents the tune, but the progression moves towards a darkness absent in the other eleven tracks. While not in the music, downheartedness seemed to overcome Taussig in the titling of “Rondo to Death” as well as “Fate is Only Once.”

This final track perhaps points to the future stylistic changes that Taussig foresaw for himself. A very distinctive melody persists for a minute at the beginning of the song. And while he undoubtedly duffs a few notes, Taussing moves to an unsettling rag – not all too accented – but slow and emotionally heartfelt none the less.

Everything about Fate is Only Once can be understood from this last track. An earnest and emotional man poured every part of himself it into these recordings. And because of that, it’s regretful that solitary disc is all listeners have to reflect upon.