Classic Keaggy - 21st anniversary of "find me in these fields"

2011 is 21st year since the release of this extraordinary album. When I first heard it I was impressed by the recording quality, entertained by the gritty blues instrumentals and as an overall album, loved its variety from beatlesque style to anthemic rock all gelling together as an album.

I have consistently listened to it through the years. It still surprises one, entertains while the depth of lyrics continues to speaks to the soul. I call it a Keaggy concept album as this represents Phil as a mature artist - you'll find him in all of these fields - from the brilliant acoustic humorous start (listen to the sampler in Amazon as you hear it in full!) to the flat-out electric blues - this runs the gamut of what he does. Yet underpinning all of this is his faith, the bedrock of this album. Phil tells stories through song, some joyful, all encouraging whilst some are deeply moving like 'Calling you' and the final 'Be in my heart'.

'Strong tower' and 'Carry on' are strong opening tracks and real band efforts - organic blues rock with Phil reverting to his established rock tones of the earlier 70's leaving behind the almost sterile 80s studio sound. The recording is still vibrant after 21 years - I find the production qualities on this album amazing - punchy bass and drums, swirling keyboards, clear vocals and rich guitar tones. In comparison, the 80s studio material seems a little too smooth, perhaps a touch artificial and controlled.

Perhaps what makes this gel is the core band of Rick Cua on bass, Mike Mead on drums and long-time friends Phil Madeira on some superb Hammond B-3 and piano and Lynn Nichol on background vocals and providing vibrant production. Interestingly, other than Madeira, they had all played together on the previous 'Sundays Child' album which I suggest created a wonderful sense of continuity and trust for this creative and more explorative project.

What this album does so well is embrace the whole spectrum of life - we have joyful anthems like 'Final day', 'Gentle and strong' a father singing about his son, songs seeking forgiveness and songs of encouragement. Lyrically this album shows Phil forging ahead. Many of the lines touching deeply and in the middle of the album some gentle reflective songs. What is more impacting than beautiful melodies intertwined with heartfelt lyrics?

"Find me in these fields alone

Crusted with the salt of my ways

Rinse me with the motion of sweet water

The silky rush of Your cleansing stream"

One cannot do justice to this classic album without commenting specifically on Phil the guitarist. He has five excellent instrumentals through the album, two as bookends and the other three that take you to different stages of the album. The second instrumental contains the tapping acoustic magic in the style of Michael Hedges. (Keaggy first used this on the album 'Wind and the Wheat'. This is also used powerfully on 'Calling you'). The final three instrumentals are scorchers and were recorded direct to disk. Here you hear Phil reeling off blues rock lines with an intensity accompanied by a band having fun. There are of course great solos throughout the album ('Carry on' particularly) with the most intriguing guitaring on the psychedelic track of the album, 'Get over it' with unusual textures, harmonics and eastern sitar like sounds to a Harrison-like solo with the odd Beatles quote thrown in.

As mentioned this album was released after 'Sundays Child'(1990). After it came 'Beyond Nature'(1992) which was followed by 'Crimson and Blue'(1993)- all part of the quartet of what I consider Phil's strongest albums to date. These albums all are listed as favourites by his fans and all stand the test of time. Clearly the early 90's were an incredibly rich recording and composing time for Keaggy. Of this quartet, 'Find me in these fields' best demonstrates the diverse richness of the talents of Phil Keaggy as a guitarist, song writer, musician - an artist who glorifies his maker.

Happy birthday, Mr Keaggy

Happy Birthday, Mr Keaggy! Today I won a competition because of you. There was a question on New Zealand's Radio Rhema and  I guessed who the guitar legend was who was turning 59. Radio Rhema wished you Happy Birthday - we're a day ahead of you in the USA. (Pity they didn't send me "Mystery Highway").

Phil Keaggy's "Sergeant Pepper" album

Sixteen years have passed since I first published a version of this review. Listening to it again (for the umpteenth time) I am still convinced that "Crimson and Blue" is Keaggy's tour de force, his "Sergeant Pepper" album. If you are a musician and particularly a classic rock guitarist who has heard about this talented muso, this album is a great place to start.




Yes, there are other great instrumental albums of his, both electric and acoustic, that are worth listening to, but all fall short of this album. It's here you hear him interact with a great band, hear him sing covers, play long engaging solos and most of all, show unbridled joy. Phil plays with bravado. Much credit must go to producer, Lynn Nichols, Phil's friend and fellow musician of years past. From what I have read, Phil said that Lynn pushed him to the limit of his singing and playing ability. The production is superb, the recording bright and detailed and for 70 minutes plus, one is caught up in the joy and vitality of a band in full flight.

Indeed, this captures a band playing with the fervour of a garage jam or live concert. (How I wish I could have seen the tour supporting this!) In many ways this album, like one of the song titles, is a "Reunion of friends". Drummer John Sferra met Phil in the 8th grade. They played together in Glass Harp. Now Sferra holds all together magnificently. His drumming is probably more responsible for the cohesiveness and consistency of the 60s and 70s rock style than anything else. Wade Janes locks solid on bass while Phil Madeira, another friend of long standing, fills the soundstage with his Hammond B-3 organ. Against this bluesy backdrop we come to the maestro. Whether he is deftly playing Beatlesque licks that would make Harrison smile, or whether he is rocking the house down, this is exciting stuff!

From the opening strident rock anthem, when Phil shouts, "All creation shows the glory of the Lord", this album slowly builds with intensity. One hears many musical influences, with three Beatle-like tracks ("Everywhere I look", "Love divine" and "Reunion of friends") which are almost too close to Beatle originals for comfort, to tones that remind one of Clapton in his Cream days. Yet Phil adds his own flavour as again and again his honest lyrics reflect his heart. You cannot separate his musicianship from his faith. The final four tracks continue to lift to the crescendo that breaks loose in the penultimate track, "Doin' Nothin'". This eight minute rock boogie always satisfies my longing to hear Phil rip up the fretboard. Together with the Clapton inflected "Don't pass me by", these are about the heaviest you'll hear Keaggy play on a studio album of his. ("Doin' Nothin" is available as an MP3 single from Amazon - have a listen!) Doin' Nothin' (Album Version)


The final track is a masterful blues ballad as Jimi may have played. Phil focuses the album on the source of his joy and wholeness, his saviour. With this track there is an emotional depth that communicates lyrically and musically; the notes shimmer and echo the redemptive message. Listening again after all these years, this is still his "tour de force" album.  


PS: For a recent studio album, read one of the most enjoyable and exuberant PK reviews I've read, by blogger Kirk Jordan on "Mystery Highway", Phil and Randy Stonehill's collaborative effort.