Conference napalm::guitar

	Phil Keaggy does 'come to town' quite often, almost annually.  Again,
because he chooses to limit his content to Christian material, he tends to
only play in places that are receptive to it.  He ussually hits the local
Christian Colleges (Gordon, Eastern Nazarene,...) in the Boston area.

	I have wanted to see him for years, as I have or have heard many of his 
albums.  I currently have "Wind and the Wheat" (found it in Looney Toons in 
Boston for a couple bucks) and Getting Closer (a wonderful album, but again, 
with Christian content being the main aim).  Guitar magazine interviewed Phil
a while back and Phil described a studio session that yeilded one of the best
solo parts he's ever produced (found on one of the pieces on 'Getting Closer').
Definately worth hearing.

	I'm glad Phil is recieving the attention his talents deserve these days.
He has always been one of the most accomplished guitarists around, and as often
happens with age, has only gotten better through the years.

	Dan

P.S Did you all know that he's missing one of his fingers?  I believe it is the
long one (don't know the right term) next to the pointer finger.  It never seems
to have dampened his technique!

    I've been looking for Phil Keaggy material unsuccessfully for several
    years.
    
    I was in Georgia last week and figured that since religion was real
    big down there, I might have a better chance at finding some of
    Keaggy's stuff.  So I came across "The Wind and the Wheat" and picked
    it up, but couldn't find anything else.
    
    I had sorta expected something like Steve Morse and Eric Johnson
    (they even compared Keaggy to those guys on the album cover).
    In some ways he is like them, but in most ways he is not.
    
    I didn't find any "burning" lead playing on the album as you might
    find on any Morse album or the "Tones" album.  But what I did find
    was the kind of slower reflective playing that Morse and EJ sometimes
    do.  I've only listened to the album twice but I really like it.
    He is a master of tone, phrasing and chord voicing.
    
    However, it makes me want to hear what Phil does when and if he
    writes more "edgy" and "aggressive" (less laid-back) kinds of tunes.
    
    	db

    Dave you should look for some of the old Glass Harp albums....I'm
    certain they must be out of print but used/cut outs should be the
    place to find them.
                          
    dave

    This note is a little old but I'm very familiar with Phil Keaggy,
    have met him a few times too.  He's currently in the studio recording
    a new album.
    
    Re: last few
    
    Christian & New Age are mutually exclusive.  Sort of like Military
    Intelligence (oxymoron).  The labels Meadowlark & Colours are Christian
    labels.
    
    "The Wind & The Wheat" is an excellent effort.  Keaggy previously
    recorded on Sparrow Records in his early Christian years.  "The
    Master & The Musician" is another all-instrumental recording done
    on Sparrow.  It is mostly acoustic and definitely worth it, if you
    can find it.
    
    For the more agressive Keaggy, other than seeing him live with a
    band, try to pick up "Underground" which was released about 3-4
    years ago.  All tracks were done in his basement studio and released
    on Sparrow.  It's my personal favorite.  Some quality instrumental
    cuts appear, working at home definitely agrees with him.  "Play
    Thru Me" has a little bit of everything, including some aggressive
    cuts, also on Sparrow, circa 1983.
    
    His new one has critics buzzing already as the long awaited Keaggy
    unleashed.  I'll post a note here when it's out.

    BTW- The missing finger is on his right (playing) hand.  Result
    of a childhood accident.  He believes it's made him better since
    he learned that way.
        
    Mike
    

    Re: "Christian New Age"
    
    The reason I made that label up is :
    
    1.  Meadowlark albums can be found in New Age bins in my local record
    store, where other Christian labels like Sparrow, Word are unavailable.
    
    2.  The packaging is in the classic "Windham Hill" mold; i.e. nifty
    photos of beautiful scenes placed on simple graphic backdrops.
    
    3.  The Meadowlark stuff I've seen (admittedly not much and I haven't
    purchased any) appeared to be all instrumental, which means that
    there is no *lyrical* message.
    
    Besides, why do "Christian" and "New Age" have to be mutually
    exclusive??
    
    I get bugged when guys like Keaggy are relegated to "Christian"
    status and therefore their albums can't be found in my local store.
    
    The same thing bugs me about "women's music", too; there are some
    artists that I enjoy who record for so-called "women's labels" and
    therefore are difficult to find.
    
    Music is music...
    
    
    

>    < Note 398.5 by AQUA::ROST "Obedience to the law guarantees freedom" >
>    
>    Besides, why do "Christian" and "New Age" have to be mutually
>    exclusive??
    
    That's a theological rathole but as far as Music is concerned, I
    also appreciate the instrumental "New Age" music as much as the
    Christian instrumental music.
    
>    I get bugged when guys like Keaggy are relegated to "Christian"
>    status and therefore their albums can't be found in my local store.
    
    Those decisions are made by the artists and record companies.  I
    too was bothered by that, it's sort of discriminatory.  Recently
    though, Word & Sparrow (the 2 giants + subsidiaries) have signed 
    marketing agreements with A & M records (maybe others too but I 
    forget them).  That resulted in albums appearing in secular record 
    stores by artists like Amy Grant, Stryper, Petra, etc.  At least
    in the southwest they did.
    
    More on Keaggy...
    
    If interested, I can post Sparrows address if you want to backorder
    and of his titles.
    
    He still actively tours, if readers are interested I can post his
    monthly dates (day & city) and his agents phone # for more info.
    He tours by himself nowadays and does acoustic concerts.  Maybe
    if he could sell his stuff in other stores he could afford a band
    :-).  He'll also have a decent album selection at a decent price
    when touring.
    
    He also pretty much sticks with Zion guitars now (Also Christian
    owned & operated) along with his Fender Strat and Gibson Les Paul.

    Mike    

>>    I get bugged when guys like Keaggy are relegated to "Christian"
>>    status and therefore their albums can't be found in my local store.
>    
>    Those decisions are made by the artists and record companies.  
    
    As far as availability in stores, perhaps this is opted by the artists
    and record companies, but I find it more likely that it's the record
    stores and distributers which choose which record companies they will
    deal with. Most 'Christian' labels are very small and won't get
    selected because of volume not because of religious material.  It's the
    same with most smaller companies regardless of religious affiliation
    (ex: Shrapnel Records, which sponsers many highly technical guitar
    oriented artists).  You can't find this stuff in most local record
    shops. I believe that it would be in most 'Christian' artists
    conviction to be as widely available as possible. 
                                                     
        Greg
                                                     

    Date    City      Church/Auditorium
    ----    ----      -----------------
    
    8  Matteson, IL - Victory Love Center
    16 Fort Walton Beach, FL
    17 Clearwater, FL - Countryside Christian
    29 Fullerton, CA - Eastside Christian
    31 Etiwanda, CA - Calvary Chapel
    
    Booking Agent's phone is (818) 796-2027

    Date    City      
    ----    ----      
    
    27      Ft. Wayne, IN. - Mainstream Festival
    
    Booking Agent's phone is (818) 796-2027

    The following copied with permission from the CHRISTIAN Note
    conference.
    
 PHIL KEAGGY	(also from England, Phil & John) Nov 5, 7:30 p.m.  
 RANDY STONEHILL Eastern Nazarene College, Quincy, MA.  $14 Special Front Stage
		Section, $11 Advanced Gen Adm., $10 Groups of 20.

    Here's your chance to see a great guitarist!
    
    Mike
        

    Copied from the Christian Musician's conference:
    
    The new issue of CCM magazine has a full page ad of Keaggy's new
    tour.  The interesting thing is that it's now the KS band or the
    Keaggy Stonehill Band.  Yes Phil and Randy have merged into one
    so it looks like I'm finally going to see the electric version of
    Keaggy.  Anyways, here's the tour dates in the ad:
    
    September
    22  - San Diego, CA (Point Loma College)
    24  - Lemon Grove, CA 
    30  - Bismarck, ND 
    
    October
    1  - Santa Clara, CA
    6  - Los Angeles, CA
    7  - Wheaton, IL
    8  - Minneapolis, MN
    10 - tba
    11 - Greenville, IL
    14 - Tulsa, OK
    15 - St. Louis, MO
    26 - Rio Grande, OH
    27 - tba
    28 - Pittsburg, PA
    29 - Rochester, NY
    
    November
    1  - Nyack, NY
    3  - Trenton, NJ
    4  - New York City, NY
    5  - Boston, MA   (really Eastern Nazarene College in Quincy)
    10 - Lexington, KY
    11 - Akron, OH
    12 - Lancaster, PA
    15 - Kansas City, MO
    17 - Denver, CO
    18 - Albuquerque, NM
    19 - Phoenix, AZ 
    
    Agent's new # is (219) 269-3413

    re: .11
    I'm semi interested in CCM magazine, do you have a copy you wouldn't
    mind parting with, or if it's not ok to keep it I could send it back.
    
    dbII

>    < Note 398.12 by 18032::BOTTOM_DAVID "Everyday I got the blues" >
>    re: .11
>    I'm semi interested in CCM magazine, do you have a copy you wouldn't
>    mind parting with, or if it's not ok to keep it I could send it back.
    
    Sure!  Send me your full name & mailstop and I'll send you last
    month's issue (Stryper was the feature on the cover).
    
    Mike
    

    With the release of his new album, Keaggy has also released an
    instructional electric guitar video.  On the order form, Phil is
    given credit for 2 innovations called "E-bow and volume knob violin
    effects".  Can anyone explain these techniques?
    
    Also in the video are highlights of solos from selected albums,
    guitars and equipment used in concert and recording, and a music
    video from his new album.
    
    Interesting thing about his new album, it was recorded on original
    Vox and Fender amps matched with stock vintage 50s and 60s guitars
    as well as acoustic drums.  All of it was recorded in a "real" acoustic
    room just like in the old days when everyone played together in the
    same room.  No computers, drum machines or synths!  Just good ole'
    rock'n'roll!  At mixing time though they used every known piece
    of technology.
    
    Talk about Beatlesque music!  People have always said he's a dead
    ringer for Paul McCartney but with the Beatle sound I'm convinced.
    The Producer even obtained one of Ringo's old kits for the drummer.
    I think it is his best rock release to date.
    
    Mike
    
    

    E-bow is a device that you hold over the strings that causes the
    strings to vibrate (it produces a magnetic field I think).  It's
    sorta like picking but without the attack and infinite sustain.
    
    In volume knob violin, what you do is turn the volume all the way
    off with the volume knob, pick the strings and then gradually bring
    the volume back in with the volume knob.
    
    This is generally done by wrapping your pinky around the volume and
    curling and uncurling the pinky to alter the volume while still holding
    the pick between the thumb and other fingers.  It only is possible
    on certain guitars depending on the placement of the volume knob.
    
    Doing this removes the attack and gives you a violin-like swell.
    
    Actually, you can do a lot of things with that technique.  On a
    distorted setting it sounds more brassy than violiny.  With a long
    delay, it sorta sounds atmospheric/ethereal/whale-calls/etc.  If you
    bend and release as you let out the volume, you can get surprisingly
    good steel-pedal type licks (Steve Morse is awesome at that).  
    
    There's also a trick where you hit some discordant harmonics (lower
    3 or for strings) and raise the bar as you let the volume up.
    You can get sounds like a lion roar, or an elephant scream.
    
    It comes as a surprise to see this attributed to Phil Keaggy.  There's
    a lot of people who've been doing this for many years.  Van Halen did
    it on a song I can't remember the title of (he also used a similar
    technique on "Cathedral").   I first saw Steve Morse using this
    technique back in, like 1975.
    
    Recommended listening for volume knob trick recordings:
    
    	o Van Halen II - Somebody Get Me Doctor (in the break)
    	o Van Halen "Diver Down" - Cathedral (with delay repeat)
    	o Dixie Dregs "What If" - "What If", violin swells
    	o Dixie Dregs "Night of the Living Dregs" - "The Bash", rhythm
    		guitar behind violin solo which sounds like Steel Pedal
    		is actually Morse on a six-string guitar.
    
    	db

>    < Note 398.15 by DREGS::BLICKSTEIN "Yo!" >
>    It comes as a surprise to see this attributed to Phil Keaggy.  There's
>    a lot of people who've been doing this for many years.  Van Halen did
>    it on a song I can't remember the title of (he also used a similar
>    technique on "Cathedral").   I first saw Steve Morse using this
>    technique back in, like 1975.
    
    Phil is in his 40's though.  He played lead when Glass Harp hit
    it big in the late 60's early 70's.  This was before his conversion
    and all their releases were on the DECCA label.

    After reading your description, this technique amazes me even more.
    Phil lost the ring finger on his right hand when he was 4.  He learned
    the guitar this way but it sounds like it would be more difficult
    to do with only 2 fingers left to pick with.  Am I wrong?
    
    I've never seen him play an electric live, only acoustic.  I will
    next month though.
    
    Mike

    Re: Violin Effect
    
    If you play a strat-like guitar (ie-volume knob in relative reachable
    distance), you have the advantage of being able to use a pick to give
    the notes greater attack/sustain while the pinky works the volume. If
    you play a Les Paul-ish type guitar (I saw Keaggy playing a Les Paul in
    the late 70's/Early 80's), the volume knobs are out of reach to do both
    techniques (pick and volume knob) with one hand.  Those players are
    usually forced to hammer-on the left hand notes while the right hand
    exclusively works the volume control.  The difference in tone is subtle
    but noticeable.  While Van Halen plays a strat type guit., he uses the
    latter technique of left hand hammers with the right hand doing just
    the volume swells.  He could pick those notes if he wanted to.  Anyway,
    I just wanted to make the point that the pinky isn't the only finger
    that can work the volume knob effectively. 
    
    I've got a few teenage students who do this effect quite differently.
    One hammers while the right hand works the vol. control from `above'
    (like turning a little door knob!).  Another uses his thumb to `push'
    the vol. control down as opposed to db's explanation of the `pulling'
    effect (which I find most comfortable).  So there are several ways to
    work the volume control, which depends on what technique the player
    feels most comfortable with. 
    
    Buck

    I remember reading something a long time ago that Phill Keaggy 
    had the volume knob on his Les Pauls moved close to the strings
    so that he could do this.  I don't think he plays Les Pauls anymore
    (some type of custom, I believe), but I presume he still makes use
    of this technique.  
    
    It's doubtful he 'invented' it, like Van Halen 'inventing' pick-hand
    hammers & pulls, but he (they) certainly used it effectively.
    
    Greg

    He probably had the knobs moved on a custom because of the missing
    finger.  It was severed in a well accident.
    
    The recent albums display him using a strat type made by Zion. 
    The new one is a really old guitar and I have no idea what it is.
    His older albums though are mainly Les Pauls for electric.
    
