Every couple years or so, a new Glenn Jones album modestly enters the world, unveiling a fresh batch of warm and lovely American Primitive-inspired guitar works. Appropriately, The Giant Who Ate Himself is a reference to Jones' longtime friend and mentor John Fahey, who certainly casts a formidable shadow over much of the more compelling acoustic guitar music in his wake. More than anyone else, however, Jones seems like the underappreciated (yet considerably less hostile) spiritual heir to Fahey’s throne, though Jones is far more of A Comparatively Well-Adjusted Artist Who Reliably Releases Good Albums. Of course, the American Primitive aesthetic quickly became much larger than Fahey himself and it is all too easy to fall into the trap of legend worship–there is a much larger tradition of great and visionary American acoustic guitarists that continues to thrive and it would be more accurate to simply state that Jones is one of its unbending pillars. Trends come and trends go, but Glenn Jones remains a timeless, distinctive, and consistently delightful presence through it all.