Album: Let Go

Introduction
"Let Go" is an influential album by the late American guitarist and composer John Fahey, released in 1984. Born in 1939 in Washington D.C., Fahey is widely considered as one of the most prominent fingerstyle guitar players of the 20th century. His distinctive and innovative technique to the acoustic guitar incorporated components of folk, blues, and symphonic music, which he referred to as "American Primitivism".

"Let Go" was Fahey's 28th album, and marked a turning point in his career, reflecting both his individual battles, and a re-examination of his innovative process. While the album preserves the speculative nature of his earlier works, "Let Go" showcases a mature and introspective side of Fahey, not seen prior to.

Background
In the early 1980s, John Fahey experienced a series of hardships that deeply impacted him both personally and musically. After going through a second divorce and dealing with monetary difficulties, Fahey had problem with alcoholism, persistent illness, and bouts of depression. This turbulent duration of his life led him to establish a more personal relationship with his music, leading to a creative restoration.

In 1983, Fahey's buddy and fellow guitar player, Michael Hedges, introduced him to the works of Brazilian composer Heitor Villa-Lobos. This intro had a profound impact on Fahey, and his admiration for the composer's work motivated him to take a new method to his own music. "Let Go" is a reflection of this newfound motivation, and sees Fahey delving deeper into classical and South American musical designs.

Album Overview
"Let Go" consists of 8 tracks, ranging in length from simply under two minutes to over eleven minutes. While Fahey's signature fingerstyle guitar playing is present throughout the album, he likewise incorporates various other instruments, such as Hawaiian guitar, slide guitar, and even synthesizer. The album as a whole has a much darker and more reflective tone than his earlier, more spirited records.

The opening track, "Guitar Lamento", is a tribute to Villa-Lobos, featuring a haunting, melancholic tune that sets the mood for the remainder of the album. "The World Is Waiting for the Sunrise" supplies an uncommon look of Fahey's jazz influences, while "Let Go" is a meditative piece that showcases his complex fingerpicking abilities.

One of the standout tracks, "Lion", is a powerful, 11-minute opus that includes Fahey's distinct fingerstyle guitar playing along with a soaring synthesizer, producing a transcendent soundscape. The album concludes with "Sermon on the Mountain", a poignant and introspective piece that encapsulates the themes and feelings present throughout "Let Go".

Tradition and Influence
"Let Go" represents a defining moment in John Fahey's profession, where he not only faced his individual satanic forces but also pressed the limits of his music. Although the album was not commercially effective upon its release, it has given that acquired acknowledgment for its creative merit and impact on other artists.

The musical styles and themes explored in "Let Go" have continued to give inspiration for a new generation of fingerstyle guitarists, such as Glenn Jones, James Blackshaw, and William Tyler. Like Fahey, these musicians have actually combined standard fingerpicking techniques with components of speculative and symphonic music to develop their own distinct sound.

In conclusion, John Fahey's "Let Go" is an introspective and ingenious album that showcases the guitarist's impressive resilience, in addition to his dedication to checking out the capacity of his instrument. Fahey's capability to adapt and grow as an artist has solidified his tradition as one of the most influential and pioneering guitar players of the 20th century.