This 1977 release from Phil Keaggy and Glass Harp is actually a compilation album of Keaggy’s work with Glass Harp in the early 70’s. Glass Harp was one of the early bands Keaggy was a member of. The album is very easy listening but does highlight Keaggy’s excellent guitar work.
Tracklist 1 – Song In The Air – 2:35 2 – Can You See Me – 6:25 3 – One Day At A Time – 3:40 4 – Song Of Hope – 4:21 5 – The Answer – 2:38 6 – David & Goliath – 2:50 7 – I’m Going Home – 2:40 8 – Do Lord – 4:22 9 – Let’s Live Together – 3:50
Credits Design, Artwork – George Werth Lacquer Cut By – KP Mastered By – Ken Perry Performer – Dan Pecchio, John Sferra, Phil Keaggy Producer [Associate], Engineer – Bill Culhane, Dick Shapiro, Gordon Shaad, Ralph Moss, Tom Lubin Producer [Original Recordings] – Lewis Merenstein
The Compassion All Star Band was a collection of great CCM artists recorded live at 1989’s Creation Festival. The album was a fund raiser for the charity organization Compassion International and though recorded in June the album includes a few “Christmas” songs as the album was scheduled as a Christmas release. The band was Phil Keaggy, Randy Stonehill, Margaret Becker, Rick Cua, Joe English, Mike Mead and John Andrew Schriner. I had read about this album but honestly hadn’t listened to it when it was released. That’s too bad because I really enjoyed it. It’s not a musical wonder by any stretch as I’m guessing there wasn’t much rehearsal BUT that’s what makes projects like this so great. The unpolished sound gives the tracks more meaning and you can really get a feel for what was a fantastic performance. Strangely the crescendo track “Who Will Save The Children” had to actually be recorded in studio as the concert was rained out. These types of compilation albums are my favourites and it’s too bad CCM music didn’t have more of them.
Tracklist 1 – Randy Stonehill – Defender – 3:022 2 – Rick Cua – You Can’t Stand Too Tall – 4:07 3 – Margaret Becker – Sacred Fire – 7:06 4 – John Andrew Schreiner – Silent Night – 4:54 5 – Randy Stonehill – Christmas Must Be Tonight – 3:58 6 – Margaret Becker – Find Me – 3:31 7 – Joe English – Yield To The Spirit – 4:18 8 – Phil Keaggy & Randy Stonehill – Ain’t Got No – 3:35 9 – Randy Stonehill – Crossroads – 6:12 10 – Randy Stonehill – Rap – 5:11 11 – Randy Stonehill & Phil Keaggy – Who Will Save The Children – 5:04
Credits Bass, Vocals – Rick Cua Co-producer [Production Assistance] – John Andrew Schreiner Crew [Stage Assistance] – Bill Goings Design [Cover Design] – Kugizaki Design, Inc. Directed By [Musical Director] – Lynn Nichols Drums, Percussion – Mike Mead Drums, Percussion, Vocals – Joe English Engineer – Gary Heddon Engineer [Additional] – Jim Kaiser Engineer [Live Monitor Engineer] – Jody Nachtigal Engineer [Live Sound Engineer] – Mike Nachtigal Executive-Producer – Devlin Donaldson Guitar, Vocals – Margaret Becker, Phil Keaggy, Randy Stonehill Keyboards, Vocals – John Andrew Schreiner Photography By [Cover Photos] – Russ Harrington Photography By [Inside Photos] – Keith Baum Producer – Gary Heddon
This is a collection of stuff Phil recorded in his basement studio. It was all recorded on a Teac 144 Porta-Studio and Phil played all of the instruments. If you didn’t know this I’m pretty sure you would think this was a studio recorded album with studio musicians. Apparently there was enough material for a double album but a decision was made to make it a single album release as Volume 1. Volume 2 never came unfortunately. I would have loved to hear more. I had not listened to this album back in the 80’s as I wasn’t really a big Keaggy fan. Wow did I miss out. This is a fantastic album. It has a great rock / pop sound with a 70’s feel. In my opinion this might have been some of his best work. Keaggy said he never intended to release these tracks but somehow it happened. I’d love to hear the story of that decision. Keaggy said of this album “The uniqueness of this album lies in the fact that all the tunes were recorded at my leisure, in a comfortable setting, without realizing they would be used for an official record release. Because of this factor, I feel there is a freedom and confidence expressed in these songs which sets them apart from some of my other recordings.”
