Favorite albums of the year

I’ve not updated this blog very much this year – my job has kept me especially busy lately. But I have been listening to a lot of music (I still have my 45 min commute) and, as I have done for the past few years, I have compiled a list of my favorite music for the year. So here they are, in no particular order - the albums that especially got me excited this year.

Robert Plant / Band of Joy – This album surprised me. I listened to Raising Sand, Plant’s duet album with Allison Krauss and, while I liked it, I didn’t spend much time with it. Band of Joy, though, is a bit moodier and the production is airy and interesting. Plant’s singing is, of course, great. I was a fan of Led Zeppelin in the 70s but haven’t listened to much of his solo work. Plus it is fun to hear Plant singing in his lower register.

Elvis Costello / National Ransom – Momofuku, Costello’s album two albums ago was great. I thought it was up there with his very best. But I was disappointed with the follow-up, Secret, Profane and Sugarcane. I found the melodies on SP&S to be not as intriguing and the sound of the album didn’t move me. National Ransom is like an extension of Secret except Costello branched out a lot more in style so, where SP&S was somewhat one style throughout, Ransom is quite varied. Every once in a while, when I’m listening to Costello, I realize what an amazing writer he is – his songs have interesting chord progressions and his melodies, which are catchy, are not obvious. I’ve noticed that on many of the songs on National Ransom. It ranks up there among my favorite Costello albums.

Sufan Stevens / All Delighted People / The Age of Adz – This year, Sufjan Stevens put out both and EP and a full album, although the EP was nearly an hour long so calling it an EP was a bit strange. Both of them are among my favorite albums of the year. All Delighted People features a lot of what we’ve come to expect from recent Sufjan albums, twittering flutes, interesting arrangements and heartfelt (if not a bit obscure) lyrics. It is great. Some of the eight tracks are long but the arrangements are complex enough to hold my attention throughout. This album (OK, he calls it an EP so that we realized it wasn’t meant to be his BIG STATEMENT) is great - maybe the lowered expectations helped me see as just a nice collection of songs. Then a few months later he delivered The Age of Adz, a big electronic serious album about schizophrenia and identity. When I heard it I realized that, indeed, All Delighted People was just the warm up. The album is complex and fascinating in it’s combination of quirky Sufjan flutes and other wind instruments mixed with the beeps and blurps of electronica.

Fistful of Mercy / As I Call You Down – Fistful of Mercy is Dhani Harrison, Beh Harpur and Joseph Arthur, all three interesting indie artists who have their own projects. I became aware of them because of Dhani Harrison, George’s son, and because I liked his album of last year with his band thenewno2. In fact, I named their album one of my favorites of the year. Their new project, Fistful of Mercy, is quite different – part Crosby Stills and Nash, part Traveling Wilburys. Not the most elegant or serious album in my collection but it features fine (although a little quirky) three part harmonies most of the time and a nice acoustic vibe throughout.

Eric Clapton / Clapton – Releasing a self-titled album more than 45 years into your career says something. In this case it says that this is a very personal album. While not as emotionally raw as Pilgrim, as radio-friendly as Slowhand, or as guitar heavy as Journeyman, Clapton is a warm relaxed tour through much of the music that Eric Clapton has found himself drawn to over the last few years. There are few songs with drums playing flat-out, for example. Most of them feature brushes or at least drums that are gently played or pushed to the background. But this isn’t an earthy acoustic album – this is a jazzy album that is a combination of blues and standards featuring Clapton the singer as much as Clapton the player. Some of the songs would be at home on an album from the 1940s while others would sit nicely on Clapton’s duet album with J J Cale and still others would be on a slightly softer version of one of Clapton’s blues albums like From the Cradle or Me and Mr Johnson. Don’t come to this album expecting to have your socks rocked off. Clapton apparently isn’t interested in that right now. But for a mature album by a veteran musician, this one is great.

Peter Gabriel / Scratch My Back – The reviews of this album are all over the map from “best ever” to “what was he thinking?” so I hesitated before getting it but when I did I quickly joined the “best ever” camp. Gabriel, who famously instituted a “no cymbals” rule for one of his early solo albums put in a “no guitars or drums” rule on this album and gave us a lushly orchestrated album of cover versions of songs by other artists. The arrangements are hauntingly beautiful and a few of the songs are slowed down to the point where you hear them in a whole new way. His cover of Arcade Fire's "My Body is a Cage" is gripping and Lou Reed's "The Power of the Heart" is just beautiful.

Phil Keaggy and Jeff Johnson / Frio Suite – Phil Keaggy has released a number of albums over the years but lately he’s been doing some interesting work with other artists. He’s released albums with Randy Stonehill, with Jack Giering and John Sferra and soon he’ll be releasing an album with percussionist Kyle Jones. (He gave me a copy of that album, called Numen, which may well end up on my next year’s list – it doesn’t seem fair to put an album on here that isn’t out yet so I'll wait on that one.) Frio Suite, with keyboardist Jeff Johnson is a beautiful, new-age-type album that is subtle and moving. The two of them recorded this at a distance, each adding their own parts in their own studio, but you'd never know it by listening. It sounds like a wonderful journey down a metaphorical river.

Finally, two albums that I really haven’t taken the time to dig into yet but I want to add to this list because I think they belong here:

Arcade Fire / The Suburbs – Another great Arcade Fire album – they’re three for three now. I like how they manage to tackle big issues while at the same time being not uber-artsy and inaccessible. I find their music often takes me a while to really understand and this one is no exception.

The Rescues / Let Loose the Horses – The Rescues was my big discovery last year and Let Loose the Horses is their first major label release. I don’t like it quite as well as their earlier stuff – yet, at least – but I’m a fan of their harmonies and their sound. Also of note, their cover of Katy Perry’s “Teenage Dream” (unfortunately, not on this album – but available as a single on iTunes) is awesome.