    If anyone is going to see him at Eastern Nazerene College (Quincy,MA)
    on Nov. 5th, post a review here afterwards.  I won't see him until
    Nov. 19th.
    
    Mike

    Actually, having lost his ring finger might make using his pinky
    EASIER!
    
    I use my pinky to do this.  It feels very natural and comfortable to me
    and has a beneficial effect on timing which I couldn't really 
    describe other than the motion I use almost guarantees perfect
    timing between the picking action and the volume release.
    
    I use the other techniques occasionally (like to play "Cathedral",
    which is the Van Halen example) but I generally go with the
    pinky.
    
    > A volume pedal simlpifies the technique and doesn't impair
    > picking technique as much.
    
    Regarding using a volume pedal.  I have a volume pedal in my rig and I
    don't use it for this.  A bunch of reasons:
    
    	1) It doesn't sound the same to my ears.  The volume pedal doesn't
    	   change the timbre much, just the level.  But my volume knob
    	   definitely changes the timbre.
    
    	   In most circumstances this behavior is unfortunate.  Like backing
    	   down the volume in lead mode from 10 takes the "edge" away
    	   usually, which is why I have the volume pedal there (to control
    	   overall volume).
    
    	   However, in this application it makes the technique more
    	   expression.  Going to 4 sounds much different than going to
    	   8, and hitting 10 is like an accent.
    
    	2) Timing/coordination is HARDER this way
    
    	3) I don't find the impairment of picking technique to be
    	   significant because you don't use this on riffs that
    	   require significant picking.  It's mainly for sustained
    	   notes and chords.
    
    	4) The way I hold my pick lends itself to using the pinky
    	   without any real impairment anyway.  I imagine if you hold
    	   the pick differently, it might not be so easy.
    
    	5) There's an additional technique I've discovered which doesn't 
    	   work with the volume pedal.  You have to have a standard 3 
    	   position pickup selector and two volume controls.
    
    	   If you select both pickups, the setting of the volume knob
    	   you don't manipulate with your pinky controls the gain
    	   (which translates to "contour" or "attack").  Setting the
    	   "other" volume knob low smooths out the gain, setting it
    	   high makes the gain kick in faster (which is GREAT for
    	   horn-like sounds).
    
    	6) On some guitars (like my Steve Morse model) you can do the
    	   same thing with the tone control that you do with the volume.
    	   It's sorta like wah, but not quite as wide.
    
    	   In fact, on one thing I've done, I flatten my hand so that it
    	   rotates BOTH the volume and the tone.
    
    	7) Esthetically, I just feel more in control and expressive doing
           it this way, and it's also.... well... it's more fun too.
           And people who've never seen it before are really fascinated
    	   by it, so it's also more interesting from the view point
    	   of being an "entertainer".

>    < Note 398.0 by AQUA::ROST "Your forefathers took drugs" >
>    Keaggy first hit vinyl as lead guitarist and vocalist for the  power
>    trio Glass Harp who did one LP for Decca around 1972.  Shortly
    
    Has anyone ever come across some of these oldies?  Anyone know how
    they can be obtained?
    
>    Now, if only he would come to town so I could see him kick some
>    butt in a live situation.....
    
    Saturday Night at Eastern Nazarene College in Quincy, MA.  He will
    be there with a band.
    
    BTW - His latest is just out and available on CD.  Also a new
    conference on Christian Music & Musicians was announced this week.
    Hit Keypad 7, etc., if interested.
    
    Mike
                   

    I have a Glass Harp album thats been kicking around a long time.It
    must be the one you are refering to.
    
    It has some excellant songs on it.I picked it up because i liked
    the lead style on it.
    
    Mike
    

>    < Note 398.23 by DNEAST::PUSHARD_MIKE >
>
>    I have a Glass Harp album thats been kicking around a long time.It
>    must be the one you are refering to.
    
    Where did you get it?  I haven't been able to find anything.
    
    Mike

>    < Note 398.21 by DREGS::BLICKSTEIN "Yo!" >
>                  -< I sorta went thru this decision and... >-
>
>    Actually, having lost his ring finger might make using his pinky
>    EASIER!
>    
>    I use my pinky to do this.  It feels very natural and comfortable to me
>    and has a beneficial effect on timing which I couldn't really 
>    describe other than the motion I use almost guarantees perfect
>    timing between the picking action and the volume release.

    Not that it would change anything (don't know, haven't played an
    electric) but he is missing his middle finger, not ring finger.
    
    Mike

    Hi Mike,
    
     I was working for a radio station back around the mid seventies.They
    were getting rid of a bunch of albums,so they told me to take what
    i wanted.Just happens,that,the Glass Harp album was among them.I
    really enjoyed the album,but,havnt played it in years.
    
    Mike
    

This is not a commercial!  I don't own MSI stock! :-)

MSI has made a video for the serious player, the beginning
guitarist and the curious fan.  On "Electric Guitar Style",
Keaggy himself plays many of his tracks on his albums (16 songs
spanning 9 albums), then often he slows down the solo/lick so you can
study his left hand on the fretboard.

Learn Keaggy's pinky technique (volume knob swells), the E-Bow,
hammer-ons (right-hand tapping), use of harmonics, digital delay,
vibrato arm techniques, and his basic lead patterns.  Outside learning,
basics in right hand picking, scales, and some experience at
bending up to notes will facilitate a faster learning, but still
you can learn a lot about techniques just by watching Keaggy's
masterful display.  You'll still have to practice but this video
will make practice more enjoyable.  

It also includes the music video "Tell Me How You Feel" from his
new album "Phil Keaggy and Sunday's Child".  The video can be
bought or rented from your local bookstore or you can buy from:

Music Source International
P.O. Box 46758
Kansas City, MO.  64118
(816) 436-4918

$34.95 + $3.50 postage
Format is VHS Hi-Fi.  2-4 weeks for delivery.

[printed without permission from CCM, January 1989]

Q. You're known for a couple of showboat techniques.  When did
you start using the volume control on the guitar with your pinky?

A. I started that in 1969 when I had my Gold Top Les Paul.  I
remember playing certain chords and bringing up the volume on
them.  My little pinky was always resting down on the volume
control quite comfortably, and I developed it from there.  I
started connecting chords together and then individual notes.

Q. You are one of the few guitarists to effectively use the
E-Bow.  When did that develop?

A. I got the E-Bow back in 1977, and probably use it in 8 out of
10 concerts at some point.  I find it more effective in a live
setting than in recording.  It creates the effect of bowing
through an electro-magnetic pull on the coil of the string,
rather than in the friction of a traditional bow.  I've been able
to create the cello sound, an Italian accordian and a bagpipe
sound.  I used it to produce the recorder sound on "Forever Joy"
from "Master and the Musician", and I got the flute sound you
hear on "Reaching Out" from "Getting Closer".  I also used it to
get the ethereal string sound on the background on "I Love You
Lord" from the "Wind and the Wheat".  I also got that synthesized
sound on the beginning of "Royal Commandment" [Phi'lp Side] and
the beginning of "Town to Town" [Town to Town].

Q. Is there anything special about your road gear?

A. I like something that is simple.  That way, if it goes down I
can quickly troubleshoot it and fix it in a couple minutes, on
stage if I have to.  The best amps don't have a lot of nonsense
attached to them.

Q. What about all those vintage guitars you used on "Sunday's
Child"?  Are they all yours?

A. No, I borrowed most of them from friends.  But that 1959
Gretch Anniversary Model is the very first guitar I ever played.
My brother Dave taught me my first chords on it.  I borrowed it
to use on the album, and he ended up giving it to me, the
sweetheart.

Q. Tell us about the Zion you use on the road.

A. The pick-up configuration is like a Les Paul with Jeff Beck
PAF's, but it only has 1 volume and 1 tone, where the Paul
has 2 and a toggle switch.  It can sound Strat-ish and it can
sound like a Tele[caster].  I can get fat sounds and thin sounds.
I have a tone control that's a pull switch.  When I pull it out
it sets my volume on 10 so I can turn the volume control at 0 and
use my pinky to get staccato sounds.  When I push the control in
I get legato, longer swells.  That's what I was getting with my
Les Paul that I used for years, but I couldn't get a clear, crisp
rhythm sound.  So, with the Zion I get a compromise,  It's a
great touring guitar, really dependable.  I call it my utility
guitar.

Q. When Christian audiences vaunt you as "the best guitar player
in the world," how do you respond?

A. I don't look at myself as a big fish in a small pond.  I
basically see myself related to the whole music world at large.
I don't go around thinking of myself as something extremely
special as a guitar player.  I listen to a lot of great music, a
lot of great guitar players, and my ears perk up when I hear
someone who's phenomenal.  I've been a musician a long time.  I
feel that I am good, and have an occasionally great moment, but
for the most part I would say that I am an above average player.

Q. Any advice for players that look up to you?

A. Yeah, play for your own enjoyment.  Play for the Lord, and for
your family and friends.  Play to bring joy and good sounds to
them.  Don't put the instrument before your relationships to
others.  Make your playing, at whatever level you attain, a gift
to those around you.  That way, your music will be a gift to you.

I finally had the chance to see the electric version of this
virtuoso on Monday night.  Needless to say I was floored by his
performance and left the arena in a state of awe.  His
performance convinced me to buy his Instructional Video (plus it
was $7 cheaper than the stores at the arena).  What is just as
impressive as his guitar talents is his humble character.  He's
really down to earth and easy to talk to.  He gave me a tour
of his equipment, which he also does in the video.  So what you
see is what you get on the video tape.  Here is his equipment
list:

Olson Acoustic Guitar (handcrafted by James A. Olson Guitars
                                      770 E. 7th St.
                                      St. Paul, MN.  55706)
'?  Fender Tele
'65 Fender Strat
'71? Les Paul (has a Gibson PAF and a Paul Reed Smith at the bridge)
'84? Zion Radicaster (this is a Strat type with Seymour Duncan
                      pickups and a Kahler Trem.  This has been
                      his most utlized guitar the last few years,
                      in the studio and on the road)
'80 Yamaha SA2000 (hollow body; calls it his most inspirational guitar)
'?  Mini Les Paul (full 22 frets scaled down)
'59 Gretsch (his first guitar and also the one he learned on;
             was a gift from his brother Dave)
Mesa/Boogie Stereo Simul-Class 295 Amp
Furman PL-8 Power Conditioner & Light Module
Alesis XTC Digital Reverb
Roland SDE 3000 Digital Delay
TC Electronics 1210 Stereo Chorus/Flanger
Pierce G-1 Solid State Preamp
2 Mesa/Boogie TL Cabs with 112 EDM Loudspeakers
VOX AC30
Boss Octaver OC2
Boss TU12 Chromatic Tuner
Yamaha G100/112 amp
Ernie Ball volume pedal
Mesa/Boogie A-B switch
Roland 3-way on-off switch
Roland TP2 footswitch
Pierce A-B switch
E-Bow (made by Heat Sound Products; uses a 9 volt battery)

Keaggy also talks about his main guitar influences while he was
growing up (in the video):

Mike Bloomfield (calls him one of the best to walk this planet)
Jeff Beck
Beatles (his favorites)
Kinks
Alan Holdsworth (marvels at only comprehending 2% of what he does
                 but admires the emotion in his playing)
Pat Metheny
Anthony Phillips (said he's not well known but a very good player)
Eric Johnson
Beach Boys (said he was fond of Surf Music since he lived in
            Southern Cal. as a young teen)
Dick Dale & The Deltones

    For you CD lovers, his last 3 releases are available on CD.  He
    also told me that "The Master & The Musician" will be re-released
    in May.
    
    One last thing, a booklet can be bought that has the Standard &
    Tableture Notation of all solos and licks in the Video for $10.
    Can someone explain what they mean by these notations?  Do they
    show the sequence of what is played on the fretboard?
    
    Mike

    Following taken from the CCM Notes Conference:
    
    NEWSOUND CONCERT SPRING SERIES
    ==============================
    June 24	THE BIG EVENT '89
    		Gordon College, Wenham, MA  1:00 pm till 8:30 pm
    	
    		Featuring:
    		Phil Keaggy, Rick Cua, Joe English, Randy Stonehill,
                Sandi Patti, Charlie Peacock, Michael Card, Margaret Becker,
    		Mark Heard; also special debut:
    		Pam Dwinell, Reigh Giglio, and Lou & Deb Lilli, Selah
    
    		TICKETS:   $22.50 Special Reserved Section w/chairs
    			   (sold advance only)
    			   $19.50 Adv./$22 Door/$2 off for groups 
    			   of 15;  Children under 11, 50% off door price.
    
    			   RAIN OR SHINE!!
    
    	        Discount tickets sold only through New Sound office.
    	        (on site parking; $5 per car of 4, $3 per car - 5 or
    		more.
    
    	Tickets for all shows:  are on sale at New Sound, via Mail Order,
    	Phone Charge, Select Christian Bookstores and at all TICKETRON
    	Outlets.
    
    	There is a 10% handling charge ($1.50 minimum) on all Charge
    	Orders.
    
    	FOR MORE INFO CALL: NEW SOUND (508) 346-4577

>    Mesa/Boogie Stereo Simul-Class 295 Amp
>    Furman PL-8 Power Conditioner & Light Module
>    Alesis XTC Digital Reverb
>    Roland SDE 3000 Digital Delay
>    TC Electronics 1210 Stereo Chorus/Flanger
>    Pierce G-1 Solid State Preamp
    
    I found out a couple weeks ago that Keaggy has updated his rack.
    He replaced the Pierce preamp with a Kitty Hawk.  
    
    Mike
    

    Some of you might remember Keaggy's first instrumental album, "The
    Master & The Musician", that came out about 10 years ago.  This
    note was started after the release of his second instrumental album, 
    "The Wind & The Wheat", on CD.  I thought some of you might like to
    know that the first one was purchased by his current record company and
    they have re-released it (it was out of print) on CD.  He is currently
    in the studio recording a third instrumental album.  Should be released
    in February.
    
    For you DRUMMERS:  MSI (Music Source International, the folks that brought
    you Keaggy's electric guitar instructional video) have just released a new 
    video by Alex Acu�a on drumming/percussion.  They will now start production 
    on Keaggy's acoustic guitar instructional video.
    
    Mike

    Keaggy's new label, Myrrh Records, is the company that has a marketing
    agreement with A&M Records.  I was in Musicland (secular record store)
    last night and noticed that "Master & Musician" was in there under the
    Christian section.
    
    Those of you interested in this first instrumental release might want
    to check in your favorite record store.  They should be able to at
    least order it, if not in stock.
    