Tracklist 1 – What A Love – 3:56 2 – The Ransom – 3:47 3 – Deadline – 3:36 4 – Think About It – 3:36 5 – One In A Million – 4:36 6 – I Know Someone – 3:41 7 – The Two Of You – 4:56 8 – Paid In Full – 4:20 9 – What You Are Inside – 3:35 10 – Follow Me On – 3:24 11 – The Survivor – 5:12
Credits Arranged By – Phil Keaggy Art Direction, Design – Stan Evenson Design Coordinator [Cover Coordination] – Charlyne Hinesley, Judith Cotton Engineer – Phil Keaggy Engineer [Additional Overdubs] – Mike Ross, Wally Grant Mixed By – Bob Cotton, Phil Keaggy Performer, Instruments [All] – Phil Keaggy Photography By – The Design Oasis Producer – Phil Keaggy Vocals – Phil Keaggy (tracks: A1, A3 to B1, B3, B5) Vocals [Additional] – Bernadette Keaggy (tracks: A4) Written-By – Phil Keaggy
Companies, etc. Phonographic Copyright (p) – Nissi Records Published By – Marguerite Music Published By – Emmaus Road Music Recorded At – Weddington Studios Mixed At – Weddington Studios Mastered At – Future Disc Distributed By – Sparrow Distribution
I have heard from different sources that Matthew Ward’s “Toward Eternity” is either the last Jesus Music album or the first CCM album. Released right around the turn of the decade that many define as the historical marker for the two genres. Produced and written by many that were the founder and stalwarts of the Jesus Music era (Randy Stonehill, Phil Keaggy, Keith Green, Michael Omartian), but decidedly more polished, rock and pop driven than anything released previously.
I simply call it a classic that is clearly the center of a musical paradigm shirt in CCM. Production was stellar, performances spotless and Ward’s vocals soar. This is not a solo project from 1/3 of 2nd Chapter of Acts, it is a brilliant rock album conceived and released by an utterly unique and engaging artist in his own right. These are not left-overs from his group, but rather songs that far exceed much of what his siblings were releasing at the time.
Musicians on the album included those mentioned above along with Abraham Laboriel, David Kemper, Ray Parker Jr. and many more studio pros. The album is nearly flawless and many aficionados will list it in their all time Top 10. It was also released at a time when many Christian Music buffs were cutting their teeth on the genre and this album proved to be a revelation to many. I would not be surprised to find many of the “older” readers complaining on its placement in the countdown, and I will not disagree; I understand their reasoning.
Oddly enough, even fans of hard rock love the album despite its general lack of anything leaning in that direction. Much has to do with the great songs and Keaggy’s outrageous guitar work. It is always odd that Keaggy will often lend some of his best work on projects for other artists. But ultimately it comes down to the fact that Ward possesses one of the greatest voices on the planet. Period!
The album kicks off with the funky rock number “It’s Alright” lead by Keaggy’s great guitar work. This is a fearless rock groove with a monster bass line driving the low-end. The song is built around a particular end times expectation complete with money system, beast and mark. That notwithstanding, the song is just so good. The great vocal bridge leads to Keaggy’s driving rhythm guitar work.
Limited breaks between songs leads the starter right into a great Keith green piano driven song, “Soft Spot.” The Beatlesque (Penny Lane) sound of the chorus complete with a great string arrangement softens what could have been a much heavier song, and it actually works in the artists favor given the content of the song.
The acoustic “Noah” immediately sounds like a Phil Keaggy song. And it is. Written by Keaggy, Ward recorded it and someone once mentioned that Keaggy didn’t want to record it after hearing Ward’s masterful vocals. I don’t know if it’s one of those popular urban legends as Keaggy eventually would record his own version.