Glass Harp’s best album

Recently Glass Harp released a 2008 concert CD that, initially I was less than excited about. That was before I heard it. You see, I figured I’d heard all these songs before. I have the original three albums. I have Hourglass, their reunion CD. I have the Carnegie Hall Live CD, the With Strings Attached set and also the massive Stark Raving Jams and they’re OK. But none of them (with the possible exception of Carnegie Hall, recorded in the early 70s) really caught the excitement and the improvisational power of these three guys. I finally got to see them about five or 6 years ago and I was thrilled – they rarely tour together anymore. But Strings Attached was just too calm and too scripted. Stark Raving Jams was too unfocussed and the recording quality wasn’t great.

So when I saw that Live at the Beachland Ballroom was being released I thought that this was just another live Glass Harp album with the same songs (they mostly still play the stuff from their three original studio albums) and that it was totally redundant. I was wrong.

Live at the Beachland Ballroom is the one Glass Harp CD that you need to have. I haven’t heard Phil Keaggy playing with this sort of abandon and fire on a recording in years. And Glass Harp is not just Phil and a rhythm section – Dan Peccio and John Sferra are totally on target here too and the connection between these guys while they play is amazing. They’re totally in sync and the band turns on a dime. This is clear in a number of places on the album but no more so than in the nearly 16-minute “Beachland Jam.” The band jumps in and out of multiple jams, mostly started by Phil on guitar but within seconds Dan and John jump in and join him. Vocally, they’ve never been better and instrumentally they’re at the top of their game. This is probably the best Glass Harp album yet. Buy it here.

2009 - albums of the year.

This has been a strange year of listening for me – not many new albums have really grabbed my attention. Plus, for a couple of reasons, I spent time rediscovering old albums. The Beatles remasters of course were released in September and, while I’m getting the stereo remasters for Christmas, the mono remasters have been in my rotation for a couple of months and they’re spectacular. I can’t wait for the stereo ones. U2 came out with a remastered Unforgettable Fire which was a great thing to listen to. Between old U2 and the Beatles there isn't a whole lot of room for new music to creep in.

On top of that I spent part of the summer deliberately going back and listening to old classic albums that I had somehow missed the first time around, albums like Blue by Joni Mitchell and Electric Ladyland by Jimi Hendrix. They are clearly on my best listening of the year list. I also continue to enjoy Electric Arguments by the Fireman (Paul McCartney) which was on my list last year.

But none of those are new albums – there actually are only a handful of new ones that got me excited, two of the are live albums of bands playing old stuff. One that surprised me is Over the Rhine’s Live from Nowhere, Vol. 4. I had low expectations for this album since it was all songs from my least favorite OtR period, their earliest days. But the playing and singing on LfN4 is just wonderful – it’s a reunion concert of the early band and Ric Hordinski’s playing is great. Eric Clapton and Steve Winwood (who made up half of Blind Faith in the 60's) released Live from Madison Square Garden which is a very good live album with both Clapton and Winwood at the top of their game. I got to see their tour last summer and Clapton was clearly playing very very well. I never dreamed that I'd actually ever see the two of them playing Blind Faith songs together live. It was great (although they were playing even better when I saw them than they did on the album!)

Three new bands caught my ear this year. Owl City’s album Ocean Eyes is a lot of fun. The song “Fireflies” grabbed me right away and the rest of the album followed suit. It might sound too much alike over all but I'm not sick of it yet. I discovered another new band, the Rescues – I think they’re great and their album Crazy Ever After got a lot of play last summer too. The Rescues is a collection of four solo artists who together have catchy tunes, lush harmonies and interesting arrangements. Dhani Harrison’s band thenewno2 (the new number 2) released You Are Here, an album that has glimpses of his father George’s melodic style but cast in a fresh way. This is not just a son cashing in on his father’s name – I think Dhani might have a real future ahead of him. Even though I got it early in the year I keep going back to it.

Finally, my number one album of the year has to be U2’s No Line on the Horizon. This album is adventurous and risky but there are moments of sheer brilliance like “Magnificent” and “White as Snow.” I even like the lead single “Get on Your Boots.” Whenever I don’t hear the album for a few weeks and listen again I get excited because it’s just so good. I remember when I first got it I listened with my ipod in a hotel in Troy, MI and was just blown away. That was when I realized what a very special record this was. I got to see U2 in Chicago this fall and I will again in East Lansing next summer. The clear high point to my musical year!

No Line on the Horizon – U2’s new album

I am a huge U2 fan. I already knew I would like their new album, No Line on the Horizon, before I heard it. Why? Because 12 albums into a career there is not a single U2 album that has not paid off for me on repeated listens. These guys are thoughtful, creative and better at doing what they do than anyone else. I'm a fan and I'll admit it. So if you expect me to be lukewarm on this album you'll have to go someplace else.

Five years ago U2’s How to Dismantle An Atomic Bomb grabbed me on the first listen. The songs on the album were spectacular and accessible – I understood them early on and continued to find new things to like in them as I played (and replayed and replayed) the album. That album stayed in my player for a very long time. I saw the tour and what little remained of my U2 skepticism went right out the window.

So, now that my confession is out of the way and I’ve given up any pretense of impartiality I can address their new album, No Line on the Horizon. My first taste of it was the single “Get on Your Boots” which, sure, is a little dopey in spots but, frankly, I played the single a lot. iTunes keeps track of the number of plays and I was well over a dozen by the end of day two. I thought it was creative and fun and had a killer riff. But when I finally got the chance to hear the whole album I realized that there was really nothing else quite like that on the whole album. In fact my initial response was that the album was quite subdued overall. This will take repeated listening to really get, I thought. And I was right. After a number of plays I have come to see this as a wonderful U2 album, and sounds to me very much like the natural successor to either Zooropa or The Unforgettable Fire.

Steve Harmon, in his review of the album suggests that this is the horizon line referred to in the song and tha albm title is the line separating heaven and earth and that Bono is looking at the horizon for a day when earth will be more like heaven. I am still hard pressed to get that out of just looking at the lyrics to the song but his argument makes a lot of sense to me. But that’s the thing about U2’s writing – the theological stuff is sometimes only there for those who have ears to hear. And in this case the whole album seems to be about trying to find what Bono had been looking for since the Joshua Tree. Even without the context for of the whole album I thought that “Get On Your Boots” was a call to arms – a call to the church to get out of it’s too complacent ways and do some work – these are work boots Bono is calling sexy. In context, it makes even more sense. This is how we can usher in the world where justice reigns – the world in the future (which needs “a big kiss” according to Bono.) This interpretation works for me.