    Times have changed.

    Finally, a blast of good news to fans of Phil Keaggy's noteworthy
    guitar playing.  Produced again by longtime friend Lynn Nichols, his
    next album, "Find Me In These Fields", is slated for June release. 
    Keaggy himself reports that there is "some great spontaneous guitar
    playing, some fun detours."  From the horse's mouth to your ear.
    
    Keaggy has also been drafted to lay down some guitar chops for an
    instrumental album by Starr Parody, the well known keyboard player for
    late night TV's Arsenio Hall Show.  Starr recently made a surprise
    appearance with Phil during one of his Disney World concerts.  Rumors
    say it was quite a jam session!
    
    Mike

    I'm in love with Starr Parody - I love her outfits/hats.
    
    	db

    Between Starr Parody and ex-drummer Terri Lynne Carrington you've
    got to wonder what the qualifications are to get into Arsenio's band...
    
    (Not that I mind!!)
    
    Edd

    re: .-1
    
    So that's why I didn't get the gig!!!
    
    	'ole Knobby Knees

    Re: db
    
    Arsenio probably thought the hats were cuter on Starr ;-)
    
    Mike

    God's favorite guitar player has just release "Find Me in These
    Fields"!  The new issue of CCM has the equivalent of a full page ad for
    it.  Rumor has it that some of the acoustic work is reminiscent of some 
    of Led Zeppelins' old rockin' acoustic numbers.
    
    "Find Me..." is available on CD and cassette.  
    
    BTW - Phil is slated to be in Merrimack, NH (Grace Fellowship) on June
    23rd.
    
    Mike

    	Phil Keaggy is going to be in concert in Nashua, NH this Saturday,
    June 23 at 7:30pm.  I just found out that some tickets are available
    (about 60 left) and you can call Martha at Grace Fellowship Church up
    until 5:00pm EDT today, June 19 to get tickets.  The cost is $10.00. 
    After today, I think you'll be able to pick them up at the Harvest
    Bookstore.
    	I missed him when he was out here last time but I've got my
    priorities this time!
    				Peter

    :-(
    
    still no sign of the new release too...
    
    Mike_who's_3000_miles_from_Nashua :-(

    anyone attend the concert on Saturday night?
    
    BTW - he was quoted as saying that the new release will be out this
          week!
    
    Mike

    I bought "Find Me in These Fields" while on vacation (first day it came
    out ;-)).  This ranks right up there with "Underground" (IMHO) for his
    best studio releases.
    
    It has some interesting moments thrown in between songs too.  One of
    the biggest knocks on Keaggy is that his playing in the studio doesn't
    compare to his live improvising.  They sort of fixed this here.  There
    are samples of studio jam sessions thrown in between songs.
    
    For those that have "Back Room Trax" (not released to public), there are 
    2 songs from that tape on here: "Get Over It" and "Gentle & Strong".  
    Players on the album (besides Phil) are Rick Cua (bass), Mike Mead (drums) 
    and his old buddy Phil Madeira (keys).  The Kitty Hawk Quattro makes
    another appearance on this album too, but this is the first public
    release it is used on.
    
    A few of the songs really stand out in my mind though.  "Strong Tower",
    "When The Wild Winds Blow", and "Calling You" all have Led Zepplin chord 
    progressions, but I can't seem to remember what LZ tunes they resemble.
    The intro to "When The Wild Winds Blow" does sound a little like
    "Ramble On".
    
    I made the mistake of buying "Flying in a Blue Dream" too on the same
    day.  It's collecting dust while I wear out Keaggy's release.
    
    Mike

    Forgot to mention something.  For those of you familiar with Compassion
    International (Colorado Springs folks might know them since their HQ is
    there), they just released the live recording of their All-Star Band. 
    Phil Keaggy was the guitar player in this band.
    
    The live release has a real showcase of Phil playing on the familiar
    tune "Crossroads".  Eric Clapton should LEARN & LISTEN! ;-)
    
    Mike

    I received the 4th Keaggy newsletter today.  Some topics of interest
    and things to look forward to:
    
    - Old releases being re-released on CD
    - A new songbook
    - An acoustic instructional video to compliment the electric video
    - A live recording
    
    Tour info:
    
    8/31/90            Washington, D.C.        Christ Church of Washington
    9/1/90             Beaverdam, VA           New Life Youth Ranch
    9/14/90            South Bend, IN          St. Mary's College
    9/15/90            Minneapolis, MN         Bethel College
    9/21/90            Wichita, KS             The Dandelion
    9/22/90            Longbranch, NJ          Ocean Place Hotel
    9/29/90            Fresno, CA              (tenative)
    
    10/6/90            Longview, TX            LeTourneau University
    10/12/90           Wheaton, IL             Wheaton College
    10/13/90           Kansas City             (tenative)
    10/20/90           Columbus, OH            The Ohio Center
    
    11/10/90           Fair Oaks, CA           Presbyterian Church
    11/11/90           Jacksonville, OR        Applegate Christian Fellowship
    11/16/90           Dayton, OH              Bryan College
    11/17/90           Louisville, KY          Memorial Auditorium

    9/1  Beaverdam, VA
    9/14 South Bend, IN
    9/15 Minneapolis, MN
    9/21 Wichita, KS
    9/22 Longbranch, NJ
    
Phil will also be part of the Young Messiah Christmas Tour.  He will be 
backed by a 200 voice choir and 40 piece orchestra and will also be joined
with Sandi Patti, Larnelle Harris, Russ Taff, Sheila Walsh, Phil Driscoll, and
The Imperials.  Current tour dates are:

11/23  Memphis, TN
11/24  Dallas/Ft. Worth, TX
11/29  Anaheim, CA
11/30      "
12/1   Tacoma, WA
12/6   Dayton, OH
12/7   Charlotte, NC
12/8   Washington, DC
12/13  Tampa/Orlando, FL
12/14  Detroit, MI
12/15  St. Paul, MN

    10/5    Decatur, GA
    10/6    Longview, TX
    10/12   Wheaton, IL
    10/13   Kansas City, MO
    10/19   Philadelphia, PA
    10/20   Columbus, OH

    Phil Keaggy got to sing at the wedding of Paul McCartney's (ex-Beatle)
    sister-in-law and actually jammed with his hero afterward.  
    
    Phil's new instrumental release is slated for an early winter release.
    
    "What A Day" and "Love Broke Thru" are being reissued on CD in
    November.  Both originally came out in the mid-70's.
    
    November Tour Stops include: 
    10 - Fair Oaks, CA
    11 - Jacksonville, OR
    16 - Dayton, IN
    17 - Louisville, KY
    
    Mike

    "What A Day" and "Love Broke Thru" have been released on CD and
    cassette by Myrrh.
    
    Phil also has a new instrumental release due out in the
    December/January timeframe.  It is currently untitled.
    
    Tour dates:
    12/1 Tacoma, WA
    12/6 Dayton, OH
    12/7 Charlotte, NC
    12/8 Fairfax, VA
    12/13 Lakeland, FL
    12/14 Detroit, MI
    12/15 St. Paul, MN

    Phil Keaggy is back in the studio working on an instrumental album,
    which has been described by a Myrrh Records spokesman as "99.9%
    acoustic."  The self-produced effort, with the working title, "Beyond
    Nature" is set for April release, and although this is not the rock
    effort many fans have wanted to see him make, Keaggy follows the
    leanings of "Master and the Musician" and "The Wind and The Wheat",
    only the focus is on natural, organic sounds, with little over-dubbing,
    and almost no electric instruments.
    
    Tour dates:
    -----------
    2/8 Columbia, SC (Col. Bible College)
    2/9 Turnersville, NJ (St. John's United Methodist)
    
    Mike

    I accidentally let my Club newsletter expire last year.  I just renewed
    it and received the latest newsletter over the weekend.  It seems Phil
    has been pretty busy so I haven't missed any issues.  It should also be
    noted that they have moved.  The Club address is now:
    
    Phil Keaggy Club
    P.O. Box 15357
    Chesapeake, VA  23328-5357
    
    Lots of new news in this issue!  "Find Me in These Fields" was
    nominated for a Grammy in the Best Rock/Contemporary category.  Other
    nominations were Petra - Beyond Belief (the winner), Mylon - Crank it
    Up, Eddie DeGarmo - Phase II, and Charlie Peacock - Secret of Time.
    Phil said of the nomination, "I was taken by surprise because I don't
    see myself having that level of acceptance.  I've always seen myself on
    the periphery.  It's an honor and I'm thankful to those who voted for
    me."
    
    The new issue show Phil and Paul McCartney jamming on acoustics together 
    at his (Paul's) sister-in-laws wedding.  He talks about what a thrill it 
    was to meet and play with his main musical influence.  Paul said he sounded
    like James Taylor.  Probably because he sang Two of You, Here and Now,
    What a Wonder, and I Love You Lord (instrumental) at the wedding.  I
    guess Laura (Linda's sister) and her husband are devout Christians.
    
    Phil talks about the new instrumental album, "Beyond Nature", which
    will be out next month.  Sounds like a real interesting piece of work.
    
    Some new products available thru the club:
    
    - Backroom Trax 3 will be available starting next month.  Cost is $10.
      For the same cost, you can reserve your copy of "Beyond Nature".
    
    - The new songbook is also ready for order now.  There are 25 songs in 
      this book including: Be in My Heart, Calling You, Cherish the Moment, 
      Find Me in These Fields, Full Circle, Happy, Here and Now, I Will Be 
      There, Little Ones, Love Broke Thru, Maker of the Universe, March of the
      Clouds, Morning Light, Pilgrim's Flight, Prayer, The Reunion, Spend My
      Life With You, Strong Tower, Sunday's Child, Time, Tell Me How You
      Feel, The Two of You, When the Wild Winds Blow...  cost is $10.
    
    Finally, some tour dates that were supplied.  I have the phone numbers
    if you need more info on a particular appearance.
    
    3/23 New York, NY
    3/24 Merrillville, IN
    
    4/6  Goshen, IN
    4/12 Monroe, MI
    4/13 Middlebury, VT
    4/14 Tonawanda, NY
    4/20 Boulder, CO
    4/21 Denver, CO
    
    5/25 Marco Is., FL
    
    7/4-5 Bedford, TX
    
    9/6 Roseville, MN
    9/20 New Castle, DE

    Some comments on the new instrumental release coming next month:
    
    Completely acoustic.  Calls it his most sensitive album ever.  Some
    pieces just have the openess of just one guitar being played.  Other
    times 2 or 3 to 5 guitars are interacting with each other.
    
    There are about 5 different alternate tunings which will be noted in
    the liner notes.  Most are original except for a couple of classical
    origin:
    
    3rd movement of Edvard Greig's Four Symphonic Dances that he adopted
    for 3 guitars and acoustic guitar bass.  The other is an old English
    folk song called "I Feel The Winds of God Today" which has traditional
    roots in England, Ireland, and Scotland.  One of his favorite
    composers, Ralph Vaughn-Williams composed the Variants on Dives and
    Lazarus based on this folk song.
    
    Mike

    Middlebury, VT, 4/13 (Middlebury College)
    Boulder, CO, 4/20
    Denver, CO, 4/21

    Phil will be in concert April 20th and 21st at the Faith Pres. Church in 
    Aurora. Address is 11373 E Alemeda at 7:00 both nights. Tickets $8.00.

    You can get tickets in Colorado Springs at "The Lords Vinyard" next to the
    Citedel, by calling (303)693-4111, or at the gate.

    Mike

    Finally!  A reasonable explanation of what Jimi actually said about
    Phil Keaggy!  For years, the rumor in Christian circles was that Jimi
    was quoted in Guitar Player saying that Keaggy was the world's best
    guitar player.
    
Article 1294 of rec.music.christian:
From: [email protected] (Wayne Iba)
Newsgroups: rec.music.christian
Subject: re: Phil Keaggy
Date: 8 May 91 22:23:19 GMT


 > I have heard that comment before (back in 1977 or so).  I don't
 > know the direct question to Hendrix, but he responded to acknowledge
 > Phil as one of _the_ guitarists.  Phil lost part of one of his fingers
 > (I think it is the 4th finger on the right hand, counting the thumb
 > as 1) when he was 3 years old when a water cooler fell on it.
 > The Synergy album from 1971 or so when Phil was with Glass Harp has
 > 2 or 3 Christian songs on it.  There was one other Glass Harp album
 > out at some time or another (maybe it was a remake - I don't remember)
 > 
 > Dan Bourland

Here is the Hendrix story:  Jim was on the Carson show and John asked
him who he thought the best guitarist in the world was.  Jim hesitated
and said "Well, without a doubt, Phil Keaggy is the shortest guitarist
in the world".   Actually, this was a joke used to introduce Phil at
one of the concerts I saw.  Phil was not pleased.  If you know
Phil you know why.

The finger was lost in a mishap with an old-fashioned water pump --
not by a water cooler.

--wayne

Phil is going to be in concert in Colorado Springs Friday may 17th. Sorry for
the short notice.

Concert is at 8:00 pm at 1st Presbyterian Church in downtown Co. 
    Springs. Ticket price is $8.00. A bargin at twice the price.

    Mike

    During intermission of Phil's Co. Springs concert Friday night Phil
    announced that "Beyond Nature" began shipping last week (the week of May 
    13th). He also stated that EPIC is interested in "Beyond Nature" and that 
    if they pick it up then it will be available everywhere instead of just 
    your "friendly local neighborhood Christian Bookstore."

    Mike

    Some of his older albums are starting to get reissued under
    CD/Cassette.  I bought "How the West Was Won" yesterday.  This was
    originally a 3 LP set containing a live concert festival, released in 
    1977.  Keaggy performs on � of it and support another band on the other
    half.
    
    It is unreal how much better he is live than in the studio!  Especially
    on the song "Time".  It is 9 minutes long and full of great soloing!
    
    Mike

    I have three of his albums:
    
    	Wind and the Wheat
    	The Master and the Musician
    	Wednesday's Child
    	Getting Closer
    
    I *love* "Wind" - it gets a rare 4-star rating from me.
    
    I really couldn't get into any of the other albums though, and I
    particularly disliked "Wednesday's Child".
    
    Most fans seem to tout "Master & the Musician" as his best instrumental
    stuff, but even though I've listened to it many times I guess it's
    just not my cup of tea.
    
    Is "Wind and the Wheat" sorta different from most of his other stuff or
    are there other albums I might appreciate as much?

>    	Wednesday's Child
    
    I think that's "Sunday's Child" ;-)  I'm surprised you didn't like it,
    although it is more 'vintage' sounding.  A couple of the tunes,
    including the title track, sound like something the Beatles would do.
    