A personal favorite is the rocker, “Till the Walls Come Down.” Like the lead track, the song is one of the heavier musically and features Keaggy’s awesome guitar work, especially the solo. Written by Ward, Keaggy and Green (wow, just think about that for a moment), the song is most noted for the Michael Omartian lead “killer bees.” One must listen to truly understand the bees reference.
Returning to the most pop oriented piano sound with Green’s “Better Than This,” Ward let’s the vocals go on a few bright moments when he hits some unreal notes. The song has a great hook, but the same can be said for the entire album. I can go years in between listens and still never miss a note when singing along.
What would be initially the start of side two, “Your Love Came Over Me” is great Doobie Brothers (China Grove) type riff that never quits throughout. I know it may be hard for readers today to understand just how rare it was for a “safe” artist to deliver such a rock oriented album. The industry at the time would allow for the occasional pop rock riff, but rarely an album that rocked from start to finish.
The song was written by Keith Green and a gentlemen named Todd Fishkind. Fishkind may be one of the most important songwriters and musicians from the era that no one really knows about. He was very close to Green and they wrote quite a bit together, including the classic “Your Love Broke Through.” Fishkind would also wrote a book about Keith. He was also considered quite the musician.
“Hold On” follows and sounds like something off pop radio at the time. If not for Ward’s distinctive vocals I would swear it could have been a single off of Chicago 13. In fact, it would have been the best song off of Chicago 13.
The borderline “world music” influenced “Angels Unaware” is the only truly dated song from the project. The lyrics about guardian angels at times are silly (something about the “honkin’ flu”) but no more silly than what Amy Grant would record nearly a decade later.
The hiccup of “Angels Unaware” is immediately forgotten with the stunning and emotionally driving ballad, “Summer Snow.” The simple song of faith and God’s timing is exclusively driven by piano and strings. Tom Keene’s great string arrangement supports Green’s beautiful playing. Matthew shows the range both vocally and emotionally here. It ranks amongst the true classic from the era.
The “much too short” album closes with an Anne Herring tune, “The Vineyard.” It is all but an instrumental, as the only vocals are “ooh’s” playing the part of strings on top of Tom Keene’s beautiful piano work. It is a contemplative ending to an utterly brilliant and timeless classic album.
Whether it ended one or era or started another is not of consequence and the debate shall continue. What is of consequence is how truly revelatory and ground breaking the album was and how, over 30 years later, it is still a brilliant masterpiece by a wonderful artist.
Track Listing: 1 – It’s All Right – 2:34 2 – Soft Spot – 3:42 3 – Noah’s Song – 3:56 4 – Till The Walls Fall Down – 2:29 5 – Gotta Do Better Than This – 3:23 6 – Your Love Came Over Me – 4:07 7 – Hold On – 3:10 8 – Angels Unaware – 2:26 9 – Summer Snow – 3:36 10 – The Vineyard – 2:18
Credits: Scotty Edwards – Bass Todd Fishkind – Songwriter Jay Graydon – Guitars Keith Green – Songwriter, Piano Melody Green – Songwriter Annie Herring – Songwriter Buck Herring – Producer, Engineer, Songwriter Phil Keaggy – Songwriter, Guitars Tom Keene – String Arranger, Piano David Kemper – Drums Abraham Laboriel – Bass Michael Omartian – Horn Arranger, Songwriter, Synthesizer, Piano, Fender Rhodes, Percussion Ray Parker, Jr. – Guitars Matthew Ward – Songwriter, Vocal Arranger, Vocals
Companies, etc. Phonographic Copyright (p) – Sparrow Records, Inc. Recorded At – Buckskin Studio Recorded At – Sunwest Recording Studios
I guess this album was the result of “if you can’t beat them, join them.” Constantly compared to Paul McCartney during his career, why not just do a Beatles album? What was actually supposed to be a possible semi-regular group, Phil Keaggy & Sunday’s Child only ever released this one album. But what an album they created! Making up the rest of “Sunday’s Child” are Rick Cua on bass, Mike Mead on drums and Lynn Nichols on guitar and vocals. It also may go down in CCM history as the single nicest group of musicians to record a record together. There is this one odd thing about many Keaggy albums. Those with great songs have a tendency to lack the guitar prowess that many clamor for, while those with great guitar work have tendency to lack quality songwriting throughout. This album is all about the songwriting and is clearly some of Keaggy’s finest work in the regard. And true to form the album is not filled with blazing and intricate guitar work, though many tasteful and enjoyable examples can be found. There album is also the most “band” sounding in his career outside of the Crimson and Blue recordings. But that band is supported by a Hall of fame list of musicians including Steve Taylor, Mark Heard, Randy Stonehill, Alwyn Wall, Derri Daugherty, Russ Taff and the always impressive and often overlooked James Hollihan on guitar. Many of the guests also provided songwriting help. The Beatles comparisons are not subtle. They were clearly the inspiration and that adds to the sheer joy of the album. In fact, according to the liner notes, Ringer Starr’s drum kit was used on the recording. Older amps, instruments and recording processes were employed to give the album the rich, analog sound.
