Phil Keaggy
The Master and the Musician: 30th Anniversary Edition
(philkeaggy.com)
Arguably the finest instrumental album in the history of Christian music, The Master and the Musician is Keaggy’s first stab at going lyricless in the recording studio—and still proves the guitar wizard typically communicates more with nine fingers, six strings, a fretboard, and an amplifier than most artists who must always sing. Recorded in 1978, The Master and the Musician is full of inspired, melodic passages (often improvised) that set quiet, evocative moods. The legendary melodies also reflect Keaggy’s affinity for wildly different genres; besides rock (his normal base of operation), he reveals his fondness for classical guitar (read: Old English madrigals), jazz, and experimental music (e.g., “Mouthpiece”).

While this new package lacks the medieval-like story that accompanied the LP three decades ago (don’t fret—you can still read it on Keaggy’s Web site), it’s buoyed by brand-new liner notes and a generous double-disc presentation: disc 1) the album remixed and remastered; disc 2) Keaggy’s commentary on each of the 13 tracks, as well as a healthy dose of outtakes, alternate mixes, and even Keaggy interviewing Gary Hedden, the engineer on the original sessions.

The Master and the Musician is an important album that has long deserved a sonic remodel; now Keaggy’s magical guitar runs are presented with more clarity and pop than ever, and the accompanying instruments (bass, keyboards, recorder, flute, oboe, triangle) receive a well-deserved boost, too. A no-brainer as a mood setter for your students, and if you’re not a Keaggy fan already, it’s sure to captivate your ears in short order. (And I’d be remiss if I didn’t mention that Keaggy is presenting special The Master and the Musician concerts this spring in which he and a band perform the album from start to finish—a one-time only deal that’s not to be missed.)


SHORT JABS, GLOVES OFF

The Afters never going back to ok—For the album’s first minute and a half, The Afters tease us with “The Secret Parade” and its minor-key mood, dirty-fingernails production, and haunting harmonies; the rest of the tunes aren’t nearly as edgy. Cool, yes; even memorable at times (e.g., the rousing “We Are the Sound”). More edge next time, please.

77s Ninety Nine—A smoldering live project from Mike Roe & Co. that captures their riff-heavy rock from the stage. With only eight tracks covering just over 46 minutes, the supremely recorded Ninety Nine most definitely leaves you wanting more. It’s hard to pick highlights (all the tracks are excellent), but you couldn’t choose a better opener than the kickin’ “Blue Sky.” And it’s always a prickly joy to hear “The Stellazine Prophecy” in a concert setting. In the end the blues-rock majesty of closer “Snowblind” leaves you wondering why the 77s never hit the big time. (lo-fidelity.com)

Kerry Livgren Collector’s Sedition: Director’s Cut—Leave it to the legendary songwriter and composer, formerly of Kansas, to transform disparate demos into a sonic gem of an album. Full of blistering electric guitars, lushly orchestrated passages, his son Jake’s stellar vocals (that sound eerily like Kansas’ Steve Walsh’s), and his always poetic, spiritually charged lyrics, this album is a winner on all levels. (numavox.com)

The Lost Dogs Via Chicago (All We Left Unsaid)—A cool CD/DVD combo from a short acoustic set by the Dogs in the Windy City. While the CD tracks replicate what’s found on the DVD, the latter disc holds extra weight with video commentary from Terry Taylor, Derri Daugherty, and Mike Roe. At once fun, humorous, and moving.

Fireflight Unbreakable—Sophomore effort from the highly touted Orlando quintet who play melodic hard rock in the vein of Evanescence. The center of attention is lead singer Dawn Richardson, whose powerful, rangy vocals lend the proceedings an air of drama and urgency. NBC has paired the album’s title track with a promo spot for The Bionic Woman and other programs, too. Things don’t look like they’re slowing down for Fireflight.

Newworldson Salvation Station—If there’s such a thing as a Christian party band, then no doubt Newworldson is well on its way to filling those shoes. The quartet combines rollicking rhythms, soul, blues, and organic Americana to create what it calls “speakeasy gospel.” This is unique stuff, full of life and Christ-centered hope and praise. Keep an ear out.

Jaime Jamgochian Above the Noise—The piano-playing worship artist returns here with a fine follow up to her debut, Reason to Live. Excellent production and quality melodies fill the dozen tracks on Above the Noise, offering Jamgochian an ideal launching pad for her telling, emotional vocals. An artist to watch, especially if you dig worship music.

Stephanie Smith Not Afraid—Pure pop rock, nary a note is out-of-place on this endlessly catchy debut. While the tunes are made to order for radio, Smith’s vocals are raspy, full of attitude, and live decidedly in the land of rock ’n’ roll. Not Afraid will appeal to young teenage girls, especially.

Leeland Opposite Way—A tiny swath of music creators out there have “the gift”—a musical touch that pretty much prevents them from ever creating anything humdrum. Leeland Mooring, only 19, is that kind of artist; his band’s sophomore effort, Opposite Way, is revelatory—unapologetically Christ-centered, passionate, and melodically infectious and moving. Worship in another dimension. Believe it.

Pillar For the Love of the Game—It’s an odd sensation, calling Pillar veterans of the Christian hard rock scene, but that’s the amazing truth; For the Love of the Game is the band’s fifth album, and yet their brand of fist-pumping, arena-friendly rock shows no signs of getting long in the tooth. Mature, passionate, riff-happy inventiveness abounds.

Stellar Kart Expect the Impossible—The punk-pop quartet ditched some of their safety pins and Mohawks (okay, they never had Mohawks) in favor of a more deliberate pop sound, and the results are quite infectious. Always a hit with youth workers and the teenagers they sing to, Stellar Kart takes a few big steps forward here, both artistically and ministry-wise.

Sanctus Real We Need Each Other—The title track is an epic, monolithic piece of songwriting, and the rest of the tracks here get a boost (and inspiration) from its power. This is Sanctus Real on infinite-repeat overdrive, playing loosely and poeticizing and attacking their new songs with a vengeance. “Black Coal” is a particularly rollicking aural creation.

WORTH A MENTION

VeggieTales The Wonderful Wizard of Ha’s—More youthful fun from Big Idea
Audio Adrenaline Live from Hawaii: The Farewell Concert—DVD and CD combo
Parachute Band Roadmaps and Revelations—Footstomping worship from New Zealand
Phil Wickham Cannons—Sophomore effort from the emotive pop-rock vocalist
Dijon A Kid’s Point of View—Debut from a 14-year-old R&B artist
Bobby Jones The Ambassador—Gospel pioneer collaborates with a host of other folks
The Godkinz The Godkinz—Urban worship from San Diego-based brothers
Barry D. Born to Play—Piano prodigy blends pop, jazz, and funk
Shane Newville Formless—Soundscapes used for many TV and film projects