>    I *love* "Wind" - it gets a rare 4-star rating from me.
    
    On a scale to what? ;-)
    
>    Most fans seem to tout "Master & the Musician" as his best instrumental
>    stuff, but even though I've listened to it many times I guess it's
>    just not my cup of tea.
    
    Do you have the original or the reissue?  Some of it gets a little too
    light for me, but I only listen to it when I'm in an acoustic mood. 
    The reissue has an extra/new song that he recorded for it when they
    decided to reissue it.  It includes his E-Bow version of "Amazing
    Grace" on it.
    
>    Is "Wind and the Wheat" sorta different from most of his other stuff or
>    are there other albums I might appreciate as much?
    
    Yes, he only has 3 instrumental albums out now (as of this month).  He
    won a Dove Award for "Wind & Wheat", very well done album!  His other
    stuff ranges from blues to rock to jazz to fusion.  My favorite of his
    is "Underground".  This is the album that the musicians that are now
    called King's X helped out on.  
    
    I bought his latest "Beyond Nature" yesterday.  It is an all acoustic
    instrumental album.  I've only listened to side 1 and half of side 2 so
    far.  I haven't read the liner notes yet either, but some of the guitar 
    work has Michael "Acoustic Thrash Master" Hedges written all over it.  
    
    I know Phil credited Hedges (and Holdsworth for that matter) on "The Wind 
    & The Wheat" for his influence on him.  "The Reunion" is classic Hedges 
    type material where he taps a rhythm with the left hand while 
    fingerpicking and hitting harmonics with the right hand.  The last song 
    on side 1 of "Beyond Nature" is another great example of this.
    
    I love Hedges' guitar work and his influence on Phil has brought his
    acoustic playing up another level (if that's possible)!  Any Hedges fan
    would love this tape.
    
    BTW - I've finally got off my duff and started recording the Keaggy
    sampler that I promised some.  DB, I'd be glad to add you to the
    distribution.
    
    Mike

    Phil was nice enough to include some info on his custom Olson acoustic
    guitar in "Beyond Nature"'s liner notes.  I once looked into them and
    they were big bucks.  The one Phil plays went for $1,500 (without case)
    about 2 years ago.
    
    He also included the tunings for all the songs.  The following are in
    Standard tuning:
    
    In the Light of Common Day, Symphonic Dance, I Feel the Winds of God
    Today, As Warm As Tears, A Place of Springs, When Night Falls, In the 
    Light of Common Day (reprise).
    
    The alternate tunings are said to vary between A440 and one � step
    lower.  They are:
    
    County Down    - DADGAD
    Addison's Walk - DADF#BD
    Fare Thee Well - capo, third fret, EG#DF#BE
    Fragile Forest - EG#EG#BC#
    Brother Jack   - EBDG#BD
    
    The main influence for all the songs are from the writings of C.S.
    Lewis, which Phil is a big fan of.
    
    Mike

>    I think that's "Sunday's Child" ;-)  I'm surprised you didn't like it,
>    although it is more 'vintage' sounding.  A couple of the tunes,
>    including the title track, sound like something the Beatles would do.
    
    That's probably WHY I didn't like it.   Beatles music isn't what
    
>>    I *love* "Wind" - it gets a rare 4-star rating from me.
>    On a scale to what? ;-)
    
    On a scale to 3!  ;-)
    
    Let's just say that it's one of those albums that I put into the
    rarified "Superlative" category.
    
    It's basically one of those few albums that I can get deeply into when
    I listen to it.
    
>>    Most fans seem to tout "Master & the Musician" as his best instrumental
>    Do you have the original or the reissue?  
    
    I have it on CD, so I presume it's the re-issue.

    I received my care package from the Keaggy club today: Private
    Collections Vol. 3 and the new songbook.
    
    I'm only half way thru Vol. 3 so I'll hold off on any comments for
    now.  As for the songbook, the song selection is great and contains many
    tunes I've always wanted to learn.  What I don't like is that I'll
    have to brush up on my music reading skills to do that.  I can't believe
    in this day of electric guitar, Word Records puts out a songbook with
    NO TAB!!!  
    
    Mike

    Now that I've worn out my 2 latest Keaggy albums, I can put in a little
    review on them.
    
    "Beyond Nature" is a superbly done instrumental album.  Although it is
    all acoustic, I believe it is a very well done album.  I'd go out on a
    limb here and say that it is as good as "The Wind and the Wheat", maybe
    better, and he should be an automatic for the Best Instrumental Dove
    Award.  He won that same award for "The Wind and The Wheat".
    
    "Back Room Trax - Private Collection Vol. 3" arrived at the house the
    same week I bought the album above.  This release has some great tunes
    on it and it just amazes me that they weren't put on an official studio
    release.  Outside of the 2 songs by his daughter Alicia (gimme a break,
    she was 4 when they were recorded), this album is better than Vol. 2.
    It contains an instrumental rendition of "Swing Low, Sweet Chariot"
    that was considered for "Beyond Nature".  Some of the tracks sound like
    material from the "Underground" (my favorite) era.  I remember reading
    that he had enough material for a double album when he released that.
    Real funky, progressive, alternative type tunes in the "Underground"
    style.  I'm sure the King's X members helped influence this.
    
    Mike

     Did somebody mention KingsX??????
    I saw them Friday night at the RITZ and they kicked some
    serious butt!! They were really a great act!
      -BillsX :^)
    

    Re: -1
    
    Yeah I love their sound!  The folks at GFTPM just put out a tab book
    for their "Gretchen Goes to Nebraska" album.
    
    They did some studio work with Keaggy in their early days.
    
    Mike

     oh well ....time to check out Keaggy....
    -Bill

    Kings X roolz!  One of my favorite bands!

Phil Keaggy Beyond Words (CCM, July 1991)
-----------------------------------------

Phil Keaggy's abilities on the guitar have been nothing short of legendary
ever since the rumor mill buzzed about his conversion in the '70s, when he
played with an eclectic trio called Glass Harp.  Fans have praised his
innovative approach and technique, relishing in everything from 30-second
solos on his vocal albums, to extended instrumental pieces like those found
on "The Master & The Musician" and "The Wind and The Wheat".  Keaggy's new
instrumental collection, "Beyond Nature", is similar in mood to those
earlier records, but fully acoustic and more affected by outside influences
than before.

Keaggy, who turned 40 this year, was as mellow-mooded as his new music when
managing editor Thom Granger interviewed his at his favorite Irish
restaurant.

CCM. "Beyond Nature" seems to have a bit of a Celtic feel to it overall.  Was
that an intentional theme for the album?

PK. I think it's more what you are in your entirety, what you take in from
all sources, that figures in to your output.  I was reading a lot of
English literature and listening to a lot of Irish and English music; but
also a lot of impressionistic music, which inspired ides for "Brother
Jack".  That's probably one of my favorite pieces on the album, maybe
because it's not in a hurry to go anywhere.  The first four notes of it are
the same as "Frere Jacque" - which is French for "brother Jack" of course.

CCM. I guess it wasn't a surprise to see you cover a composition by Edvard
Grieg ("Symphonic Dance").  I remember how you used to quote his "In the
Hall of the Mountain King" in extended solos, like the one on the 2nd
Chapter of Acts' live album ("How the West was Won").

PK. Yeah.  There's another one I found that is absolutely lovely by Grieg
called "In the Cradle", and if I do another album in this genre I'd like to
record it too.  His melodies take you somewhere.  That's what I'm trying to
accomplish with "Beyond Nature".  It's not about strong finger picking and
acoustic technique.  It centers on melodies you can really sink your teeth
into.

CCM. Do you accept the notion that some melodies seem to come from
somewhere else - almost as though they always existed, and when you tap
into them as you're writing or hearing them played by someone else, you
sense you've always known it?

PK. Everything's borrowed, and everything's given.  As Ecclesiastes said,
"There's nothing new under the sun."  Combine that with the idea that God
has allowed us to borrow his very breath; and we have this relatively small
variety of notes that we juggle around to make what we call music, combined
with the pulse or rhythm.  The notes were given by God and we've been
borrowing it ever since.  It's just a privilege to be a part of all that.

CCM. There are more reference points than I've ever noticed before on this
album to both some of you own earlier tunes, and some pretty direct "tips
of the hat" to other players.

PK. It's true, it's all true!  The phrase that opens "In the Light of
Common Day" is from the intro to The Beatles' "I'm Looking Through You",
and the connecting phrase in there is from "Songs in the Air", and old
Glass Harp tune.  "Fragile Forest" fades in with the picking pattern from
"I Will Sing", the last track on "What A Day".  And "When Night Falls"
(which was more or less improvised with the tape rolling, and servers as a
coda to the album) sounds a bit like "Gentle Eyes" from "Emerging".

CCM. I hear some phrases that remind me of Bruce Cockburn as well.  Like in
"Country Down", which sounds like his early tune "One Day I Walk" and on
"Fragile Forest", which sounds like his instrumental from "Dancing in the
Dragon's Jaws", "Badlands Incident".

PK. You're right about "Country Down", but on "Fragile Forest", it wasn't
intentional.  I probably did it because I'm such a Cockburn fan.  We both
played at Greenbelt in England one year, and the highlight for me wasn't
the mainstage band thing I did, but when I did 20 minutes with my acoustic,
and found out that Cockburn had been out front listening.  I also love
Michael Hedges, who is very much a virtuoso player.  I'm more of a
jack-of-all-trades, but both of those guys have definitely influenced me.

CCM. What guitars did you use on the album?

PK. I used two James Olson steel-string guitars.  One I helped design in
1984, with a cedar top, Brazilian rosewood sides and a wide, flat neck.
It's a smaller sized cutaway, and I've always felt very comfortable with
it.  The other was built for me as a backup, with a wider body and a little
deeper sound.  I actually used it on about 70% of the album, with the other
one used for "Addison's Walk", where I made use of harmonics (and the
harmonics on that guitar are stupendous), and also on "Brother Jack".

James Olson in my opinion is one of the finest guitar luthiers in the
world, and I'm fortunate to own two of his instruments.  James Taylor owns
three of them, and now Paul McCartney has one as well, since James [Olsen]
gave him one via my hands, when we met recently at a wedding I played at.

CCM. You use the volume-swell effects on electric guitar for "I Feel the Winds
of God Today" here.  I can't remember ever hearing anyone do that before
you in Glass Harp.  Did you originate that effect?

PK. The first time I ever saw anyone stick their pinky out on a Les Paul
was the guitarist for the old Lovin' Spoonful, Zal Yanovsky, on "Daydream",
where he swelled the chords.  But as a lead technique, I think myself and a
few other players were probably experimenting with it simultaneously.  You
can't do it with just any guitar, though.

CCM. Finally, regardless of the beauty of your work on acoustic based
albums like "Beyond Nature" and "Master and the Musician", there is still
an adamant contingency of critics and fans that are yearning for you to
really open up on electric guitar, with extended soloing and the like.  Is
that something you'll ever do again?

PK. The thing is, I've got to come to a point where I'm free to do that.
Remember, I'm signed to a Christian label, and I've doen interviews where
I've more or less had to defend doing instrumental music of the type on
"Beyond Nature".  I can tell you this - my next vocal album is going to be
more like my old band Glass Harp should have been.  It will be a trio
record - guitar, bass, and drums - with more of a vintage feel.  Fat guitar
tones, very unprocessed sounding.  The music will be based on phrase hooks,
an English blues-rock vibe, crafted with as much space around the music as
"Beyond Nature" has, because I'm finding that the silent parts are as much
an integral part of music as the notes played.  One of the things that
bothers me about synthesized music is that in covering so much of the sonic
spectrum, it eats up a lot of the space.  So there will be a lot of room
for juicy, tonal solos, and if it gets good and intense, great.

    I've just finished the master for the Keaggy Sampler.  I went thru his
    17 albums and picked out some of my favorite electric tunes.  Of course, 
    all the songs I picked didn't make it, but I squeezed what I could onto a 
    90 minute tape.  
    
    It is my opinion that he is an even better acoustic player, but we can 
    leave that for another tape since most people in here like electric.  In 
    case you're wondering, he plays a lot of different styles, but at times he
    resembles people like Larry Carlton, Mike Bloomfield, Jeff Beck, Allan
    Holdsworth, Pat Metheny, and even Eric Johnson.
    
    If you would like a copy, mail me your address.  There won't be a
    charge as long as I have tapes available.
    
    Mike

    There's a rumor going around rec.music.christian that MCA is going to
    reissue the Glass Harp catalog on CD!  Phil's popularity has been
    higher than ever the last few years, and the Christian record companies
    are being pressured from all sides to release some vintage recordings
    ala the secular companies.
    
    Mike

CCM Album Review: Phil Keaggy - "Beyond Nature", Myrrh Records
--------------------------------------------------------------

[it should be noted that fellow guitarist, Billy Crockett, did this
  review.]

Let's say you're a brilliant musician like Phil Keaggy.  You've devoted
your music to communicating something truthful about the heart of God to
people.  Why would you make a series of instrumental albums?  And what
would people with some kind of Christian experience expect to receive
through a project with no lyrics?  Why do it - because Christians have run
out of words?  Probably not.  Because we've misused our words?  Maybe.

Okay, maybe Keaggy doesn't have this personal agenda.  Maybe he makes a
remarkable album like this one simply because he can.  Well, here't to
innocence; all the more reason to celebrate.  On his newest, "Beyond
Nature", Keaggy and his acoustic guitars - with a charming touch or two of
strings, winds and light percussion - dance and whisper and wind their way
through mysteries unspeakable.

Picture Keaggy walking alone in two of his favorite places, The English and
Irish countryside, with the writing of C.S. Lewis and the compositions of
Claude Debussy hanging in the damp air.  Now you have the subtext for a
recording that reaches across the oceans, back in time and yet is purely
Keaggy as we could wish.

"I Feel the Winds of God Today", is an old British folk tune, now a hymn.
Keaggy has textured it with five different parts and has captured the
timelessness and sure-handed hope of the melody.

A terrific surprise is the rendering of Norwegian composer Edvard Grieg's
"Symphonic Dances" (second movement).  This is as melodic and lovely as it
can be.  The remainder of the project is filled with Keaggy compositions,
of which "As Warm as Tears/A Place of Springs", is as compellingly tender
as its title.  Now imagine that "When Night Falls" is an arrangement that
unfolded from the depth of the man's heart and talent as the tape was
rolling!  Here is gentleness and virtuosity proving they belong together.

