Phil Keaggy

Philip Tyler "Phil" Keaggy (born March 23, 1951) is an American acoustic and electric guitarist and vocalist who has released more than 50 albums and contributed to many more recordings in both the contemporary Christian music and mainstream markets. He is a seven-time recipient of the GMA Dove Award for Instrumental Album of the Year, and was twice nominated for a Grammy Award for Best Rock Gospel Album. He has frequently been listed as one of the world's top-three "finger-style", as well as "finger-picking", guitarists by Guitar Player Magazine readers' polls.

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.

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."

The Wind and the Wheat is the title of a 1987 instrumental album by guitarist Phil Keaggy, released on Maranatha! Music's Colours imprint. Featured are several pieces of brilliant solo acoustic guitar, and the rest with a small group ensemble. The album won the 1988 GMA Dove Award for Instrumental Album of the Year.

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.

The PHIL KEAGGY 2-CD reissue containing three full albums–his 1980 album " PH'LIP SIDE ," his 1981 album " TOWN TO TOWN ," and his 1982 album " PLAY THRU ME "–on two CDs. Wonderful production work, still sounds amazing now.

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.

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. Strobie's 2007, 30th Anniversary Edition included a 29-track bonus disc.

More than 25 years after the release of his first solo album, Keaggy finally has an eponymously titled work. Appropriately so, because after several instrumental, collaborative, and tribute works, he has brought all his influences together to create music that is diverse in its influences but cohesive in its execution. Stylistically, the album ranges from the opening acoustic pop of "A Sign Came Through the Window" to the Celtic influences of "Beneath the Blood-Stained Lintel" and "Above All Things" to the Beatlesque "Tender Love," but all the songs benefit from stellar arrangments, inspiring and intelligent lyrics, and the best vocals Keaggy has recorded to date.

Re-Emerging, Keaggy's first album of the new millennium, came out in April 2000. The disc was a reunion of the Phil Keaggy Band in which they updated their classic 1977 album, Emerging. With the exception of "Gentle Eyes", Re-Emerging retained the material from the original album and also introduced four brand new tracks: "My Auburn Lady", "Mighty Lord", "You're My Hero", and "Amelia Earhart's Last Flight".