There are times in this album where the point is pretty clear, as in the amazing “Magnificent.” Those of us who look for Christian subtext in U2’s music found it immediately in “Magnificent” – a song with a stirring sound and soaring melody. I can’t wait to hear how this one goes over live. But in this one Bono sings about how he was “born to sing for you.” The occasional reviewer missed the point here but Bono is pretty clearly talking about God – especially when he says that his first cry was a joyful noise. Bono also calls on some pretty familiar Christian imagery in “White as Snow.” You can't ignore this stuff and you can't just assume that Bono is playing with words - he is clearly evoking something in using these scriptural references. It all seems to point to an how Bono is still looking for peace and justice and love - and, in some cases, listing how we've all fallen short. This may be one of their more coherant album-long statements yet.

Musically I find this album has lots of things to enjoy. Eno and Lanois’ influence in pretty clear and this album really doesn’t sound like any other U2 album – but it still sounds like U2. It may not be as packed with hits as Atomic Bomb was but No Line on the Horizon is every bit as good. Bono still hasn't found what he's looking for but it's good to know that he and the rest of the band haven't stopped looking.

Ouch

Earlier this year (early January, in fact) I had dug up some old CCM albums and was listening to them again for the first time in a few years. Among other things, I wrote this:

Considering Lily, the band, is one of my guilty pleasures from the 90s and also one of my great disappointments. This pair of sisters made a folky album as Serene and Pearl and, when that didn’t work out commercially for them, they rocked it up a bit and formed the band Considering Lily. Their self-titled album is dorky and obvious with mundane images and lightweight tunes. But I liked it and there was something about its quirkiness that caught me back then. The reason that this band was such a disappointment for me is that, for their second album, one of the sisters quit and the newly reformed Considering Lily released an album that was not really at all like their first one. They got more normal and lost their charm. After that they never released another album. While this first one was a lot of fun my patience for the pedestrian writing and playing on this album isn't what it used to be. After two listens it ended up getting deleted from my itunes.

Over this past weekend I received this comment on that post: “Ouch. Serves me right for "Google"ing Considering Lily trying to find some audio clips of "The Pieces Fit" to link in an email.”

The comment came from Jeanette. Clicking on her blogger profile revealed nothing. But I seemed to remember that the woman who was added to the new Considering Lily was named Jeanette. I did some quick googling and I was right – Jeanette Herdman.

I have to admit that my heart fell when I read her note. It was not my intention to hurt her or anyone with my musings about those albums and I felt bad that she had read it and had been hurt by it – even if only a little. I went back and reread what I had written to make sure I hadn’t been especially mean – and I don’t think I was. But it reminded me that music that I review doesn’t just happen – it’s made by people.

I have read some reviews and critiques of my recent book (Helping Our Children Grow in Faith – quick, go order it and read it and then say nice things about it) and, while they’ve been mostly positive there have been a couple of comments that were lukewarm or critical. As I read them I know that it goes with the territory - something that I'm sure Jeanette knows too. In fact – I was quite nervous about that before the book came out. Once you put a book out there you are opening yourself up to people reading it and saying “this guy’s crazy and what’s more he can’t write.” I’m also a musician and I know that reviews can be rough. And, truth be told, when I occasionally write in a particularly snarky manner with humor I get good comments from people who think I’m really smart and witty and clever in the way I put down whatever it was that I was reviewing. That positive reinforcement encourages people to be mean in reviews.

But I also know that I enjoy writing and reading reviews of music and other things and that I will read, watch and listen to things that I just don’t like. Should I not write about them?

I think I will continue to write about them BUT Jeanette’s note reminded me to do it with a spirit of humility and to speak the truth (or at least my opinions) in love. And, Jeanette, thanks for your note and for reminding me of the faces behind the art. I’ll go back and listen to The Pieces Fit again – who knows maybe I’ll now hear things that I didn’t hear all those years ago.

Revisiting old CCM albums

Almost every year we go on a bit of a cleaning binge involving our basement. As we need more room to put new stuff and, as kids come home for Christmas break we need more space. We also realize that we accumulate a lot and a good purge is helpful. This leads to deciding what stuff we can toss and what stuff we need to find a better way to store. This year as I was realigning my CD collection and as I was going through some of my old stuff I came across a number of old CCM albums which I’m not ready to get rid of yet and I grabbed five of them because I remember them as being among my favorites and I thought it would be good to hear them again. They are:

PFR – Great Lengths (1995)
Considering Lily (1996)
Cindy Morgan – Listen (1996) and Under the Waterfall (1995)
Margaret Becker – Falling Forward (1998)

I loaded them in my itunes, put them on my ipod and they (along with some recently rediscovered Stevie Wonder) have been popping up every so often in my listening over the last week or so and it’s been great to revisit these. So, after listening again after a number of years, how are they?

PFR’s album, Great Lengths is full of Beatlesque tunes with solid arrangements, playing and singing. The two lead voices blend nicely and the power trio’s sound is nicely augmented with other instruments. A few of the songs reek of mid-nineties CCM sensibilities – like they were counting the number of Jesus references to make sure they were ok to play on the radio – but enough of them avoid this that the album still holds up well. This one will likely stay in my itunes.

Considering Lily, the band, is one of my guilty pleasures from the 90s and also one of my great disappointments. This pair of sisters made a folky album as Serene and Pearl and, when that didn’t work out commercially for them, they rocked it up a bit and formed the band Considering Lily. Their self-titled album is dorky and obvious with mundane images and lightweight tunes. But I liked it and there was something about its quirkiness that caught me back then. The reason that this band was such a disappointment for me is that, for their second album, one of the sisters quit and the newly reformed Considering Lily released an album that was not really at all like their first one. They got more normal and lost their charm. After that they never released another album.While this first one was a lot of fun my patience for the pedestrian writing and playing on this album isn't what it used to be. After two listens it ended up getting deleted from my itunes.