The album kicks off with the mid-tempo rocker, “Tell me How You Feel.” This tone setter reveals what will follow with the head side bopping beat and Keaggy’s higher end vocals at times reminiscent of McCartney with abandon. But there is also a clear nod to the Byrds here and throughout. The title track, co-written with Stonehill, was a hit, and for good reason. This song is memorable and smart at the same time. I believe I hear Stonehill’s vocals in there as well. The two released a wonderful album a year or so ago that employed some of the same musical stylings. A personal favorite, and one of the better rockers on the album is “I Always Do.” Starting slow before kicking halfway through the verse into a killer rocker that is more reminiscent of Glass Harp’s poppier side. The song also features one of the more upfront guitar solos and the best hook on the entire album. Without blazing fingers and extended riffs, Keaggy here shows the power of a well controlled, melodic and tasteful rock solo. It should be noted this is a Mark heard penned tune. “I’m Gonna Get You Now” is more early 70’s rock and sounds the least like the Beatles as any on the record, excepting the song that follows. But it should be noted that it also provides some of Keaggy’s best rock vocals. Co-written by Lynn Nichols, the songs edge gives Keaggy the change to explore some vocal styles he hadn’t previously. If someone mentioned that Steve Taylor co-wrote one of the songs, my guess would immediately be “Bless Be the Ties,” and that would be correct. More psychedelic than the rest of the album, this slower, dare I say darker (?) song remains one of the best as well. This Could Be the Moment” returns to the more fun rock and roll. This is a good old-fashioned, put the top down on the convertible and hit Pacific Highway. The chorus is a monster with some great harmonies. The instrumental break just pounds with Mead’s great driving beat and Keaggy’s subtle and building guitar work. Even Cua gets a short solo here! This was a great song live I should add as it was extended to include solos from everyone. Side Two kicks off with the loudest guitars and a song co-written by Stonehill called “Ain’t Got No.” But this Stonehill is Sandi, the then wife of Randy. Oddly enough, it sounds like something randy would have recorded himself. It’s hard to decide which song stands out as the “best” on such a great album, but “Somebody Loves You” would have to receive recognition. The acoustic driven rock song is pure Keaggy and one of the songs Keaggy penned entirely by himself. Keaggy here shows his guitar prowess is not just limited to electric and solo, but tasteful and smart acoustic rhythm work as well. This alone gives it more of a Byrds feel. Another of the darker feeling songs follows with “Big Eraser.” Another Nichols co-written tune, it is perfect fit for something on the Chagall Guevara debut. The vocals are clouded amongst a large rock vibe and huge drum sound. This would make sense given Nichols involvement with the group. The Mark Heard penned “Everything is Alright” is a true dichotomy. A dark and almost atmospheric verse structure followed by a pop and memorable hook driven chorus. This is also around the time of Ideola, and the style shows through. “I’ve Just Begun (Again)” brings the album back to the joyful musical expressions that dominate the vast majority of the album, while the following “Walk In Two Worlds” represents the darker, rougher edge. One would have hoped future releases would expand upon this sound as it worked so incredible well here. The album closes with a wonderful version of the traditional spiritual “Talk About Suffering.” Staring nearly in an acapella (drums only) before adding the band, this version is both beautiful and unforgettable. A fitting ending to a great album. This may be Keaggy’s finest hour as a songwriter, though another album of his will appear much later in the countdown, it is a real shame this ended up being only a one-off and no further collaborations between these men exists in this format.
