Petra Washes Whiter Than (1979) Never Say Die (1981) [reissue 1988]

There may never be another vocal performance in Christian Rock that can deliver the unmatched power of 'Dream On'. Taken from Come Out Fighting, and of course a version of the Aerosmith smash hit, 'Dream On' deftly ties together an impacting, yet accessible album. Other top tracks include 'Will You Take Me Back?' and many more.

Phil Keaggy and Sunday's Child is the title of a 1988 album by guitarist Phil Keaggy, released on Myrrh Records and A&M Records simultaneously. The record, which includes an all-star list of guest musicians and vocalists, is in many ways a tribute to 1960s pop/rock music like The Byrds, The Beatles, and others.

Phil Keaggy's Getting Closer, released after his first Private Collection installment, is a disunified piece of work; it is musically adventurous in places and reminiscent of great guitarists (notably Pat Metheny). "Sounds" showcases Keaggy's guitar work and includes a reference to Glass Harp's "Can You See Me." Other highlights include "Passport" and the quirky title track. "Where Has Our Love Gone" critiques the American consciousness as uncompassionate and slips a pro-life jab in there as well. "Riverton" features some interesting off-center guitar work, but is backed up by a very dated drum machine which to contemporary ears is abrasive at best. Also recorded here is the original version of "I Will Be There" (later recorded for his Crimson & Blue album); this version is less anthemic and more emotive, and unlike the newer version is in 7/4 time. Frankly, the great moments on this record – which comprise 90 percent of it – are absolutely amazing and make it definitely worth the cost of admission.

Keaggy actually recorded the majority of this album years ago, but it was not considered commercially viable and, therefore, remained unreleased. It is extremely fortunate that it has been made available, because this contains some of Keaggy's most beautiful and touching work. It is very much a gentle acoustic album, comparable to Beyond Nature with vocals, with personal lyrics related to family and Christian struggles. Particular strengths include the beautiful duet with his daughter "Father-Daughter Harmony," and the lyrically powerful "It Could've Been Me" and "Maker of the Universe," and the exquisite "Let Everything Else Go."

Keaggy's first two solo albums (from 1973 and 1976 reissued here on one CD) remain among his best. Keaggy was one of the first contemporary Christian musicians to bring an original melodic sense to his songs (indebted as it was to Paul McCartney, and his lyrical naivete comes across as refreshing rather than insipid. Over 70 studio albums. Phil Keaggy is one of the most admired guitarists in music.

The Master and the Musician is the title of the first entirely instrumental album by guitarist Phil Keaggy, released in 1978, on NewSong Records. It was later reissued, with a bonus track, on Myrrh Records in 1989. Phil Keaggy's first instrumental album is a groundbreaking piece of work for him as an artist, for the Christian music genre, and for instrumental guitar music in general. Full of emotional twists, meditative sounds, and world-influenced tonalities, The Master & the Musician stands as an oasis in an otherwise barren field of Christian instrumental music. Pieces like "Jungle Pleasures" and "Follow Me Up" are great works in their own right, Christian or otherwise. An excellent work from an excellent musician.

True Believer is an album by guitarist Phil Keaggy, released in 1995. More soft rock from Keaggy, but this one is even more mellow than some of the past releases.

There is reason that the term sophomore effort has slipped into cliché, and this release is a prime example of it. This is an example of a band trying really hard, but pulling apart in the process; each member competes for the most attention the whole way through. Phil Keaggy's conversion to Christianity doesn't help the recording either; there is a solid rift here between the religious songs and the non-religious songs.

This show was recorded at Cleveland's Beachland Ballroom on November 1, 2008, where Glass Harp headlined a benefit concert for Roots of American Music, an organization dedicated to the preservation, performance and education about traditional American music in our schools. This CD finally captures the raw, improvisational energy and spur-of-the-moment creativity that has defined Glass Harp for decades, but until now has been heard only in a live setting and in the memories of the people who saw it.