Cindy Morgan started out doing what was then called “urban” music and I wasn’t such a big fan. But then at the time of her third album she changed her style a bit and released a fine album called Under the Waterfall which, to my ears at least, almost sounds at home sitting next to today’s pop albums by American Idol alum. It’s a good album with some nice grooves on it and a killer track, “Stand,” which is just wonderful. She followed that up with an even better album, Listen, which spent a lot of time in our players back 12 years ago and still sounds good to me today – these two albums are the ones that I’ve played most since digging them up last week.

Finally, I also dug up what I consider to be Margaret Becker’s best album, Falling Forward. This album really shows her acoustic side but yet it has cool Falling Forward wasn’t nearly as good either. This one I haven’t heard too much yet since the great rescue from the basement but what I’ve heard I’ve liked a lot – so this one will also stay in my itunes for a while at least.

Overall, this experiment has worked out well. When push comes to shove I tend to revert back to certain bands – the Beatles, U2, Grateful Dead, Phil Keaggy, Elvis Costello – and it’s good for me to branch out. I’ve tried to do that with contemporary bands like Death Cab for Cutie and Ingrid Michaelson and I’ve enjoyed a lot of recent music but many of them don’t hold much interest for me in the long run. It was good to see that some of these old albums from artists not in my top tier still work for me.

Electric Arguments – Paul McCartney as the Fireman

Electric Arguments is the new album by the Fireman - Paul McCartney and Youth (the bassist for Killing Joke – whoever that is.) I did not buy the first two Fireman albums. They were strange ambient music – at least the part I can hear on samples from itunes – and, while I can appreciate ambient music I’m not sure I want to invest in it. But this new one is different. This has Paul singing. He and Youth went into the studio with no song in mind and no plan and, by the end of the day had a recording. He did this 13 times over the year. The result is an album that is part McCartney being his tuneful self, part McCartney being his experimental self and part Youth being his, well, youthful self.

So, what do I think? Well, on the one hand, I’m not sure yet. It is a bit of a strange album. On the other hand in the week since I’ve picked it up I find myself playing it over and over again. I haven't done this with any other album since Memory Almost Full, McCartney’s last album. I find myself entranced by the moodiness of the songs, by the interesting arrangements and by the sheer variety. There are also some really cool moments on the album.

Many reviewers are saying that this is the best McCartney album in decades – some say since Ram. Now I don’t remember people going all crazy over Ram or saying that that was one of McCartney’s best albums but, OK, Ram was a cool album and I can see why they say that Electric Arguments reminds them of it. But it also sometimes reminds me of Magical Mystery Tour and of McCartney II and also of Press to Play – did anyone else buy that one??? But to say that it’s McCartney’s best in decades is to minimize the cool stuff that McCartney has done lately. He’s done a lot of really outstanding albums lately – Flaming Pie, Chaos and Creation and Memory Almost Full have all gotten strong reviews and they’ve all been called the best in years from McCartney. (Reviewers seem to have short memories.) But because Electric Arguments is a collaboration with a producer it has a different flavor than his other albums, much like Chaos and Creation did.

So Electric Arguments is not “McCartney’s best”, nor is it a “return to form” or any of those things that some reviewers are saying. But it is a very good experimental album from an artist who, to a greater or lesser extent, does this a lot more often than he gets credit for. And I just can't seem to take it out of my CD player.

More on U2 remasters

I have had a chance to spend more time with all four of the U2 remasters that have come out in the past year (and I’m anxiously waiting for the fifth to arrive this week) and I realize that these are pretty much everything I’d like to have in a remaster series. Here is why.

1. Don’t mess with the album. Good albums have a flow to them that, while it could theoretically be improved on, generally I get used to the album the way it is and I want to experience the original. By all means, improve the sound, but don’t add tracks. That just messes up the end.
2. Add tracks to a second CD. What I really want is a second CD full of cool stuff like EVERY non-album single and b-side that connects to the album and unreleased live tracks from the era. I am a completist and I expect a good remaster to help me complete. I’m not looking for demos (although they can be fun,) I’m looking for something that I actually will want to listen to, not just have for historical purposes.
3. Make the art count. I want to have the original album art but also let me see the covers of all the singles and what else was on them. Basically I want the complete story of this album and this era in the band’s life.
4. Add cool liner notes. Include a critical essay, complete credits and a description, preferably by a key member of the band, of the b-sides. Lyrics are a nice touch too.
   

The U2 remasters delivers on all counts. And here’s what else they did to make it cool. The Joshua Tree has an extra deluxe edition that includes a video of a concert from that era. Since Under a Blood Red Sky is already a live album – and a really really good one – more live tracks aren’t really called for so they leave the album just as it is but added tracks to the live concert video, which has never been released on DVD. Yeah, U2 got it right with The Joshua Tree, Boy, October, War and Under A Blood Red Sky.

Phil Keaggy – Phantasmagorical

Phil Keaggy has had a wide variety of releases in his long career. Some instrumental, some vocal. Some electric, some acoustic. And, of course, some that are really good and some that are not as good. In almost any artist’s career there are high points and low points and there are also albums that really stand out. Phil Keaggy has had a couple that have really stood out over the years. One of those was The Master and the Musician, his first instrumental album. Phil recently toured to support the 30th Anniversary of that album so as he prepared his latest album he had M&M on his mind and in saw some similarities between Master and Musician and his latest album, Phantasmagorical. He mentioned those similarities when talking about the album before it’s release creating some buzz among his fans. In fact, it even has, as it’s subtitle, Master and Musician 2.

It has finally arrived (you can order it on his website) and I've now had a couple of weeks to digest it. While it is clearly not the sequel to M&M (and I don't know if Phil ever really intended it to be - decisions about titles like this are sometimes driven more by management than by the artist) it is also a very good album. As I mentioned in a recent review of The Song Within, Phil seems to be in a great creative space right now and has released a couple of very strong albums in a row. One of the things that strikes me about Phantasmagorical is how often a song will begin and I’ll find myself wondering who it is – not realizing it is Phil because he is experimenting with some new sounds – slide guitar, for example in the first track, “Like Snow Before the Sun” or the horns at the beginning of "Cascading." There is a lot of variety in this album and, of course, stellar playing throughout. But one of Phil's strengths is as a composer and arranger and he does that well on Phantasmagorical. Yes, there are times when it sounds like parts of it could have been on M&M but there are also parts that sound more like the sequel to Beyond Nature, (perhaps my favorite of Phil's instrumental albums) and there are parts that I'm hard-pressed to say if they'd fit on any of his previous albums.