Tracklist 1 – Tell Me How You Feel – 3:21 2 – Sunday’s Child – 3:57 3 – I Always Do – 4:50 4 – I’m Gonna Get You Now – 3:47 5 – Blessed Be the Ties – 3:56 6 – This Could Be the Moment – 3:48 7 – Ain’t Got No – 3:29 8 – Somebody Loves You – 4:05 9 – Big Eraser – 4:33 10 – Everything Is Alright – 4:19 11 – I’ve Just Begun (Again) – 3:00 12 – Walk In Two Worlds – 3:37 13 – Talk About Suffering – 4:50
Credits Robbie Buchanan – Organ B3 Lenny Castro – Percussion Rick Cua – Bass Derri Daugherty – Vocals Lance Demers – Songwriter Dave Hackbarth – Mixed Mark Heard – Songwriter, Engineer, Keyboards, Guitar, Vocals James Hollihan – Guitar Wade Jaynes – Mixed Eddie Keaggy – Mixed Phil Keaggy – Songwriter, Guitars, Bass, Percussion, Vocals Mike Mead – Drums Lynn Arthur Nichols – Producer, Songwriter, Guitar, Vocals A. Palladino – Songwriter Jack Joseph Puig – Mixed David Schober – Engineer Jimmie Lee Sloas – Vocals Bart Stevens – Mixed Randy Stonehill – Songwriter, Guitar, Vocals Sandi Stonehill – Songwriter Russ Taff – Vocals Brian Tankersley – Engineer Steve Taylor – Songwriter, Percussion Rudy Valentine – Vocals Alwyn Wall – Vocals
There is not a lot to say about Phil Keaggy that hasn’t already been said. In fact, I can be pretty sure than nothing I say will be in any way enlightening to the reader. I can do no more than to simply repeat the previous accolades and find a way to recommend even more so the need to own as much Phil Keaggy as humanly possible, especially his 70’s and 80’s material which is just staggeringly impressive. Town to Town is separated from nearly all other Keaggy releases by the fact that it may be his most accessible and commercial. It contains more radio friendly and pop based structured than any other Keaggy recording outside of the “band” Sunday’s Child. The opening track is a great live favorite that tells the story of a one night reunion with his classic rock band, Glass Harp. This song, like many of Keaggy’s, suffer from the guitar solos being limited. The same is not the case for the following track, Full Circle. Here is a great example of how to create a pop rock song without shorting the guitar aficionado fans desire for Keaggy guitar solos. “What a Wonder You Are” featured vocal support from the queen of Christian duets, Michele Pillar, and ended up being the biggest hit from the album. The song broke molds in that was one of the first radio hits that was simply a love song without having to be a “wedding song.” Previously the only romantic songs were those specifically created for weddings. The album closes with one of Keaggy most popular and enduring songs, Let Everything Else Go. The beautiful song proves that stunning guitar work does not always have to be blistering guitar solos, but also soothing, atmospheric sounds created at the hands of a master. Here we find beautiful and haunting sounds that so create the musical canvas Keaggy’s Paul McCartney-like vocals can paint upon.