Some players call their guitars "axes".  Weapons for battle.  But I'll bet
for Keaggy, an acoustic guitar is not something to be wielded (like an axe)
in self defense or in aggression.  Nothing and no one in this music gets
chopped up or cut down.

Keaggy quite simply has a touch.  That's how the Spanish say it - "tocar la
guitarra" - to "touch" the guitar.  Not play.  And you notice the
instrument is regarded as feminine.  There she is.  Wood and glue, braced
and breathing, warm and alive in the arms of - the player?  No.  The lover?
Yes - the one with the touch.  And every moment a discovery.

    All the tapes went out today to everyone that ordered one.  Some also
    went out to people that were previously promised one and to those that
    were nice enough to send me tapes.
    
    I'll start writing up some liner notes on Monday to give you some idea
    of what your listening to (i.e., year, album, Phil's comments, etc.).
    
    Mike

Each song title is followed by the year it was released, the album name,
and some comments...  I pretty much slapped this together so sorry if the 
quality isn't great.  Also, if anyone's interested, I have the tab for a lot 
of these solos.  They're in a booklet that came with his instructional video 
and were done by Dave Whitehill of Guitar World.

This Side
---------
I've Just Begun (Again) - 1988, Sunday's Child.  The intro has some 
                     interesting Glass Harp (his secular band before he became 
                     a Christian) introductions that must be at least 20 years 
                     old.  I've never played it backwards (don't have the 
                     capability) so I'm not sure what's back masked in there.
                     Rick Cua (ex-Outlaw bass player) plays on this song as
                     well as most of these on here.
Carry On - 1990, Find Me in These Fields.  Nominated for a Grammy.
Follow Me Up - 1978, The Master & The Musician.  This is from his first
                     instrumental album.
What a Love - 1983, Private Collection Volume 1 - Underground.  Phil 
                   did all instruments on this album, as well as the others in 
                   the Private Collection series.  This is probably my favorite
                   album of his.
Sunday School - 1982, Ph'lip Side.  Sorry about the level drop in this one,
                   but the tape is old and worn and this was the best I could 
                   do.  In his instructional video, he talks about how Michael
                   Bloomfield influenced his playing while doing this song.  
                   Called Bloomfield the greatest blues guitarist that ever 
                   lived.
Ain't Got No - 1988, Sunday's Child.  This is a quartet of Phil, Lynn 
                   Nichols (producer) and two other fairly popular Christian 
                   artists: Randy Stonehill and Russ Taff.  Some nice slide
                   work on here!
Train to Glory - 1982, Play Thru Me.  Guitar Rap from Phil: "I wrote most
                   songs on this side (one thru four) with bass and rhythm
                   machine at first.  There are three bass tracks on this song;
                   one track direct - Koman Performer strings, one track thru
                   distortion in amp, and one track roto-sound strings direct.
                   Along with keys it sounds very full.  Strats on rhythm and
                   leads.  Most leads on this album are the old Strat.  G-3 
                   bass."
Get Over It - 1989, Private Collection Volume 2 - Back Room Trax.  He ended
                   up releasing this on "Find Me in These Fields" but changed it
                   for that album.  I like this version better.               
Yield to The Spirit - 1989, Compassion International All-Star Band Live - 1
                   by 1.  Joe English (ex-drummer for Paul McCartney & Wings) 
                   handles the vocals here.  Phil does all guitars, Rick Cua on
                   bass.
Happy - 1982, Play Thru Me.  Guitar Rap from Phil: "This tune and all the
                   album started in a Kansas City studio with only the drummer,
                   Jim Delong, and myself.  A very basic beginning.  I enjoyed
                   seeing all the rest come together.  For rhythm I used the
                   Yamaha SA 2000 and also for slide at the top.  Incidentally,
                   no bottle or slide was found so I used a mic cable adapter.
                   Sure was awkward!  My old (relatively speaking) 1971 Les 
                   Paul Deluxe resumes the leads accompanied by the YA SA 2000
                   on the octaves.  This basic track was a "first take" to our
                   surprise!  All leads were played either thru my Yamaha G 100
                   112 amplifier or directly into the board (mixing console).
                   Hadley Hockensmith played Fender Precision Bass."
The Ransom - 1983, Private Collection Volume 1 - Underground.  
Passport - 1985, Getting Closer.  This is the first album he started using
                the Zion guitar.  Has 2 Duncan JB's on it.  He also started
                using his rack setup on this album.
Jam Interlude 1 - 1990, Find Me in These Fields.  This album has a few
                of these on it.  I basically included them to fill up blank
                space, but there is some hot playing in them!

That Side
---------
Sounds - 1985, Getting Closer.  The outro solo on here is probably my
              favorite solo that he's ever recorded.  He spends a lot of time
              on this tune in his instructional video.  The first solo he said
              was Pat Metheny influenced, the second was Allan Holdsworth 
              influenced, the outro is all him.
Full Circle - 1981, Town to Town.  Nice Les Paul on the intro here.
Deadline - 1983, Private Collection Volume 1 - Underground.  
The Promise - 1987, The Wind & The Wheat.  This is from his second 
              instrumental album, which he won a Dove Award for (Christian
              equivalent of the Grammys, popularity contests excluded though).
              Guitar Rap from Phil: "...the middle lead part - after the intro
              and before the transition at the end - was originally recorded
              5 years ago on my home multitrack recorded.  The tracks were
              arranged around this old guitar solo."
Paid in Full - 1983, Private Collection Volume 1 - Underground.  The middle
              guitar section that is really chimey was done on a Mini Les Paul
              that Kerry Livgren gave him.
March of the Clouds - 1987, The Wind & The Wheat.  This song opens the 
              album.  Phil says, "It's aural image of clouds encircling the 
              earth and crossing the sky stirs up the New Testament image of the
              triumphant procession of those whom the Son has redeemed."
Follow Me On - 1983, Private Collection Volume 1 - Underground.  
This Could Be the Moment - 1988, Sunday's Child.  The second solo here is
              done by James Hollihan, not Phil.
Crossroads - 1989, Compassion International All-Star Band Live - 1 by 1.  
              Randy Stonehill does the lead vocals on this one.  Phil does all
              the guitars on this old classic.
Final Day - 1990, Find Me in These Fields.  This is the currently released
              single off this album.
Jam Interlude 2 - 1990, Find Me in These Fields.  

    FWIW, "March of the Clouds" from "The Wind and the Wheat" is
    what sold me on Phil Keaggy.
    
    It's one of those rare pieces of music that I would describe as
    "impressionist" - when *I* listen to it, it takes me to the clouds
    and forms vivid images in my mind.
    
    I particular love the way he expresses each note and the tone of
    his guitar, and the gorgeous backdrop he created to play over.
    
    There are few albums that I regard as 100% superlative, but "The Wind
    and the Wheat" is one of them.
    
    Oddly enough, I don't appreciate the stuff on "The Master and the
    Musician" nearly as much even though that is often touted as his
    finest instrumental album.

    If you like acoustic work and/or Michael Hedges type stuff, you *have*
    to buy his new instrumental album.
    
    I agree with you on the rest!
    
    Mike

    So what does everyone think of the sampler?  

    Well - I listened to the 1st side today while I was driving around. 
    Some good stuff on there for sure, but I'm going to have to listen to
    it in the house before I can really pass judgement.  Good selection of
    material though - a little bit of everything.
    
    Scary

    Phil is playing the Greenbelt Festival again this year in Great 
    Britain (September 23-24).  
    
    Mike

I just received my announcement/order form today for the new Phil Keaggy
instructional video "Acoustic Guitar Style".  Here's the description:

"Phil Keaggy Acoustic Guitar Style - Master guitarist Phil Keaggy, whose
innovative work earned him a Grammy award nomination in 1990, and the
Instrumental Album of the Year award from the GMA (Gospel Music Association
- Dove award) in 1988, is back in his follow-up to his immensely popular
'Phil Keaggy Electric Guitar Style'.  In this one hour personal guitar lesson
on acoustic guitar, you'll learn Phil's approach to such techniques as
alternate tunings, finger picking, flat picking, sweep picking, tapping,
harmonics, and open-string chord voicings.  He'll also show you various
licks from 12 songs taken from his 3 instrumental releases 'Beyond Nature',
'The Wind and The Wheat', and 'The Master and The Musician'.  60 minutes
w/booklet."

To order send $33.95 + $3.50 for shipping (Missouri residents add 6.475%
sales tax) to:

Music Source International
P.O. Box 46758
Kansas City, MO 64118

or call (800) 442-4674 for credit card orders.  

Mike

    Many thanks to those of you that sent me the copy of the Keaggy
    interview from the May '81 issue of Guitar Player!
    
    It was interesting to see how those outside of CCM perceive him.
    
    The article mentioned that he was also interviewed in the February '75
    issue of Guitar Player.  Do any of you collectors have that issue?  I'd
    be forever grateful for a copy!
    
    Thanks,
    Mike

"Town to Town", "Ph'lip Side", and "Play Thru Me" have been reissued on a 2 CD
set!  I think that leaves only 3 Keaggy releases that aren't available on CD:
"Underground", "Getting Closer", and "Way Back Home".

PHIL KEAGGY		- March 21st, Vineyard, Denver *** WITH BAND ***
Plus IVth Estate 	              9750 W. 50th 
Special Guests:Malcom & Alwyn         Wheatridge, CO  (303)421-3800
				       
				     	
			- March 22nd, Cherry Hills Community Church, Englewood
						*** SOLO ***
				      3651 S. Colorado Blvd.
				      Englewood, CO
 
Tickets for Phil, on Sale Feburary 21st

    The latest issue of Acoustic Guitar magazine has an article on Phil
    including a recent interview. Also a tab of some of his stuff. 
    
    Mike

    Is any of the tab from "Wind and the Wheat?"

    I haven't seen it yet.  I was told about the issue from another
    guitarist.
    
    Mike

Phil Keaggy - "Acoustic Guitar Style", Music Source International

Ever since "The Master and The Musician" - the first contemporary instrumental
guitar record released in the Christian market over a decade ago - folks have
been raving about Phil Keaggy's way with an acoustic guitar.  Even Guitar Player
magazine has profiled the artist on more than one occasion, and his name has
been cited as an influence on players both Christian and 'secular.'

This new instructional video from Music Source Int'l is a companion to the
earlier electric session, and as you would expect, it highlights the acoustic
techniques of this fine player.  What you might not expect however, is how
entertaining the program is, as much for the non-playing fan as for the players.

Featuring 12 selections from his latest instrumental album "Beyond Nature", as
well as the earlier "The Wind and The Wheat" and the aforementioned "The Master
and The Musician", Keaggy dazzles the viewer with his strong, individual playing
style, though characteristically delivered in his low-key manner.  Phil's
approach to such techniques as alternate tunings, picking styles, tapping,
harmonics, and chord voicings is sprinkled throughout the 60 minute program.

Unfortunately, Keaggy is a far better player than a teacher, and his 'lessons'
leave a bit to be desired in the way of thorough explanation.  But it's all
there on the tape, with excellent close-up camera work and sound, to study
again, over and over, 'til ya learn it yourself.  Available from Music Source
International, P.O. Box 46758, Kansas City, MO 64118.

- Thom Granger

    I just picked up the new issue of Acoustic Guitar.  The interview is
    pretty good and I'll try to scan it in next week.
    
    The tab contains excerpts from "Addison's Walk" on Beyond Nature.
    
    Mike

    I recently jumped at the opportunity to see Phil "Fingers" Keaggy
    do a solo concert at Calvary Chapel of Downey last Saturday Evening.
    The man displayed his remarkable talent playing a small body cutaway
    acoustic alongside a small rack mounted with various electronic
    goodies (i.e. digital delays, etc...). 
    
    This apparently (from his comments) was his first concert in a while
    having been working in the studio for a while. He really loosened
    up and seemed to feel right at home. I enjoyed this concert as much
    as I did when I saw him play with a band called, "DAVID" and
    accompanied by the vocal trio, " The 2nd Chapter of Acts". By the
    way that year they released a 3 album live album which is now available
    on a 2 CD set.
    
    He does a brief promo for a group that feeds the hungry all over
    the world called, "COMPASSION INTERNATIONAL". 1-800-336-7676 to
    become a sponsor ($24.00/mo.)
    
    The Phil Keaggy Club can be reached at PO Box 15357 Chesapeake,
    Virginia  23328-5357. A $10.00 fee will get you 4 quarterly bulletins,
    unique products @special rates, Up-to-date info on concert tours,
    recording info as well as info and advice on guitar technique and
    special recording tips. [I include this info because I have it and
    I don't know if one of the previous 87 entries included this]
                                
    Anyway, if you get the chance to hear him play, go for it. If you
    enjoy guitar playing he is one of the more interesting artists around!
    
    Regards, Paul

I'll be seeing him here in Phoenix on August 22nd.  Other dates this month
include:

6th - Ithaca, NY (Music Expo East)
7th - South Hampton, PA (Memorial Baptist Church)
8th - Vestal, NY (West Hill Christian Academy)
20th - Rochester, NY (New Hope Free Methodist)
21st - Ocean Grove, NJ (Ocean Grove Camp Meeting)
22nd - Phoenix, AZ (Valley Cathedral)

September 12 - Butler, PA (Butler High School)

    Mike

    OK, I was listening to a Twyla Paris tape with some GREAT
    arrangements... at the end of one tune there's just a short section
    with Phil backing up (on acoustic guitar) Alastair Fraser, a Scottish
    fiddler, on a Gaelic tune I don't recognize; it's a beautiful tune, and
    a more beautiful job on the fiddle, but the thing that KILLED me was
    Phil's backup - just chords (and a few notes doubling the melody) in
    DADGAD tuning, but it was as musical as anything I've ever heard.
    
    Charlie

    Concert was GREAT!  He still makes my jaw drop.
    
    This guy is so humble, it makes me laugh.  I arrived at the same time
    he did outside the venue (had front row seats too).  He walks up to me 
    and my youngest daughter, hand extended, and says, "Hi! I'm Phil!"  I 
    know that's standard behavior, but it made me grin (like who else could 
    it be).  You could tell he was really homesick the way he talked to my 5 
    year old and mentioning how Ian is now 5.  He later played quite a few of 
    the songs he's written for his family: "She Came to Stay", "Gentle & 
    Strong", etc.
    
    Since this was an acoustic setting, I was expecting more from "Beyond
    Nature", but he was in one of those rare moods.  Must have been due to
    playing in Joisey the night before.  He opened the concert with a Q&A 
    session with the crowd, and took requests for most of the concert.  Even 
    played "Jingle Bells" for a youngster that requested it from the front 
    row. ;-)  Phil displayed his unique sense of humor with many funny
    stories, comments, responses to comments from the audience.  For
    example, someone asked how long he's been playing professionally.  He
    lifts his wrist to glance at his watch... (you get the idea).
    