Perhaps the best track on the album is the one that Phil previewed for us on the M&M tour, “Forever to Joy,” one of the songs that actually most sounds like the Master and Musician album with its strong melody and the delicate use of flute. It’s a great end to a great album. Phantasmagorical is one of the better PK albums of the last decade and it ranks nicely up there with his best ever.

Old guys still rock – Phoenix by Asia

I was pretty excited for the first Asia album when it was released back in 1982 (a long time ago.) The band was a super group made up of four top-flight members of some of the best progressive rock bands in the world – or at least in England. Steve Howe, the guitar hero from Yes was at the top of my list because his playing always made me sit up and take notice. Geoff Downes, who had recently joined Yes after making his mark with the Buggles' hit "Video Killed the Radio Star," was going to be playing keyboards and, while Downes was no Rick Wakeman, the fact that he had done a stint in Yes put him near the top of my list of cool keyboard players. Carl Palmer from Emerson, Lake and Palmer would be on drums and I thought Palmer was a fabulous drummer so I was stoked for that. In fact, the person who I knew least well was John Wetton, bassist and vocalist for UK and, before that, for King Crimson, a band that I had always held in high regard but one I didn't know too well (yet – I would later listen to them quite a bit.)

In my imagination, the first album from this new supergroup would feature long – very long – songs with multiple sections, long instrumental passages and pompous but often incomprehensible lyrics. There would be a theme – something really huge like "our future as a human race" – that would weave throughout all the songs. And it would have creative artwork which had an other-worldly quality, preferably by Roger Dean who had done most of the coolest Yes album covers. Before I ever heard a single note I had all this figured out. After all, what else could these guys possibly deliver than something that would completely blow my mind?

When I eagerly snatched up their self-titled debut (on vinyl – this was 1982 after all) I was disappointed. I wanted the sequel to Close to the Edge, perhaps Yes' finest moment, or maybe the follow up to ELP's Brain Salad Surgery, both of which had 18-30 minute suites which defined the high point of progressive rock in the 70's. What I got was something quite different. The band decided that they would not go after overly complex heady progressive rock but, rather, they would shoot for short, radio-friendly songs which would actually get played on the radio (or the newly minted MTV) and might even be a hit. They produced songs which showed their love for melody and their instrumental chops without making an album that you needed a long attention span to digest. What I got was the pop sounds of "Heat of the Moment." It wasn't bad. In fact, it was quite catchy. And the synth horns that opened the track were pretty cool. Howe's guitar work was vintage Howe. It was simple but it was still complex in a cool progressive-rock kind of way. It wasn't what I expected but once I accepted it for what it was I liked it. The first album took off big time and was a massive hit. They were everywhere on the radio and on MTV. This was the biggest hit any of these guys had ever had. The four members of Asia had gone from the relative obscurity of the progressive rock confines to being a big arena-rock band. And when I listened with headphones the album had a lot of cool stuff going on. Steve Howe had overdubbed lots of interesting guitar parts and had used a whole arsenal of different instruments to make his patented Steve Howe sound part of the aural landscape. It was a great album. I was excited about the prospect of where they'd be going next.

Unfortunately it didn't last. When their second album, Alpha, was released it sounded like a Wetton/Downes album with Steve Howe relegated to putting a few guitar touches on as an afterthought and Howe left the band soon thereafter. The band tried to continue with other guitar players but they never caught the fire of that first album again. There has been a band called Asia around almost continuously since then but it was mostly Geoff Downes and whoever else he wanted to play with. For most of us Asia was the four guys who started it and the bands that followed may have done some interesting music but it wasn't the same – not even close.

Whatever personal stuff had kept the guys apart for all these years got sorted out and the band got back together a year or so ago and did an oldies tour. That went so well that they recorded an album of new material called Phoenix. I'm glad to say that the classic Asia sound is back. Phoenix sounds like the legitimate follow up to 1982's self-titled debut and, while Howe isn't quite as present as he was on their first album, he's definitely part of the mix. The players have aged, of course, but they still play and sing well. The lyrics still sound a bit pompous but it could be more a function of Wetton's rich baritone voice and of the backing track making almost anything sound that way than any issues with the actual lyrics. Wetton's recent health scares have caused him to reflect on the meaning of life and this comes out in at least a couple of tracks giving the requisite progressive-rock gravitas to some of the songs.

Musically, this album is one of the most melodic progressive rock albums in memory. It could almost be subtitled "the return of the power ballads" as they roll out one after another heartfelt, catchy melodies with powerful hooks and instrumental motifs that get stuck in your head pretty quickly. There are still things I wish for – Palmer's drumming in mostly unremarkable, although there isn't much opportunity for him to show the kind of chops he did on ELP's Tarkus, for example. Wetton's thunderous bass propelled many of the early King Crimson albums (especially Lark's Tongues in Aspic, Red and some of their live material from that era) but his playing on Phoenix is somewhat reserved. And I wish Steve Howe had been part of the basic track on more of the songs instead of being used primarily for instrumental flourishes. But it is the playing and songs of Geoff Downes along with the voice of John Wetton that defines Asia's sound and those pieces are intact. This is a fine album – one that I have found myself listening to a lot more than I expected. While it is quite different than most of the music that is being produced these days, fans of Asia's best work from the 80's will find much to like here and younger listeners might just find something new and interesting to try out.

Reading / Listening / Watching – March 2008

It has been a while since I've posted so I thought I'd do an update of what I've been up to.

Reading

I'm a little past halfway through the brilliant new Beatles book Can't Buy Me Love by Jonathan Gould. I wrote about it before I started reading it and it is every bit as good as many of the reviews say it is. It does a great job of not only talking about the lives of the Beatles but it also puts that and their music in the context of the times and the political social and artistic changes that were happening in the world. On top of that there is a song by song discussion of each of their recordings. It really is special and, while it is a bit too in-depth to be anyone's first book about the Beatles, for someone like me who has read lots of books on the Beatles, I'm enjoying it immensely.

