If you’re a guitar guy, then all I have to do is write the name “Phil Keaggy” and you’re probably already prepared to offer up praise for his abilities. The man’s prowess with the guitar is legendary, so much so that he can’t turn around without someone bringing up the longstanding urban legend that no less an authority than Jimi Hendrix once declared him to be the best guitarist of all time. It’s been pretty well decided that such words never came forth from Hendrix’s lips…or, at least, Keaggy’s pretty sure of it, anyway…but God knows that plenty of other axe men have offered compliments along those lines.
The reference to the almighty is an intentional one. Although Keaggy started in the more traditional rock world as a member of the band Glass Harp, he’s been a staple of the Contemporary Christian music industry since the early 1970s. But, c’mon, don’t freak out, okay? I’ve always been mystified about how music fans can be totally psyched to hear about an album, only to dismiss it because there were lyrical references to religious beliefs. It’s music, people. No-one’s saying you have to embrace the lyrical content as the truth…but you can certainly enjoy the tunes.
My buddy Chris Commander is the person who was responsible for introducing me to the music of Phil Keaggy. This was in the early ’90s, when the members of my circle of friends were…you’ll forgive the expression…worshiping at the altar of Jellyfish and Crowded House. Chris said, “Dude, you’ve got to check out the album,” and he handed me a copy of Phil Keaggy and Sunday’s Child. I’m sure he mentioned that Keaggy was a Christian recording artist, but that’s not the sort of thing that would’ve turned me off, anyway, and, besides, I knew Chris’s tastes and he knew mine, so if he thought I’d like it, he didn’t have to tell me twice. And, of course, he was absolutely on the money. From the Beatles homage on the cover art to the plethora of pop hooks, this was very much my kind of album.