Contributor David Lowman – https://ccms500bestalbums.wordpress.com/
Tracklist 1 – Wished You Were There – 3:01 2 – Full Circle – 4:15 3 – Life Love And You – 4:20 4 – Town To Town – 6:45 5 – What A Wonder You Are – 4:00 6 – In Between – 3:01 7 – Our Lives – 5:23 8 – Rise Up O Men Of God – 4:10 9 – Let Everything Else Go – 4:50
Credits Alex Acuña – Percussion Curt Bartlett – Guitar Bob Cotton – Engineer, Producer Jim DeLong – Drums, Percussion Eugene Friesen – Composer Leon Gaer – Bass, Bass (Electric), Guitar (Bass) Dean Hagen – Drums Paul Halley – Composer Bruce Hibbard – Vocals (Background) Lee Jones – Fretless Bass Bernadette Keaggy – Vocals Phil Keaggy – Bass, Composer, Guitar, Guitar (Bass), Primary Artist, Vocals Tom Keene – Keyboards, Piano, Synthesizer Dan Murdock – Keyboards, Piano Michele Pillar – Vocals (Background) John Pooley – Engineer Denny Siegrist – Engineer Richard Souther – Synthesizer The Winans – Vocals (Background) Pete York – Vocals (Background)
Companies, etc. Phonographic Copyright (p) – Sparrow Records, Inc. Printed By – Garrod & Lofthouse Ltd.
This is Phil’s second solo album. It is still very revered to this day partly because of the track “Love Broke Thru”. The track was actually written by Keith Green and Randy Stonehill for Keith Green. Strangely Keith Green wanted Keaggy to release it before he did and so it was. The track “Time” features Keaggy’s innovative guitar technique of “violin-like swelling” which I can honestly say I don’t like but it is very well liked by actual musicians which I am not. The track “As The Ruin Falls” is actually an arrangement of he C.S. Lewis poem of the same name. Guest appearances include Michael Omartian on keyboards, Annie Herring (2nd Chapter Of Acts), Matthew Ward, and Mylon LeFevre doing some background vocals.
Tracklist
1 – Love Broke Thru – 3:30
2 – Take Me Closer – 4:57
3 – As The Ruin Falls – 4:31
4 – Wild Horse – 4:16
5 – Disappointment – 2:39
6 – Time – 6:47
7 – Portrait – 2:03
8 – Just The Same – 3:43
9 – Things I Will Do – 3:14
10 – Abraham – 3:32
Credits
Arranged By [String Arrangements] – Michael Omartian
Backing Vocals – Annie Herring, Matthew Ward, Mylon LeFevre
Bass – Leland Sklar
Contractor [String Contractor] – George Poole
Design – Linny Cobb
Drums – Jim Gordon
Engineer, Producer – Buck Herring
Executive Producer – Scott Ross
Flute – Don Menza
Guitar [All Guitars] – Phil Keaggy
Horns – Bill Baker, Marshall Cyr
Keyboards [Aarpvark] – Michael Omartian
Percussion – Herring, Hopper, Keaggy*
Photography [Back Cover, Label And Sleeve Photography] – Peter K. Hopper
Photography [Cover Photography] – Ted Len
Piano, Electric Piano [Fender Rhodes], Organ – Larry Knetchel*
Companies, etc.
Phonographic Copyright (p) – New Song Productions
Copyright (c) – New Song Productions
This was Keaggy’s first solo album. He had cut 3 albums with Glass Harp but left in 1972 as “…spiritually we were going different directions” Keagy said. Keaggy wrote all the songs on this album while he was still with Glass Harp and I’m just guessing but I would guess these are the songs that were rejected by the rest of that band. Phil also played all the instruments on this album, a little rare for a first album. Most record companies missed the cost savings that his would offer. Anyway the album was released and sold relatively well but not well not enough for Keaggy to be a headliner and instead he toured in support of other artists like Love Song, 2nd Chapter of Acts, Paul Clark, and Nancy Honeytree. Keaggy continues to play the title track to this day in his concerts.
Tracklist
1 – This Is What The Lord Will Do For You – 2:54
2 – King Of The Jews – 2:04
3 – Walking With Our Lord – 4:17
4 – A Time And A Place – 2:44
5 – Rejoice – 4:45
6 – What A Day – 4:50
7 – Now I Can See – 5:08
8 – Behold All Things Become New – 1:18
9 – Hallelujah – 4:41
10 – I Will Sing – 3:23
Credits
Design – Linny Cobb
Engineer, Co-producer – Gary Hedden
Photography By – Bob Combs
Producer, Written-By, Arranged By, Performer – Phil Keaggy
Companies, etc.