    He played some songs that haven't been recorded yet, and some that will be 
    on the new album (vocal/band release) out in January.  Besides the 2
    above, he played (from memory): "What a Day" (said this is his
    personal favorite), "Strong Tower", "Fare Thee Well" (this one has the 
    EG#DF#BE tuning with the capo on the 3rd fret.  Most of the melody 
    centered around A form suspended barre chord arpeggios), "The Survivor", 
    "My Life", "The Reunion", "I Love You Lord", "I Will Be There", and "Love 
    Broke Thru".  There must have been at least half-dozen songs I hadn't 
    heard before (and I have every one of his available recordings).  One
    tune "Shouts of Joy" he said he did at Cornerstone.  He often played some 
    very recognizable Beatle riffs while noodling and talking.  Phil just put 
    the strings on before the concert so he banged out "Strong Tower" and a 
    song he wrote about his recent family reunion, which was pretty upbeat, to 
    stretch those strings.  Constantly fooling with the tuning during the 
    songs (Eric Johnson always does this too and it bugs me that they're so
    perfectionistic ;-)).  Then when he gets them stretched, retuned to do 
    "Fare Thee Well".  One of these days I'll do that (but not on a Floyd ;-)).
    
    His effects rack was DOA so he was all natural.  That custom Olson 
    acoustic (w/cutaway) has such a warm, wonderfully rich tone.  He had it 
    mic'ed as well as the internal pickup running through the mix.  Knowing
    this, and being the sad person that I am, I requested "Symphonic Dance"
    ;-)  I really did want to see how he played it though.  He basically
    said he'd need 8 guitars to do it, but then goes, "I'll do this part
    for ya..." and proceeded to play the main riff in the song.
    
    Phil never disappoints me when I see him and the $3 ticket price was
    more than worth it.  I just don't understand his non-popularity in this
    area.  There are usually mostly musicians at his concerts.  I've never
    seen him play to more than 1K people here, while I hear he plays to
    many thousands in other cities.
    
    Some trivia I learned before the show:
    
    - Doug Pinnick of King's X co-wrote "Just a Moment Away" with him.
    - "Addison's Walk" is the name of the forest trail that C.S. Lewis
      always used to stroll at Cambridge.
    
    Mike

    Phil's latest, "Crimson & Blue", is now officially in the stores.

    If I absolutely LOVED "Wind and the Wheat" and didn't like much of
    anything else, would I like "Crimson & Blue"?
    
    I also really just don't seem to be able to appreciate "The Master and
    the Musician".  "Wind and the Wheat" is the only think I've cared
    for but that one album I think is incredibly good.
    
    In fact, I listened to it this morning!
    
    	db

    I'll let ya know after I listen to it.  FWIW, there's an EP available
    on CD for $5.99 that contains radio mixes and extended studio jams that
    don't appear on the official release.  The EP also contains a $2 off
    coupon for Crimson & Blue.  
    
    The original drummer from Glass Harp, John Sferra, handles all the
    drumming chores for both CD's and will tour with him as well.
    
    Mike

    db, I really can't say if you'd like this new album or not, but the
    "Revelator" EP (review below) might give you an idea at more than half 
    the price.  I will say without a doubt that "Beyond Nature" is in the 
    same mode as "The Wind & The Wheat."  If you like the acoustic work on 
    "The Wind & The Wheat", you'll love "Beyond Nature."  Songs like 
    "Symphonic Dance" really rival "The Reunion."
    
    After listening to "Crimson & Blue" a few times, it's great to see 
    some of our prayers were answered:
    
    - Phil finally dusted off the '71 Cherry Sunburt Les Paul Deluxe!
      It's been about 8 years since he did a whole album using this guitar.
    - He finally gave us the extended jams like we're used to in his live
      settings.  Four of the 13 tunes are over 6 minutes long (2 over 8)
      and have lots of outro jamming.
    - A two-thirds reunion of Glass Harp!  Drummer, John Sferra, joins Phil 
      on the "Crimson & Blue" album, EP "Revelator", and will also tour with 
      Phil.  Bassist Wade Jaynes of Chagall Guevara and Keys great, Phil
      Madeira, also help out in forming a great sounding band.
    
    The CD hits the ground running "Shouts of Joy."  This is a Scottish-style 
    rocker with a martial beat arrangement of the '66 worship chorus by Ray
    Repp.  I just *LOVE* this tune!  The next tune "World of Mine" has Phil 
    singing in the lowest voice I've ever heard him do on a recording.  The 
    3rd song, "Everywhere I Look" will be the first single and sort of sets 
    the tone for the next few songs that blatantly show Phil's Beatlesque 
    influence.  "Everywhere I Look" has a "Penny Lane" styled horn bridge.  
    "Love Divine" sounds exactly like something the Fab 4 would've done 
    themselves.  It's VERY reminiscient of an updated "All My Lovin."  The 
    next tune, "Reunion of Friends", sounds like something Badfinger would've 
    done (another band influenced by the Liverpool boys).  
    
    Following "All There is to Know", the CD displays its most emotional 
    moment.  "When Will I Ever Learn to Live in God" is a cover of Van 
    Morrison's most blatant Christian song.  Morrison's poetry and Phil's 
    voice and guitar are a heavenly match.  
    
    "Stone Eyes" follows and gives us a tease of the jamming to come at the
    end.  "I Will Be There" is a re-recording/rearrangement of the song we
    first heard on the "Getting Closer" album.  Phil shows us a jazzy side,
    ala Wes Montgomery, that we rarely hear from him.  All songs up to this
    point are known as the "Crimson" set.  The rest of the album is the
    "Blue" set.
    
    "Don't Pass Me By" is a British blues number in the mode of Cream and
    Blind Faith with Phil and Madeira more than adequately filling the
    roles of Clapton and Winwood.  "John the Revelator" is a traditional
    blues song that Phil rearranged.  This tune has over 8 minutes of
    jamming with vocal and musical quotes from Cream's version of Willie
    Dixon's "Spoonful."
    
    If that wasn't enough, there's another 8 minute tune, "Doin Nothin'". 
    This is probably the most sarcastic set of lyrics I've ever heard Phil
    write and is an indictment on complacency.  Lest you think this is all
    Phil, you hear some really great playing from the rest of the band on
    these jam sessions.
    
    Keaggy comes full circle for the album's finale in "Nothing But the
    Blood."  This traditional chorus has some real tasteful Strat blues 
    rhythm playing on here ala Jimi Hendrix meets Wes Montgomery meets 
    Eric Johnson.
    
    Now if you're still not satisfied, the EP "Revelator" is only $5.99 for
    40 minutes of music and comes with a $2 off coupon for "Crimson &
    Blue."  The EP contains the radio mixes of "Everywhere I Look" and
    "John the Revelator".  It also has an "Alternate Take - Swamp Version"
    of "Doin Nothin", extended Strat mix of "John The Revelator", the outro
    of "Reunion of Friends" which is called "Celebrate".  The final piece
    is the most interesting and is called "Further Adventures of..." and is
    over 12 minutes of two-thirds Glass Harp (Phil and John Sferra)
    jamming.  Pick up your bass and play along to some real tastey stuff in
    this section.
    
    Now after all of this, if you still aren't satisfied, you never will
    be.
    
    Mike

Article 16058 of rec.music.christian:
Newsgroups: rec.music.christian
Path: nntpd2.cxo.dec.com!pa.dec.com!decwrl!apple!mumbo.apple.com!gallant.apple.com!NewsWatcher!user
From: [email protected] (Sue Overholser)
Subject: Attn: Bay Area Guitarists/Keaggy fans
Date: Mon, 15 Mar 1993 19:20:28 GMT
Organization: Apple Computer

A Guitarist's dream come true!!

Heartfelt Music Presents:

THE CHRISTIAN GUITARIST CONFERENCE
Featuring Phil Keaggy
At the Beautiful Ponderosa Lodge, Mt. Hermon CA

May 7 - 8

Friday Night Private Concert with Phil Keaggy (registrants only)
Saturday Seminars and Guitar Lessons led by Phil Keaggy and Others
Hosted by Reggie Coates, the Music and Arts Pastor with Peninsula Bible
Church in Cupertino.

Registration:

Anyone who is a Christian, a guitar player and at least 13 years old is
invited.  Registration is limited (I believe only 200 people) so, register
early to reserve a spot.  

Cost - $98

Call 408-864-6882 (Heartfelt Music) for flyer and more details

God Bless,
Sue Overholser

(not affiliated with Heartfelt, just passing the info along)

email:  [email protected]

    Hey Mikey [and other Keaggy fans]
    
    Was browsing thru the "Musician's Friend" catalog and notice he
    has two instructional videotapes out called "Electric Guitar Style"
    and "Acoustic Guitar Style".
    
    Musician's Friend (1-800 766-5173) has them at $39.88 each.
    
    Thought you might like to know...
    
    	db

    Re: -1
    
    Yeah I noticed that too, but I can get them for $30.  
    
    Now if they would just get rid of the Morse junk, it would improve
    their image tremendously!

> FRETZ::HEISER "light without heat"
    
    Mike,  I think you've got that personal name backwards.
    
    	db

    Well after a year hiatus, something finally crossed my path that made
    me pick up the guitar again.

>    Was browsing thru the "Musician's Friend" catalog and notice he
>    has two instructional videotapes out called "Electric Guitar Style"
>    and "Acoustic Guitar Style".
>    
>    Musician's Friend (1-800 766-5173) has them at $39.88 each.

    I already have the Electric one.  One of the local stores was having a
    sale and I bought the Acoustic one for $30.  I always thought that he
    was a better acoustic player than electric, but this video is SICK!

    Mike

    Some tidbits that acoustic players in here may find of interest:
    
    Phil has a separate rack for his custom-made Olson acoustics (his
    electric guitar rack is in an early reply here).  I've priced these
    Olson's before and they run around $1800 for a 6-string cutaway with
    custom inlays and electronics.
    
    First the Olson's:  each one contains 2 pickups and a condensor mic. 
    The bridge pickup is an LR Baggs, the sound hole pickup is a Summerize?
    (thought that's what he said but couldn't say for sure).  The condensor
    mic is a Fender M1.  All 3 are connected to his rack via a 5-pin DIN
    cable.  The Fender M1 goes directly to the House P.A. and is dry.  The
    rest goes to the stereo rack.  Final note on the guitars, whatever
    tuning he uses, he always tunes down � step from A440 to yield a
    thicker sound.
    
    The acoustic rack:
    - Bob O'Neal custom-built acoustic preamp
    - Alesis XTC digital reverb (also one of these in his electric rack)
    - Alesis Quadraverb multieffect processor
    - Roland SDE3000 digital delay (also one of these in his electric rack)
    - Carver PM300 power amp
    
    Mike

>>    The bridge pickup is an LR Baggs, the sound hole pickup is a Summerize?
    
    	I believe that would be a Sunrise.
    
    						Jim
    

>    Phil has a separate rack for his custom-made Olson acoustics
    
    What's wrong with this picture?  "Rack" and "Acoustic" in the same
    sentence?  Without an "or" between them???
    
    gh

    I don't see anything wrong with it.  You need stuff like that when
    playing an acoustic in a large venue.

    I have a friend who until recently made his living as a sound engineer
    for visiting groups in the Rochester, NY, area.  Many of the groups
    were acoustic or folk musicians.  He said all the good acoustic players
    have a rack these days; it's the best way to get good sound at any real
    volume.
    
    Dave

>    I don't see anything wrong with it.  You need stuff like that when
>    playing an acoustic in a large venue.
    
    I disagree.  You might need the preamp for the internal pickup, if
    you're gonna use one, but you certainly don't need reverbs, delays, and
    all that processing jive to play an acoustic, regardless of venue size.
    I call that "making an acoustic sound like an electric".  Why bother?
    
    gh

re: .108

>    I disagree.  You might need the preamp for the internal pickup, if
>    you're gonna use one, but you certainly don't need reverbs, delays, and
>    all that processing jive to play an acoustic, regardless of venue size.
    
Greg:

While I agree with you about the effects (with the possible exception of
the reverb), having your own preamp is more important than you might
think.  Too many sound guys have no idea how to make an acoustic guitar
sound like an acoustic guitar.  The more control you have over your own
sound the better off you'll be.

>    I call that "making an acoustic sound like an electric".  Why bother?

Believe me, the sound guy probably will make your acoustic sound like a
(bad) electric by default!

-Hal

P.S.  My apologies to any *good* sound doods out there.

    That's funny.  There isn't anything on "Beyond Nature" that sounds
    electric to me.  Some of the songs couldn't be done live without the
    SDE3000 acting as a second guitar.  You need to listen before you
    judge.

Compassion International presents Phil Keaggy and Glass Harp 

September

16 Wichita, KS
17 Colorado Springs, CO
18 Denver, CO
19 Lincoln, NE
23 Grand Rapids, MI
24 Detroit, MI
25 Upland, IN


October

7  Springfield, MO
9  Kansas City, MO
21 Tulsa, OK
22 Oklahoma City, OK
23 Dallas, TX
28 Sioux Falls, SD
29 Minneapolis, MN


November

11 Cincinnati, OH
12 Cincinnati, OH
13 Akron, OH
20 Chicago, IL
26 Trenton, NJ
27 Pittsburgh, PA
28 Lancaster, PA

For concert info call Street Level Artists Agency 
219-269-3413   (that's in Indiana)

    November 6 at E.N.C. in Quincy.

    According to the latest fan club newsletter, both Glass Harp albums are
    now available on CD through the club.  The costs are:
    
    "Glass Harp" - their 1970 debut is $30
    "Synergy" - their second album (1971) is $30
    You can purchase both for $50.
    
    Private Collections Volume 5 (Backroom Trax) is also available for $10
    (tape only).
    
    Mike

    It's just simply amazing and inspiring to see this man display the
    talents God has given him.  This was an all acoustic show, and it's
    quite impressive to hear all the music he's making up there and realize
    it's just him up there.  I can't think of anyone who feeds off a crowd
    more and can improvise so well at the wink of an eye.  
    
    It was my first time in Symphony Hall and it's a first class venue.  It
    was sold out to capacity (3K) and Phil gave everyone their money's
    worth.  My oldest son certainly enjoyed it, especially meeting Phil and
    his manager.
    
