When you've been playing music for as many years as Phil Keaggy, you tend to want to experiment and break beyond genres. It's not surprising then that this latest release moves quickly from a Beatlesque opener to Celtic influences and even pulls in a couple of moments of Eastern sounds. Much has been said of Keaggy's vocal similarities to Paul McCartney, and they are fairly obvious on the first few tracks here, as are connections with former collaborators PFR. The guitar playing throughout is of an extremely high standard, although this release is not a showcase for the man's immense talent in the way that its predecessor, Acoustic Sketches, was.
Unfortunately, in its eclecticism this recording seems to have lost something of the spark it promised. The playing throughout is great, but it's not as tightly produced as it could have been, and the closing track in particular seems to lack substance. The guitar introduction to "Beneath the Blood-Stained Lintel" is great, and the percussion is interesting, but that is fairly rare on the album. Keaggy completists will want this, and it's not a bad album, but I for one had been hoping for something more complete and focused.
3.5 tocks
Other coverage for this album
The Phantom Tollbooth 1999Reviewed by Elisa MussoPhil Keaggy's latest contribution to the Christian music scene is at least his 24th project as a solo artist depending on how you count these things. The album starts out with a strong acoustic guitar/percussive piece, "A Sign Came Through a Window." It seems to be a call to the listener to take a look at the signs that God has given us to come to faith in Him. "Beneath the Blood-Stained Lintel"…HM Magazine #73Reviewed by Brian Vincent McGovernFrom the first driving acoustic blues rock "Sign Came Through a Window," Keaggy's relaxed, rhythmic songwriting is all over this disc, and his smooth, always Beatle-like voice comes from around the corner, reminding the listener of the man's past work. Often lauded as one of the greatest guitarists who ever lived, such playing is apparent in songs like the acoustic Celtic-flavored Beneath the…The Lighthouse Unsorted 1998Reviewed by Paul Michael CarhartWhenever word gets out that a new Phil Keaggy project is about to hit the shelves, the first thing that comes to mind is: "What's it gonna be this time, Mr. Keaggy?" Ask that question of this project, and one might be surprised. Indeed, Keaggy, who is renowned within both the Christian and mainstream markets for his guitar playing prowess, has traveled many different musical paths from soft…The Phantom Tollbooth 1998Reviewed by Steven S. BaldwinAfter thirty years of making music, Phil Keaggy still both defines and transcends CCM. His work is certainly contemporary, distinctively Christian to a fault, and just plain great music. If the community of CCM listeners gave out such titles, Phil Keaggy would be the great guitar guru of our particular niche. Unquestionably. Irrefutably. Even arguably the rest of the world as well. Yet his…Similar sounding releases
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1998Mike Scott / The WaterboysThe Whole of the Moon: The Music of Mike Scott & The WaterboysMore from Phil Keaggy
1996Acoustic Sketches
1995Time 2
1997Invention
2001In the Quiet Hours
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