Pressed By – United Sound (3)
Copyright (c) – New Song Productions
Phonographic Copyright (p) – New Song Productions
This is probably my favourite Phil Keaggy album. I find the guitar work on this album, which is excellent of course, to be the style I prefer from Phil. In particular I’ve always found the guitar riffs on “Happy” to be able to put a smile on my face. I always thought it was rather magical how Phil could sort of encapsulate different albums with slightly different guitar styles. Strangely the album only had one single on the CCM charts. I shudder to think that even this album may have been too uptempo for CCM in 1982. Anyway “Morning Light” peaked at #6 while on the charts for 28 weeks.
Tracklist
1 – Happy – 2:47
2 – Carefree – 4:39
3 – Nobody’s Playgirl Now – 4:02
4 – Cherish The Moment – 5:00
5 – She Came To Stay – 3:33
6 – Papa Song – 3:19
7 – The Wall – 2:44
8 – Make A Change – 3:30
9 – Train To Glory – 3:11
10 – Play Thru Me – 4:25
11 – His Master’s Voice – 3:07
12 – Morning Light – 3:30
Credits
Art Direction, Design – Stan Evenson
Bass – Hadley Hockensmith (tracks: A1, A3)
Design – John O’Brien
Drums – Jim DeLong
Engineer – Wally Grant
Guitar, Bass, Lead Vocals, Backing Vocals, Written-By, Producer, Arranged By – Phil Keaggy
Keyboards – Smitty Price
Lacquer Cut By – SH*
Percussion – Michael Fisher
Photography By – Mark Hanauer
Producer, Engineer – Bob Cotton
Vocals – Alicia Keaggy (tracks: A6), Bernadette Keaggy (tracks: A6)
Companies, etc.
Phonographic Copyright (p) – Sparrow Records, Inc.
Copyright (c) – Birdwing Music
Copyright (c) – Cherry Lane Music Publishing Company Inc.
Copyright (c) – Sandtree Music
Recorded At – Sound Recorders, Kansas City
Recorded At – Weddington Studios
Mastered At – MCA Recording Studios
Lacquer Cut At – MCA Whitney Recording Studios
This was the only album that used the moniker “Phil Keaggy Band”. The “Band” were guitarist Lynn Nichols, keyboardist Phil Madeira, bassist Dan Cunningham and drummer Terry Andersen. This was truly a “band” effort and not just some musicians joining Phil and rumour has it that the album was recorded almost entirely live in studio. I think this is the first album that we can start to hear the guitar virtuoso that Phil would become. If you have a love of Phil be sure to head back to this album to hear some of where it all started.
Tracklist
1 – Theme/Where Is My Maker? – 5:15
2 – Another Try – 4:55
3 – Ryan’s Song – 3:09
4 – Struck By The Love – 5:43
5 – Turned On The Light – 4:57
6 – Sorry – 4:09
7 – Take A Look Around – 5:16
8 – Gentle Eyes – 5:29
Credits
Acoustic Guitar – Lynn Nichols, Phil Keaggy
Arranged By – Phil Keaggy
Bass – Dan Cunningham
Classical Guitar – Lynn Nichols
Co-producer – Phil Keaggy
Design, Typography – Stuart Scadron-Wattles
Drums, Percussion – Terry Andersen
Electric Guitar – Lynn Nichols
Engineer – Gary Hedden
Lead Guitar [Electric] – Phil Keaggy
Mastered By – Gary Hedden
Mixed By – Gary Hedden
Organ – Phil Madeira
Photography By [Cover] – Denton Miller
Piano – Phil Madeira
Piano [Fender Rhodes] – Phil Madeira
Producer – Peter K. Hopper
Synthesizer [Micro & Polymoog] – Phil Madeira
Vocals – Lynn Nichols, Phil Keaggy, Phil Madeira
Companies, etc.
Phonographic Copyright (p) – New Song Records
Copyright (c) – New Song Records
Published By – Free Love Publishing
Recorded At – Hedden West Studios
Mastered At – Diskwerks
Distributed By – Jubilation Group