    I wanted to get the Glass Harp CD's last night, but they were sold out. 
    I already own everything else they had on display ;-)
    
    I'd never want to have this guy as my opening act.  The crowd demanded
    an encore from him (and got it), while the main act went without one.
    The main act was also obviously humbled by his predecessor.  When he
    first took the mic, he promised not to play any songs while tuning his
    guitar, only use a handheld mic and not the one in his guitar, and
    only use 1 hand on the guitar neck.
    
    It just amazed me how he could develop a song while he's actually
    re-tuning the guitar for the next number, and have it come off as
    something very musical and melodic.  During one song, he was really
    going off, and started using the soundhole pickup as a mic to produce
    some real interesting vocal effects.
                                                          
    Mike

    In the Guitar Player magazine's reader's poll (January issue), 
    Phil Keaggy placed 3rd in both the Best Acoustic Fingerstyle and Best
    Acoustic Pickstyle categories.  Eric Clapton, Neil Young, Michael
    Hedges, and Adrian Legg were fortunate to finish ahead of Keaggy.
    
    Mike

    Hey, third place.
    
    That's pretty impressive.
    
    	db

    Think about it db.  Most guitarists/musicians have never heard of the guy 
    and he still gets 3rd.  If Morse toiled in as much obscurity, he'd be
    just as fortunate to show.

>    Think about it db.  Most guitarists/musicians have never heard of the guy 
>    and he still gets 3rd.  If Morse toiled in as much obscurity, he'd be
>    just as fortunate to show.
    
    Umm, dude.  Morse jumped from never having been mentioned to "Best Overall".
    
    The guy's first showing/mention in the poll was 5 straight years of "Best 
    Overall Guitar Player".
    
    Morse never had to "toil in obscurity" for very long because he was so 
    facking great and obviously so!!!
    
    

>    Umm, dude.  Morse jumped from never having been mentioned to "Best Overall".
    
    You're still forgetting vital information:
    
    1. Morse plays a style that is generally accepted by the secular
       mainstream (with or without the Dregs).
    2. Morse's albums have always been accessible in the secular mainstream
       music stores (i.e., Tower Records of the world).
    
>    Morse never had to "toil in obscurity" for very long because he was so 
>    facking great and obviously so!!!
    
    I don't believe he would've been this fortunate without 1 & 2 above. 
    You're fooling yourself to think otherwise.  This makes Keaggy's
    honorable mention remarkable.

    Actually, what *I* heard is that Morse went from utter obscurity to
    "instant fame" within a month of taking db on as volunteer publicist
    extraordinaire...
    
    Bob (ducking)
    

>    1. Morse plays a style that is generally accepted by the secular
>       mainstream (with or without the Dregs).
    
    Oh yes, instrumental music is definitely "generally accepted".
    
    It wouldn't have been as easy if he had vocals like Keaggy does
    on most of his albums.
    
    Aside from that, I really don't see how Morse's "style" is more
    generally accepted.  I seem them as very similar.  In fact, in sharp
    contrast to your point, all the people I know who like Keaggy, also
    like Morse.  
    
    Aside from the vocal thing, I really don't see how you can say that
    his style is so much more accepted.
    
>    I don't believe he would've been this fortunate without 1 & 2 above. 
>    You're fooling yourself to think otherwise.  This makes Keaggy's
>    honorable mention remarkable.
    
    All joking aside, I think Keaggy's honorable mention is indeed 
    remarkable even though I dismiss your points comparing it with
    Morse.  
    
    I mean, look at the folks who have won the "Best Overall" category. I
    can't think of one that's isn't MUCH better known outside the
    musician's community than Morse.   The only other guy to accomplish
    what Morse did (Steve Howe), plays in a band that has had nothing but
    Gold albums and sold-out stadium shows for the last 20 years!!!
    
    I think considering that, Morse's accomplishment is far more amazing.
    
    You should also note that Keaggy did produce at least one album
    on a secular label, and it was a GREAT album  (one of my VERY VERY
    favorites).   It didn't seem to gain him much attention, but I'm
    just as puzzled and dissapointed about that as you are.
    
    	db

    Perhaps one big detraction from Keaggy is that he's put out quite a lot
    of music that did not showcase the technical aspects of his guitar
    playing ability.  I know people who "heard he was a great player"
    bought some random album by him, and found it didn't have much of the
    amazing guitar playing that he's reputed to have on it.  I know this
    happened to me (ok, so I borrowed the album instead of buying it).
    
    Morse, on the other hand, clearly displays his amazing chops on each
    and every album he has, so it doesn't matter which you get.
    
    I do disagree with you on one little point though, Dave.  I do believe
    that music with clear religious themes to it is less accepted then
    instrumental music, especially among the "musician" type crowd and even
    moreso among the younger members of that crowd.  And that *is* the
    audience that they questioned for that poll.  It seems clear to me from
    the articles and tab they present that the primary focus of GFTPM is
    the young hard rock musician, a demographic that would be especially
    prone to slag anything to do with religion.  So I believe that Keaggy
    probably was at a disadvantage in that contest.
    
    Greg

>    I do disagree with you on one little point though, Dave.  I do believe
>    that music with clear religious themes to it is less accepted then
>    instrumental music, especially among the "musician" type crowd and even
>    moreso among the younger members of that crowd.  And that *is* the
>    audience that they questioned for that poll.  It seems clear to me from
>    the articles and tab they present that the primary focus of GFTPM is
>    the young hard rock musician, a demographic that would be especially
>    prone to slag anything to do with religion.  So I believe that Keaggy
>    probably was at a disadvantage in that contest.
    
    We're not talking about GFTPM.
    
    This is the Guitar Player poll.   Guitar Player is so diverse that they
    get irate letters from "young hard rock musicians" complaining about
    wasting so much space on boring stuff like blues, jazz, classical,
    etc.
    
    ;-)
    
    GFTPM is great for the tab they put out, but if they even attempted
    to have a "Best Overall" category it would be a joke. The winner 
    would probably be whoever the current owner of the speed record is.
    
    Anyway, as I've said, I recognize KEaggy's achievement in placing.
    
    However, unlike Mike, I think it's every bit as amazing that Morse
    was so dominant in the top category considering how little known he
    is outside of the circle of guitar players.
    
    I mean, if you don't think "popularity" is a factor in that poll, I'd
    point out that Charo won "Best Flamenco"!
    

>    All joking aside, I think Keaggy's honorable mention is indeed 
>    remarkable even though I dismiss your points comparing it with
>    Morse.  
    
    db, you failed to address/dismiss point 2.  You can't check out
    something if you can't find it in any stores.  My fave Keaggy album is
    still out-of-print to this day!
    
>    You should also note that Keaggy did produce at least one album
>    on a secular label, and it was a GREAT album  (one of my VERY VERY
>    favorites).   It didn't seem to gain him much attention, but I'm
>    just as puzzled and dissapointed about that as you are.
    
    Just to pick a nit, Keaggy has never done anything on a secular label. 
    It wasn't until 4 years ago when some of the Christian labels signed
    agreements with Sony, EMI, etc., that his albums were available in
    mainstream stores.  
    
    Tell me, db, where did you buy "The Wind & The Wheat"?  He has won Dove
    Awards for all his instrumental albums.  The Grammys don't have a
    category like that for his genre.  However, he has placed 3rd in the 
    Grammys as well for Best Rock album.  "Beyond Nature" (living proof of
    my claim that he's a much better acoustic player.  Clapton and Neil
    Young couldn't play a lick on it) is just as good or better and people 
    haven't heard of either one - including many guitarists.
    
    Mike

>    I mean, if you don't think "popularity" is a factor in that poll, I'd
>    point out that Charo won "Best Flamenco"!
    
    but db, Charo has *TALENT*!

>    We're not talking about GFTPM.
    
    Woop, my mistake.
    
>    This is the Guitar Player poll.   Guitar Player is so diverse that they
>    get irate letters from "young hard rock musicians" complaining about
>    wasting so much space on boring stuff like blues, jazz, classical,
>    etc.
    
    Welllll, I think that's pretty rare.  I still think they are targeting
    a primarily rock demographic.  I've seen a *lot* more letters
    complaining about the number of rock/metal players they've covered then
    about any other genre.
    
>    However, unlike Mike, I think it's every bit as amazing that Morse
>    was so dominant in the top category considering how little known he
>    is outside of the circle of guitar players.
    
    But...the audience is completely comprised of GUITAR PLAYERS!  Now, if
    it was a Rolling Stone poll, or a Spin, or even Musician, I might agree
    with you.
        
    Greg

>    db, you failed to address/dismiss point 2.  You can't check out
>    something if you can't find it in any stores.  My fave Keaggy album is
>    still out-of-print to this day!
    
>    Tell me, db, where did you buy "The Wind & The Wheat"?  
    
    I bought it at Strawberries.  One of the most common stores in the New
    England area and btw, typically having among the poorest selection
    (compared with Neubery Comics, Turtles, etc.)
    
    I got news for you Mike.  It was a lot easier for me to find the Keaggy
    albums I have than the first two or three Dregs albums.   Sure, they
    were Carpricorn, but that doesn't mean that the stores had them.
    
    I "stumbled upon" the Keaggy albums I have - that is, I wasn't
    "looking" for them, but just came across them looking thru bins.
    
    I almost needed a detective to find "Freefall" (the 1st Dregs album)
    and "What If".
    
    	db
    
    p.s. If you're favorite Keaggy album is "Master and the Musician"
    (which most Keaggy fans cite as his best work), it ain't out of
    print.  In fact, it's on CD (another one I stumbled upon).

    I live in a city just as large as Boston and I've never had a hard time
    noticing Morse stuff in the stores and even hear him on the radio. 
    Keaggy only gets radio time here because we have a CCM FM station. 
    Even Joyful Noyz got radio time so that tells you it don't mean much in
    the way of popularity.  In addition, like Strawberries, I can find Keaggy 
    CD's in Tower, Musicland, or Sam's, but they're only the current release
    and usually at least 8 months after they're out.  If I want it the day
    it comes out, I have to go to a Christian bookstore.
    
>    p.s. If you're favorite Keaggy album is "Master and the Musician"
>    (which most Keaggy fans cite as his best work), it ain't out of
>    print.  In fact, it's on CD (another one I stumbled upon).
    
    db, you're talking to a guy that owns everything the guy recorded. 
    I even own the 5 tapes of unreleased material that is only available
    through his fan club.  There are only 3 albums of his that aren't on CD 
    and all of them are out of print (interestingly enough, 2 of them I
    bought while living in Massachusetts, but had to go to a Christian
    bookstore to get them).  Myrrh (his current label) just bought the rights 
    for one of them and it will be released in June.
    
    FWIW, the third and final Glass Harp album, "It Makes Me Glad", was
    just released on CD as well.  The Glass Harp trilogy is all on CD now.
    
    Mike

>    I live in a city just as large as Boston and I've never had a hard time
>    noticing Morse stuff in the stores and even hear him on the radio. 
    
    Dude, without a doubt it is easier to find Morse albums NOW than it
    is to find Keaggy albums.
    
    What I'm saying is that before Morse won the first of his 5 five "Best
    Overall" awards, that wasn't the case.
    
    Yes, Morse has a lot of albums in stores and videos and what not NOW.
    
    However, I think it's been almost 10 years since they promoted him
    into the "Gallery of the Greats" and thus all that stuff that's out
    there now has no bearing with regard to "Morse had an easier road
    to fame...".
    
    > db, you're talking to a guy that owns everything the guy recorded. 
    
    So, forgive me this if I've asked you this before but...
    
    As I've mentioned, I think W&TW is an absolutely incredible album.
    
    I also own "Master and the Musician" but I'm really not into that one,
    although maybe I should listen to it more - I think I've played it
    about 3 times but to be honest, it bores me so that I'm usually
    distracted after 5 tunes or so.
    
    However, I'm not ready to give up on it.  Dream Theater initially
    bored me thru more listens than that and now I think they are the best
    band to come along since the 70's!
    
    I also own "Wednesdays Child" (which I don't like) and "Getting Closer"
    which I do like, but not nearly as much as W&TW.
    
    Given these preferences, what other Keaggy albums should I check out?
    
    I've been told to look into the Glass Harp stuff because it's more
    Progressive.   But then, people who tell me that, are usually stunned
    to hear that M&TM bores me.
    
    I know the guy is extremely talented and I certainly want to connect up
    with any of his stuff that I might like.
    
    I feel obliged to mention that it probably isn't worth your time
    bothering to mention albums that appeal to you only on a spiritual
    basis.   Let's just say I'm not into that and leave it at that
    (please).  I'm interested in the stuff that also appeals to you on
    a musical basis.
    
    	db

>    What I'm saying is that before Morse won the first of his 5 five "Best
>    Overall" awards, that wasn't the case.
>    
>    However, I think it's been almost 10 years since they promoted him
>    into the "Gallery of the Greats" and thus all that stuff that's out
>    there now has no bearing with regard to "Morse had an easier road
>    to fame...".
    
    I still say Keaggy had more to overcome.  He was popular in Ohio
    because of Glass Harp, but that was short-lived.  From 1971-1987, you
    couldn't find a single Keaggy album unless your area had a very liberal
    Christian bookstore.  There was no such thing as CCM radio until the
    early '80s.  "The Master & The Musician" came out ~1978, and after a
    couple years, became known via word-of-mouth advertising among
    musicians.
    
>    As I've mentioned, I think W&TW is an absolutely incredible album.
    
    agreed.  Truly worthy of all the awards it won.
    
>    I also own "Master and the Musician" but I'm really not into that one,
>    although maybe I should listen to it more - I think I've played it
>    about 3 times but to be honest, it bores me so that I'm usually
>    distracted after 5 tunes or so.
    
    yeah, some of the classical-oriented material will do that to you.
    
>    I also own "Wednesdays Child" (which I don't like) and "Getting Closer"
>    which I do like, but not nearly as much as W&TW.
    
    That's "Sunday's Child" where he shows off his Beatlesque influences.
    I think it was a "fun" album for him after escaping from the bonds of
    his previous label where he was mistreated and mismarketed.  Another
    nail in the coffin of his severe underexposure.
    
>    Given these preferences, what other Keaggy albums should I check out?
    
    Two words - "Beyond Nature", the instrumental release that earned every
    award that TW&TW earned.  If you like the acoustic stuff on TW&TW as
    well as some of the Hedges type stuff, you'll love "Beyond Nature."
    
>    I've been told to look into the Glass Harp stuff because it's more
>    Progressive.   But then, people who tell me that, are usually stunned
>    to hear that M&TM bores me.
    