I have, for the past couple of years, participated in the Calvin Theological Seminary book of the quarter reading group and this quarter we're reading Elizabeth Strout's Abide With Me, a fascinating look at the life of a small town preacher who's wife's death has brought him, his young daughter and their community personal turmoil. It is only through allowing his church to see him broken and in need of help that he can once again effectively lead them. We'll get together three times to discuss the book, once with the author who is visiting Calvin for the Festival of Faith and Writing! It's a good book and I enjoyed it a lot.

Listening

Because I have tickets to the Switchfoot and the Police/Elvis Costello concerts coming up soon I've gotten back into their music lately and, while I've already expressed my love for Jon Foreman's EPs I have mostly lately listened to a lot of Elvis Costello and, I must say, that his gift for melody and for inventive song and chordal structure is really extraordinary. I have long thought "Couldn't Call it Unexpected" from Mighty Like a Rose was a prime example of this but I just lately came to love the album All This Useless Beauty. It is just packed with beautiful songs. And if you haven't heard For the Stars, his duet album with opera singer Anne-Sophie Von Otter, you're missing something truly special.

I have also enjoyed Bethany Dillon and Matt Hammitt's worship album In Christ Alone. Meant to be more a modern hymns album than a praise and worship album it takes a number of songs by Keith Getty and others and puts them in a more modern setting and does a credible job with them. Some of the tracks come across as sub-standard versions of very popular songs (the title cut, or "How Deep the Father's Love" for example) but others, most notably Getty's "Jesus is Lord" which is transformed to a hip, new uptempo version, work really well and gives me a new appreciation for the song.

Finally, in the flurry of new and old music that I've been enjoying, I'm ashamed to say that it took me a couple of years to finally pick up the amazing Before the Daylight's Shot by Ashley Cleveland. I should have known better since her previous album, the live You Are There, is one of my all-time favorites. It's just that she doesn't release albums' very often and so I forget just how good she (and her guitarist/husband Kenny Greenberg) is. Amazing stuff. Meant to be played loud.

Watching

I continue to work through DVDs and I'm getting near the end of both Season 6 of 24 (which is much better than I was lead to believe based on the "24 is losing it" buzz that I heard last season) and Season One of Veronica Mars which also I'm enjoying quite a bit. I must also admit to watching American Idol and I have to say that, while David Archuletta got off to a strong start, David Cook is really bringing it lately … dawg.

I also watched the film Enchanted last weekend and it was wonderful. It dragged only the slightest bit near the end but, as a send up of Disney animated classics it is really great. The songs are catchy and the effects are quite impressive. And Amy Adams is just too likeable as the soon-to-be princess. Even if there are no kids in your house, this one is too much fun to miss.

Jon Foreman – Fall and Winter

Switchfoot has been an interesting band to follow over the years. They got their start in San Diego and were signed by Charlie Peacock to his fledgling Re:think label around ten years ago. Charlie told me over dinner one night (yeah, I had to work that in) that he didn't produce their album because he didn't want to screw it up. He thought they were pretty cool and I did too. Then they hit the big time by placing songs from their album in at least one high profile movie and they've expanded their band from three to five full time members. They've solidified their sound and they've recently left their label to go indie. I wrote nice things about their latest album, Oh Gravity, in this blog before.

I've been impressed with the way Jon Foreman, lead singer and principal song writer, doesn't go for any obvious CCM-type images even though that would have been a safe way to go early on. Their music is fun, challenging and interesting. I was excited to see that they're coming to Calvin College for a concert next month. I've already got my ticket.

What I found most interesting lately, though, is that Foreman has begun releasing the first two of four EPs named after the seasons. Initially released as online downloads, the first two were gathered together in a 2-CD set and released to stores a little while ago. I got the Fall and Winter set last week and I'm quite impressed. These are songs that clearly wouln't work well in a full band setting. Most of these songs are Foreman's acoustic guitar, his voice, and limited other instruments like a cello, a small brass group or a bass clarinet, of all things. The focus in front and center on the vocals and the songs and they're really fine. Foreman's voice isn't the kind of voice that gets me excited – he hits all the notes but there is an untrained quality to it that, while it oozes authenticity, isn't all that great when stripped of the trappings of the band. But in this case it works and it works well. A hat tip to Foreman and executive producer and guest keyboard player Charlie Peacock – he said yes this time – for giving us an album that sounds both well produced and yet makes us feel like we're eavesdropping on the way Foreman sounds when he's alone in his home.

With an album like this the sound of it could easily run together and sound the same after a while but I listened to both of these in succession this morning with my ipod and I found that the arrangements are different enough (and the albums are short enough) that I didn't have a problem with that at all. I found myself enthralled by these EPs and I can't wait for Spring to show up.

Watching and Listening winter update

Between commutes that, because of the weather, are often twice as long as they typically are (which means that most days I've been on the road for at least two hours) and some sort of cold/flu/virus that I'm fighting I've been listening to a lot of new music lately. I've also caught up on some DVD watching since Christmas. I tend to have a couple of series going at the same time. I almost never watch more than one episode of a show in one sitting so it takes me months to get through a series and usually days to get through a film. While that can blunt the impact of the film I typically don't have a couple of hours to give to one film at a time so I do what I can. I'm still in the process of getting to know most of these albums on this list so I haven't formed final opinions on but I'm working on it.

Indelible Grace V: Wake Thy Slumbering Children (CD) – Kevin Twit has once again assembled a wonderful batch of artists (like Derek Webb, Sandra McCracken, Jeremy Casella, Andrew Osenga and others) who have rewritten old hymns to give us the fifth in his Indelible Grace series. This set is perhaps a little less up-tempo than previous editions but on my second listening I realized how many beautiful melodies there are on this album and it has grown on me ever since.

