- Wednesday, March 04, 2009
An audio scrapbook of Phil Keaggy's 30-plus-year career would treat its listener to a staggering musical spectrum, the scope of which is barely imaginable. Traversing hard-edged progressive rock to the gentlest of worshipful ballads, he manages to weave his unique voice like so much thread through a musical tapestry. With each project, there are new and unexpected twists at every turn. And, says Keaggy in characteristic wit that's sharp as his chops, "It's good to twist!"
It would seem that, for Keaggy, the only constant is change. "I don't ever want to be tied down to one particular style," he says. "Variety is the spice of life." Yet wherever his musings take him, the result always bears his undeniable signature.
Keaggy first practiced that signature at the tender age of 13, when he joined his first band, The Keytones. A few years later, he would find himself fronting the venerable Glass Harp—a power rock trio in the tradition of Cream. It was during that stint that epiphanal events, including the tragic death of his mother, led him dramatically to a newfound faith in Christ. In his enthusiasm, he oft times proselytized from the stage, met and prayed with people, and did so in venues including the Whisky-A-Go-Go, or on tour with such acts as Alice Cooper, Humble Pie, or Ted Nugent. "I was desiring more than anything," he remembers, "to reach out to my generation with what I had found."
Keaggy, though, unable to reconcile the demands of his position with Glass Harp with the demands of his heart, left the band to pursue music-making of a different sort. He teamed with the legendary Love Song and 2nd Chapter of Acts bands, where his contributions gave shape to the fledgling "Jesus Music" movement that ultimately yielded the contemporary Christian music category. It was during this period that he made the seminal 1973 "What A Day" record, a milestone in the history of CCM.
Ensuing years would find him in various situations and locales, both solo and with bandmates, honing his craft to a razor's edge. Significant markers along the way include recognition as one of the century's most significant guitarists (Musician Magazine), a perennial favorite among numerous reader polls (Guitar Player, CCM, Fingerstyle Guitar), and even a Grammy nod. Certainly in the world of Christian music, his place has been firmly established, where his instrumental projects have dominated GMA's Dove Awards for many a year. But all the awards and accolades are purely ancillary to the ever-unassuming Keaggy, whose sole focus has always been the power of the music. "I'm known primarily as a Christian guitarist," he says. "And I'm proud to be associated with Christian music. It's an irony, though, that much of my music has been instrumental in nature. But music is more than words. The power of God is not always a thunderous, cataclysmic force. Sometimes it's a gentle breeze, or just a sense of having God's arms wrapped around you. And I think music can wrap its arms around people when the heart is in it, when the Spirit of God is somehow involved."
Serving a sampling of the great traditional hymns in fresh and contemporary stylings, he also unveiled several new compositions, including a pair of Irish hymns by Keith Getty, and two Keaggy originals, one of which is an inspired set of variations on the Lord's Prayer. Called "Our Daily Bread," it, and the album are dedicated to Todd Beamer (a hero of 9-11's Flight 93), whose love of Christ—and Phil's music—encouraged the arrangement. "I'm glad I was able to come up with that," Keaggy says. "I was able to take the song to another place. It was just one of those inspired moments that God has given me."
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