    The Glass Harp triology on CD is $75!  I plan on buying them though
    because I'm very curious as well as a fan.  After the first GH (no not
    Greg House) album, his mother was killed, which sort of led to his
    searching and his new found faith.  The songwriting in the last 2 GH
    albums sort of reveal these changes.
    
    Mike

>    I still say Keaggy had more to overcome.  He was popular in Ohio
>    because of Glass Harp, but that was short-lived.  From 1971-1987, you
>    couldn't find a single Keaggy album unless your area had a very liberal
>    Christian bookstore.  There was no such thing as CCM radio until the
>    early '80s.  "The Master & The Musician" came out ~1978, and after a
>    couple years, became known via word-of-mouth advertising among
>    musicians.
    
    Mike,
    
    I've been a fan of his even BEFORE he ever went into a recording
    studio, and thus I'm very familiar with the progression of Morse's
    career.
    
    The irony is that much of the paragraph above applies equally to Morse.
    
    Yes, Morse was on a label with better distribution.  But "Freefall"
    only got about 1/100 of the promotion that I saw Bob Mercier's band
    get!
    
    It had to be special ordered.  Stores didn't stock it.
    
    Yes, Christian music has a sort of disadvantage in terms of exposure.
    
    But believe me, so does an instrumental band that does
    jazz-rock-classical stuff that does NOT appeal to jazzers, rockers
    nor classicists!
    
    For the sake of ending this, I'll grant you that Keaggy had more of
    a disadvantage.  
    
    The point I'm trying to make is that while that maybe true, the nature
    of Morse's music had NO shortage of advantages (compared with other
    folks who achieved Steve's level of success in those polls) and yet
    Steve became considerably more successful (among players) than Keaggy.
    
    So, in short, yes, Keaggy may have had more of a disadvantage, but
    Morse's success is no less an achievement because of how incredibly
    successful he became with his share of disadvantage.
    
    Of course, we're debating about a "measure of achievement" which is
    highly subjective.   I don't expect you to agree, but I did feel you
    were capable of understanding and agreeing (to a degree) with it.
    
    Perhaps the way to explain it, is via an arbitary quantative example:
    while it's amazing that Keaggy started at -10 and progressed to +5, I
    think it's equally amazing that Morse started at -5 and progressed to
    +10.
    
    BTW, I'll check into "Beyond Nature".   I think I saw it in the record
    section at the 7-11.  ;-)
    
    	db

>    The irony is that much of the paragraph above applies equally to Morse.
    
    yeah I agree.  I don't know too much about the guy, but based on what
    you're saying, he's made an incredible impact.  Maybe I should ask you
    the same question:  what CD would you recommend?  You know I like
    instrumental rock and I want something that will reach out and grab my
    ears right off the first note ;-)
    
>    For the sake of ending this, I'll grant you that Keaggy had more of
>    a disadvantage.  
    
    Aw, that's no fun.  What LDUC(tm) should we try next?
    
>    while it's amazing that Keaggy started at -10 and progressed to +5, I
>    think it's equally amazing that Morse started at -5 and progressed to
>    +10.
    
    Now that's a stretch calling him a "10"!
    
    Mike

>    the same question:  what CD would you recommend?  You know I like
>    instrumental rock and I want something that will reach out and grab my
>    ears right off the first note ;-)
    
    I thought you had most of his stuff.  You once told me that.
    Maybe you were kidding and I did't realize it.
    
    ???
    
    Anyway, I'd like to think that anyone who likes "Wind and the Wheat"
    would also like "High Tension Wires" even though HTW is NOT a typical
    Morse album.  
    
    First off, it's a solo album - i.e. not recording with a fixed "band".
    
    Second, it's kindof airey and new agey.  There's one tune, I think it's
    called "Country Colors" which I think is VERY emotional, not in the
    "wailing, bending note" domain, but rather in the domain of imagery
    and atmosphere.
    
    It's one of those tunes that will take you places if you listen in the
    dark.
    
    So my pick for you would be "High Tension Wires".
    
    Most of the time, I'd recommend "Dregs of the Earth" but I think you
    tend more towards "expression" (you call it "emotion") than "energy"
    and "atmosphere", for you I would probably recommend "What If" which
    was the second Dixie Dregs release.   In particular, check out "Night
    Meets Light" (probably my favorite Dregs tune, and another great
    "listen in the dark" tune).
    
>>    while it's amazing that Keaggy started at -10 and progressed to +5, I
>>    think it's equally amazing that Morse started at -5 and progressed to
>>    +10.
    
>    Now that's a stretch calling him a "10"!
    
    I think "10" is an insult to a player of his calibre!
    

>    Most of the time, I'd recommend "Dregs of the Earth" but I think you
>    tend more towards "expression" (you call it "emotion") than "energy"
>    and "atmosphere", for you I would probably recommend "What If" which
>    was the second Dixie Dregs release.   In particular, check out "Night
>    Meets Light" (probably my favorite Dregs tune, and another great
>    "listen in the dark" tune).
    
    I don't know, I'm a major Satch fan too and he's very much into energy
    and atmosphere (as I perceive it).

    Well, I know that you're joking somewhat when you say that Morse is
    not an emotional player, but I'm also under the impression that you
    think that he is less emotional than others.
    
    If you were just baiting me by saying that fine.. but if not..
    
    My theory is that your notion of "emotion" is what I call "expression".
    
    Hard to pin down what I mean by that, but I think it has to do with
    bends, and vibrato, squeals, whammy, slurs.
    
    Satch is definitely more "expressive" with regard to that.  However,
    I think Morse is sort of compositionally oriented in terms of emotion.
    He's more prone to conveying something via an odd chord voicing.
    
    Of course he does probably have the world's widest vibrato (his vibrato
    is what gives him away in a blind listening test), but he doesn't bend,
    squeal, whammy and slur as much as Satch.   He also picks almost every
    note, whereas Satch mixes things up more.
    
    So anyway, that's sorta my notion of why you think Morse isn't as
    emotional.  Maybe I'm way off but... nah...
    
    	db

    Mike,
    
    See Morse live.  His albums don't do him justice...
    
    Greg

    Ok, let me see if I have this straight...it is harder to find Phil
    Keaggy albums than Steve Morse albums?  Anybody out there disagree? 
    Good, let's get back to talking about Phil's music, OK?
    
    							Brian
    
    P.S. to db: "What If" got a lot of radio airplay and was stocked in
    stores in CT on its release, that's how I first heard of Morse/Dregs.
    
    P.S. to Mike: I had no trouble finding Keaggy albums once I found a
    Christian bookstore  8^)  This was in 82 maybe?  

>>    Hard to pin down what I mean by that, but I think it has to do with
>>    bends, and vibrato, squeals, whammy, slurs.
>>    
>>    Satch is definitely more "expressive" with regard to that.  However,
>>    I think Morse is sort of compositionally oriented in terms of emotion.
>>    He's more prone to conveying something via an odd chord voicing.
    
    I agree, db has a good point.  Expression via whammy, slur, etc. is just
    more obvious and easy to see, but there are other ways.  I see a sort of
    creative tension in our band (AQ) around this; some people lean towards
    the more openly expressive, others work best in a compositional mode.
    Both are valid, respected, and contribute towards the final result.
    
    /rick

>    See Morse live.  His albums don't do him justice...
    

>    Ok, let me see if I have this straight...it is harder to find Phil
>    Keaggy albums than Steve Morse albums?  Anybody out there disagree? 
>    Good, let's get back to talking about Phil's music, OK?
    
    Ok Brian, Clapton sucks! ;-)
    
>    P.S. to Mike: I had no trouble finding Keaggy albums once I found a
>    Christian bookstore  8^)  This was in 82 maybe?  

    Well Brian, you're obviously more open-minded (or a genuine music fan) 
    than most.  A lot of people can't look past the lyrics to hear the
    playing and don't even bother with the instrumental albums.
    
    Mike

    I was just reading an old GP interview with Keaggy (circa '86);
    he talks about how after he left Glass Harp and did his first
    Christian record, it was if he suddenly didn't exist anymore to
    the mainstream music market.  Weird and sad.
    

    Thanks for proving my point, Rick ;-)

Article 32426 of alt.guitar:
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From: [email protected] (moxie)
Newsgroups: alt.guitar
Subject: Re: Phil Keaggy
Date: Fri, 29 Jul 94 11:02:17 EDT
Organization: University of Georgia
Message-ID: <[email protected]>
NNTP-Posting-Host: uga.cc.uga.edu

Hey gang,
I haven't been around in a few days, so this thread may have died.
Ive seen Phil Keaggy in concert a couple of times, and I just want to
emphasize that if you love guitar...don't miss him when the chance comes!
Phil is absolute poetry in motion if I have ever seen it. He is incredible.
I had heard the (apparent) legend, the Clapton version. It did sound kinda
funny. I've never seen Clapton live, but I've seen a few other greats like
Eddie Van Halen, and Steve Morse. I know for a fact that Keaggy is in their
ranks. To say he is "better" is a pretty subjective thing..it's an apples/
oranges comparison. My respect and admiration for Phil is underscored by his
low key profile and his humility. He uses his talent to the glory of the
Lord, and as a testimony. He is truly a remarkable man.  Mark at UGA

    You know what they say about opinions...

    It's not surprising that a guy who puts Clapton in the ranks of Morse
    would also throw Keaggy in there.  
    
    I'm surprised he didn't include Bruce Springsteen and Roy Orbison.
    
    ;-)
    
    And he openly admits that Phil's religious preferences colors his views.
    
    	db

    Naw, if he was really unbiased, he'd rank Morse with the Boss and Neil
    Young - right where he belongs.

    re: .-1
    
    I'm dissappointed Mike.  That was weak.  Usually your put downs use a
    funny twisted and occasional inspired sense of logic.   This one had
    all the logic of a seven-year-old "is so!" type argument.
    
    You've had a rough couple of weeks.  Take a break from this and come
    back when you're all refreshed.  Let's not waste our time until then.
    
    ;-)
    
    	db
    

    Sorry about that.  I guess I need a vacation from my vacation.  
    
    Hey, will Morse play Rhythms on his next world tour?  Maybe he can play
    at my sister's wedding next year.

    >  Hey, will Morse play Rhythms on his next world tour?  Maybe he can
    > play at my sister's wedding next year.
    
    I'm sure he'd be honored to know that your sister would pick him over
    Satch.   

    Satch was too busy and too expensive.

    > Satch was too busy and too expensive
    
    Yes, very hard to tempt him to give up those lucrative "Bee Gees
    tribute" gigs.
    
    

    db, you keep forgetting that Satch is the one that is busy making all 
    the $$.

    >db, you keep forgetting that Satch is the one that is busy making all
    > the $$.
    
    Hmm... let's follow this logic:
    
    	Satch income > Morse income ==> Satch > Morse
    
    OK...
    
    	Richie Sambora income > Satch income ==>  Sambora > Satch
    
    Do we have a problem here Mike?
    
    >how many Kansas tours can one do in a lifetime
    
    If only Satch had the talent and chops to be able to do ONE of those
    tours your comment might be relevant.  Alas, he does not.

    >    Hmm... let's follow this logic:
    
    No you used the wrong measurement.
    
    Satch's musical appeal > Morse's musical appeal, thus Satch is busy
    while Morse sits by the phone like a jilted, teary-eyed lover.
    
    The Sambora extension doesn't apply because you have to be over 18 to
    buy music that is acknowledged in the most critical statistical
    monitoring.

>    Satch's musical appeal > Morse's musical appeal, thus Satch is busy
>    while Morse sits by the phone like a jilted, teary-eyed lover.
    
    Hey... Morse is out on tour right now, has a brand new album out,
    making guest shots on various albums, doing demonstrations at NAMM,
    etc.
    
    Gee Mikey... haven't heard much about Satriani lately have we?
    Well... there was that new album about a half year ago that definitely
    didn't do as well as the one before it... which didn't do as well
    as the one before that... which...
    
    Hmmm....
    
>    The Sambora extension doesn't apply because you have to be over 18 to
>    buy music that is acknowledged in the most critical statistical
>    monitoring.
    
    OK, fine:
    
    Tom Jones' musical appear > Satch's, and his fans are well over 18
    so I guess that makes him better (not that I'd disagree).

Here is my cut at this mess:

Keaggy is one of the best overall guitar players alive today.  Hardly 
anyone can match his acoustic AND electric guitar skills.

Morse is another excellent overall player.  His acoustic and electric skills
are great.  But what impressed me most about Morse when I was growing up was
his influence in the writing/style of the "Dixie Dregs".  Very difficult
music to write and perform well in a band.

Satch is a great one dimensional player.  He is flashy but boring to me.
His songs don't have much depth to them (just a plain base with a flashy
satch overlay).  He is not the overall player that Keaggy or Morse is.

/marc

    Marc (long time no see!), there's no sense in using logic in this
    friendly rivalry.  Heck, I'd love to be able to play like 2 of them!

    I'd hate to compare Keaggy and Morse because even though I have a
    strong preference for Morse, I "respect" what Keaggy does.  He
    writes music that would be interesting to listen to without the
    solos, but does great solos and his music, writing and playing 
    has real "depth".
    
    	db
    
    

    Phil just switched back to his very first label - Sparrow.  New album
    is due by Christmas.  

    Nice interview with the best acoustic player on the planet in the June
    issue of Guitar Player.
    
    Mike

    
    	Really?
    
    	But when are they going to print the Phil Keaggy interview?
    

    > Nice interview with the best acoustic player on the planet in the
    > June issue of Guitar Player.
    
    I went looking for an interview with Legg, or Morse or Kotke but
    all I could find was an interview with Keaggy.
    
    What issue did you really mean, March?

    You guyz missed it.  The Charo interview was on page 78
    

    
    	Rolling!!  8^)
    

    Hey db, the new Guitar Shop has Morse's live rig (and others) in it.
    Morse is a better electric player than Keaggy, but not many come close
    to Phil on the acoustic - not even Morse.

    I picked up the new CD yesterday, "True Believer" (Sparrow Records
    again).  I absolutely love the title track.  This also rearrangements
    on here of "Salvation Army Band" (Private Collections Vol. 2) and "The
    Survivor" (Private Collections Vol. 1 aka Underground).  The new outro
    on "The Survivor" has some killer work by Phil on the Les Paul.  The
    rest is still growing on me (10 tracks total).
    
    Mike

    
    instrumental or does it have vocals?
    
    

    For those of you interested in long delays/samplers, Phil has shelved
    his SDE3000 and has been using the Lexicon JamMan over the last 2 years
    in concerts and on albums.  The JamMan does 8 secs and can do 32 secs
    with the upgrade.
    
    Mike