Joni Mitchell: Shine (CD) – I'm still trying to figure this album out. Mitchell makes an, at times too strident, album about the environment which has only a little lyrical subtlety but her jazz/folk sensibilities and her amazing voice still come through. It is the opening instrumental, "One Week Last Sumer" though that really grabbed my attention.

Glen Hansard and Marketa Irglova: The Swell Season (CD) – I have heard from more than a few people that I need to see the film Once. The song "Falling Slowly" won an academy award for best song and Bethany got me to listen to the song and the album. This album has really caught my attention. It is full of emotion and careful, delicate instrumentation which set off the sometimes fragile voices in a way that really heightens the drama of these songs. I have played it multiple times a day for the past week and I just can't get enough if it.

Derek Webb & Sandra McCracken: Ampersand (CD) – They've appeared on each other's albums for years but this is the first time husband and wife Derek and Sandra have actually made an album (or in this case and EP) together. Technically it isn't released for two months but with a pre-order you get an immediate download and it has been a lot of fun to listen to. My immediate favorite track was a cover of Dylan's "If Not For You" with more than a little George Harrison influence.

Tift Merritt: Another Country (CD) – I had never heard of Merritt until her song "Broken" showed up on a Paste Sampler. I was so impressed that on the day the album was released I downloaded it from iTunes. While "Broken" still remains a favorite I am impressed with the rest of the album as well and I'm looking forward to hearing it more so that I get to know the other songs too.

Heroes: Season One (DVD) – I finished the first season of Heroes and enjoyed it more as the season came to a close. This is a smart, quirky show. I understand that the strike-shortened second season didn't quite deliver like the first one did but I'm willing to hang in there with them for a while because I really enjoyed the first season.

Firefly: The Compete Series (DVD) – I had not heard of Firefly until my daughters gave the DVD to me for Christmas. This series only lasted for a short season (11 eposodes plus three that never aired) but, just as it was being canceled it really got going well and the last three unaired episodes are among my favorite. The plot was continued in the feature film Serenity which I now have to see.

Across the Universe (DVD) – This Julie Taymor directed film based on the Beatles song catalog was an ambitious idea – how do you make a coherent plot out of a series of songs that were composed without any such plot in mind? The result is mixed. There are times in the film that work really well, like the prom dancing to "Hold Me Tight" or Uncle Sam pointing and saying "I Want You." There are also many things that seem to be there simply because there was a song that might work. After watching it and all the DVD extras I'm about ready to watch it again. My son tells me that he thinks it gets better on repeated viewings. I think that the plot will become clearer and I'll probably catch a lot more so I'm looking forward to seeing it again. The soundtrack, which I've had for a while, makes a lot more sense in the context of the film. They did a nice job of reimagining the music in the context of the film.

Bones: Season One (DVD) – It has taken Laura and me over two months but we're nearly done with the first season of the detective series Bones and we're really enjoying it. The characters are becoming more developed and the cases are varied enough to keep it interesting. I'm occasionally annoyed that Temperance Brennen, the lead character, can tell amazing amounts of things about someone from simply looking at a bone fragment but I guess if I'm willing to let characters fly around in a spaceship in Firefly I can live with a little suspension of disbelief in Bones. I like the interplay between the characters and mystery aspect of the show keeps me guessing.

Catching up

I have been doing a lot of listening to music and watching DVDs lately and I haven't commented here about many of them so here is a quick summary of what's been going on.

Beatles – I'm near the end of the standard part of one of my trip-through-the-albums-in-order journeys. I just heard Abbey Road and Let It Be for the second time in my car which means that I will next turn to the two Past Masters CDs and then on to all the special ones like the Yellow Submarine Songtrack, Live at the BBC, the Anthologies, etc. so I still have a lot of listening to do. This trip has reminded me of how much I enjoy this music and of how much I'm ready for remasters – could they be announced today at the superbowl???

The Reminder by Feist – This CD appeared on many end of year best-of lists so I took a chance and ordered it and I'm really enjoying it. The combination of authentic, roots sounding songs and instrumentation with sometimes highly polished production gives the album a vibe that is different from what I'm used to. The best comparison I can make is Norah Jones' second album but that's not really fair to either of them. Leslie Feist's songwriting is unique and her vocals and very nice. Mostly though this is an album that feels authentic in a way that I really like.

A Place to Land by Little Big Town – I'm just getting into this CD but it is high on my playlist right now. Imagine the Eagles of their first four albums with a slightly more 21^st century vibe and you get the sound of this band comprised of two men and two women all of whom sing. Sample the album opener "Fine Line" to see what I mean.

Classic Artists: Yes – This three hour documentary (four by the time you're done with the additional interview footage) on DVD is great for fans of the 70's supergroup that keeps coming back for the faithful to see again every once in a while. It follows the twists and turns of the personnel changes with interviews from the vast majority of key players while keeping it lively and interesting. Not much performance footage but I have concerts on DVD of theirs so I really wanted the overview and interviews. It's a fine addition to any Yes fan's collection.

Lost – I watched the season 3 DVD to get myself geared up for season four and it's great, of course. This is one of my all-time favorite shows. I hope the writers strike doesn't screw it up too badly. The first episode of the new season rocked.

Heroes – I'm still watching the first season on DVD. I like it a lot so far.

Upcoming Phil Keaggy concert – Phil's Master and Musician tour is coming to Calvin College next weekend. A friend from PA was trying to fly out to see it but he was unable to make it so I'll go with my kids. I'm pretty pumped about this concert, perhaps the first time Phil has toured with a band other than Glass Harp in over 15 years.

I've also been reading, mostly professional stuff, but I am partway into the Golden Compass and just can't get into it. Maybe I'll give it another shot before I give up completely.

