| Days Have Gone By | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | July 1967 | |||
| Studio | Sierra Sound Laboratories, Berkeley, CA and Los Angeles | |||
| Genre | Folk | |||
| Length | 52:35 | |||
| Label | Takoma | |||
| Producer | John Fahey | |||
| John Fahey chronology | ||||
| ||||
Days Have Gone By is an album by American fingerstyle guitarist and composer John Fahey, released in 1967. The cover labels the album Volume 6 while it was preceded in 1966 by The Great San Bernardino Birthday Party which is labeled Guitar Vol. 4.
Days Have Gone By continues Fahey's interest in soundscapes, sound effects and experimental music—begun on The Great San Bernardino Birthday Party & Other Excursions —mixed in with the more traditional guitar playing of his earlier musical style. This is especially present on the two-part piece, "A Raga Called Pat". [1]
"The Portland Cement Factory at Monolith, California," was covered by Cul de Sac on their album ECIM .
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [2] |
| The Encyclopedia of Popular Music | [3] |
| The Great Folk Discography | 7/10 [4] |
| The Rolling Stone Album Guide |  [5] |
| Spin Alternative Record Guide | 8/10 [6] |
Music critic Ronnie D. Lankford, Jr. of AllMusic praised the album, noting the album "expands American blues traditions by enriching the palette of the guitar with Eastern tunings. He may create a challenging work like "A Raga Called Pat--Part Two" that is difficult to interpret, but its opulence is undeniable. Fahey has often been grouped with new age music but this—especially with his early work—is somewhat of a misnomer. New age strives to build harmony; Fahey revels in conflict. Days Have Gone By is another rewarding reissue of the master's classic '60s work and will be eagerly greeted by guitar aficionados." [2]
From his review for All About Jazz , critic Derek Taylor called it "... an album very much in the experimental vein that he first started tapping in the early 1960s... Fahey's influence remains indelibly etched in the psyches of those who have followed him, regardless of whether or not the corporate music culture chooses to recognize it. The self-styled grandfather of “American Primitive” guitar may be gone, but with documents like this one within ready reach his memory and music will endure for years and years to come." [1]
In late 2007, The Guardian included the album on their list of "1000 albums to hear before you die", writing: "Fahey makes innovative use of splicing and sampling. Locomotive sounds blend with his acoustic guitar to create a sparse, meditative atmosphere. A wide-open, pan-American travelogue." [7]
All songs credited to John Fahey unless otherwise noted.
The Transfiguration of Blind Joe Death is a 1965 album by American fingerstyle guitarist and composer John Fahey. Originally issued in a hand-lettered edition of 50, it was Fahey's first album to be released by a label other than his own Takoma Records. As with all of Fahey's independently released early albums, it had little critical recognition upon release. The album has grown in stature since its reissue on CD in 1997 and is now highly regarded critically. It was Fahey's fourth album to see release, though after his fifth album, The Great San Bernardino Birthday Party & Other Excursions, was labeled Guitar Vol. 4, reissues of The Transfiguration of Blind Joe Death were subtitled John Fahey, Volume 5.
Blind Joe Death is the first album by American fingerstyle guitarist and composer John Fahey. There are three different versions of the album, and the original self-released edition of fewer than 100 copies is extremely rare.
John Aloysius Fahey was an American fingerstyle guitarist and composer who played the steel-string acoustic guitar as a solo instrument. His style has been enormously influential and has been described as the foundation of the genre of American primitive guitar, a term borrowed from painting and referring mainly to the self-taught nature of the music and its minimalist style. Fahey borrowed from the folk and blues traditions in American roots music, having compiled many forgotten early recordings in these genres. He would later incorporate 20th-century classical, Portuguese, Brazilian, and Indian influences into his work.
Poet in My Window is the second studio album by the singer-songwriter Nanci Griffith, released in 1982. A reissue of the album included a bonus track, "Can't Love Wrong", in the unusual position as the album's lead-off track, preceding all of the original tracks. Griffith wrote all but one of the album's tunes.
Housing Project is John Hartford's fourth album, released in 1968. Like all of his RCA recordings, it was reissued in 2002 as part of a "twofer" CD, combined with his third album, The Love Album.
Iron Mountain Depot is John Hartford's sixth and final album issued by RCA Victor, released in 1970.
The Voice of the Turtle is the seventh album by American guitarist John Fahey. Recorded and released in 1968, it is considered one of his more experimental albums, combining not only folk elements, but shreds of psychedelia, early blues, country fiddles, ragas, and white noise. The album had many reissues with various track listings, jacket designs and mismatched titles.
The Kingston Trio At Large is the American folk music group the Kingston Trio's fourth album, released in 1959. It was the Trio's first stereo studio album and one of the four they would simultaneously have on Billboard's Top 10 albums during that year. It spent fifteen weeks at #1. The single "M. T. A." b/w "All My Sorrows" spent eleven weeks on the singles charts and peaked at number 15. The Trio's second single that same year, "The Tijuana Jail" b/w "Oh Cindy", was recorded during The Kingston Trio At Large sessions. It peaked at number 12.
Dharma Blues is the title of a recording by American folk and blues guitarist Peter Lang, released in 2002.
...from the "Hungry i" is the Kingston Trio's first live album, released in 1959. It was recorded in 1958 at the San Francisco club hungry i shortly after the release of their debut album The Kingston Trio. It was awarded an RIAA gold album on October 24, 1960, and presented to the group in 1961.
Fare Forward Voyagers (Soldier's Choice) (or simply, Fare Forward Voyagers) is an album by American fingerstyle guitarist and composer John Fahey, released in 1973. It contains three songs, one comprising a complete side of the original LP.
The Great San Bernardino Birthday Party & Other Excursions is an album by American fingerstyle guitarist and composer John Fahey, released in 1966. The cover simply labels the album Guitar Vol. 4 while the liner notes label it The Great San Bernardino Birthday Party & Other Excursions. The title never appeared on the record labels themselves. It marked the beginning of Fahey's interest in his recording of experimental soundscapes and sound effects. Despite Fahey's distaste for the 1960s counterculture, it is his release most often referred to as psychedelic.
Requia is the eighth album by American fingerstyle guitarist and composer John Fahey. Released in November 1967, it was the first of Fahey's two releases on the Vanguard label. It originally received hostile reviews from music critics, particularly for its musique concrète experimentation. It has since been recognised as precursor to new-age music, and has been re-released multiple times, including by Terra in 1985, Vanguard in 1997 and 1998 and Ace in 1998.
The Best of John Fahey 1959–1977 is a compilation album by American fingerstyle guitarist and composer John Fahey, released in 1977. The songs are collected from four of Fahey's dozen or so releases up to that point.
God, Time and Causality is an album by American fingerstyle guitarist and composer John Fahey, released in 1989.
The Return of the Repressed: The John Fahey Anthology is a compilation album by American fingerstyle guitarist and composer John Fahey, released in 1994. Fahey's career, health and personal life had been in decline. The release of The Return of the Repressed, along with an article in Spin magazine by Byron Coley served to provide a renewal of his career.
The Epiphany of Glenn Jones is an album by American fingerstyle guitarist and composer John Fahey and the alternative rock/post-rock band Cul de Sac, released in 1997.
Jack Elliott is an album by American folk musician Ramblin' Jack Elliott, released in 1964. It was his only principal release on the Vanguard label.
Best of the Vanguard Years is an album by American folk musician Ramblin' Jack Elliott, released in 2000.
Your Past Comes Back to Haunt You: The Fonotone Years, 1958–1965 is the title of a box set compilation of recordings by American fingerstyle guitarist and composer John Fahey, released in 2011.