Radiohead: In Rainbows

I've gotten a bunch of new music over Christmas break - most of it from groups I had not heard much of before like The Spoons, Feist, Sara Bareilles, The National and Radiohead. I had not spent much time with Radiohead although I had listened to OK Computer a few times and enjoyed it when I was in the right mood. Their new album, In Rainbows, jumped to have a firm place in both my car and my iPod. I was thinking about what I liked about it and found this review, Radiohead: In Rainbows - PopMatters Music Review, that did a great job of summarizing much of what I like about the album so, instead of me writing this one, daunting since I'm not a huge Radiohead fan and many are calling this one of the top albums of the year, I'd just send you over to the review. I would especially like to point out this paragraph that nicely sums up what first grabbed me about the album:

Radiohead themselves seem to be ready to move on during opener “15 Step”. The song starts in well-traveled Radiohead territory—a heavy drum loop bumps and chugs along while Yorke’s trademark whine waxes paranoid, singing “First you reel me out and then you cut the string”. Jonny Greenwood layers some surges of static over all of that and the formula is set. That is, until a surprisingly docile, sliding guitar riff comes in, setting a contrast that carries through the entire album, where everything calm turns out to be decidedly not, and everything anarchic is more childlike and giddy than sinister. As the song pushes on, a battle arises as drummer Phil Selway takes on the drum loops, playing fast and precise as ever, and eventually he wins out. He finishes the song, and the rest of the record rests on his sturdy shoulders.

Phil Keaggy – The Master and Musician 30th Anniversary Edition

A little over thirty years ago, when I was a student at Calvin College, a band of Christian musicians came to campus to give a concert. The band was called Wing and a Prayer and it was many of the players from the influential band Love Song, which had recently disbanded. I got to hang out with them for the day as they set up and prepared to give the concert and their bass player Jay Truax asked me if I had ever heard of Phil Keaggy. I had not. He told me that I absolutely had to get a hold of his album, Love Broke Thru. I did and that was how I started listening to Keaggy's music. I have been doing it pretty consistently ever since. One of the first albums of Phil's that I bought as soon as It came out was The Master and the Musician, an instrumental album that was a real eye opener. Keaggy combined influences from rock, folk and jazz along with delicate arrangements to make a wonderful album that still remains one of his finest.

In celebration of the thirtieth anniversary of the release of Master and Musician, Keaggy has released a new edition, remastered and sounding wonderful, along with a bonus CD of out-takes, interviews and commentary. The sound on the remastered M&M is simply wonderful. The guitar sounds are clear and distinct and I am hearing things that I have never heard before. This has made a great album even better. The bonus CD is interesting but I don't think it is going to get lots and lots of play – it's the sort of thing you listen to while you're studying the album but not just for casual listening. The commentaries, interviews and alternate partial mixes are fascinating, though and will help me understand the album better as I listen to it anew.

This is a wonderful reissue of a landmark album. You can pick it up from Phil's website. (As you can see, I got a signed copy.)

My Musical Year - 2007

Throughout the year I have written about a number of the CDs that I spent time listening to. I was glancing at a couple of online top-ten lists and realized that I have listened to very few of the albums in these lists. This may be a factor of my advanced age but I really do try to stay up on things. I bought, for example, new albums by Rilo Kiley, A Fine Frenzy, Mae, Norah Jones, and Arcade Fire but I still feel like I've been out of touch with cutting edge music. I try to stay caught up by downloading the songs of the week from iTunes and by reading Paste magazine and listening to the sampler CD but, frankly, I end up deleting most of the stuff I get because I'm not wild about it. And even though I listen to songs by Brenda Carlisle and Amy Winehouse I just don't like it well enough to want to listen to a while lot more. I guess I'm just old.

So, with that disclaimer, here is my list of albums that really grabbed me this year. As in years past, this is not the best of the year, per se, it's the stuff that I spent the most time actually listening to. So this is the stuff that I clearly liked the most.

• Memory Almost Full – Paul McCartney
  The single most listened to album of the year for me, hands down, is Paul McCartney's latest. It seems almost cliché that I would pick a Beatles album but, the fact is, I listened to this album a LOT this year. I just really liked it. See my review here.
  
• The Circling Hour – Iona
  I spent a lot of time listening to Iona this year and The Circling Hour just might be one of their best ever albums. Outstanding music with great lyrics. My review is here.
  
• Instant Karma – various artists
  The John Lennon songbook as interpreted by artists as diverse as U2, Green Day and REM. This one spent a lot of time on my iPod and also in my car. Great songs. My review is here.
  
• The Song Within – Phil Keaggy
  I have loved Phil's playing for years and it is a real treat to have him hit one out of the park this year. This instrumental album is one of my all time favorite Keaggy albums. My review is here.
  
• Neon Bible – Arcade Fire
  Bethany recently wrote about this on her blog and I waited for a long time to write about it because I felt like I didn't understand it very well. Musically it is quite dense and lyrically it confuses me but I really do like it – I'm just not sure why. Here is what Bethany had to say about it, though.
  

There were, of course, other albums that I enjoyed: Tell Me What You Know by Sara Groves, The Silence of Everything Yearned For by Ric Hordinski, both The Trumpet Child and Live from Nowhere, Vol 2 by Over the Rhine, Singularity by Mae, Overdressed by Caedmon's Call (my review is here) and Letters to the Editor, Vol 1 by Andrew Osenga (download it for FREE here) are all honorable mention albums but they just didn't have the staying power in my iPod and player that these other albums did.

So there is my list. I also rediscovered a lot of of music this year like the Andrew Osenga catalog and Iona's music and that was a lot of fun.

Revolver – the best Beatles album?

I am once again going through all the Beatles albums in order on my commute. As I have mentioned before, I have a six-CD changer in my car and two of those slots have Beatles in them. I've allowed each Beatles album to stay in the rotation for two plays and then I switch it out for the next one. Today I heard what I have long considered the best Beatles album, Revolver, and I was reminded why I like it so much. It's almost all there – all the things that are great about the Beatles are present on Revolver. George Harrison has a rocker ("Taxman,") a song with Indian influence ("Love You To,") and a mid tempo song ("I Want to Tell You,") all of which are among his best Beatles era compositions. John Lennon is cryptic ("She Said She Said,") experimental ("Tomorrow Never Knows,") and produces a couple of great standard mid-era Beatles songs ("Doctor Robert," "And Your Bird Can Sing.") Paul McCartney is clearly starting to work outside the bounds of two-guitars-bass-drums with some of his songs adding strings ("Eleanor Rigby,") brass ("Got to Get You Into My Life,") and French Horn ("For No One,") while writing some of the most memorable melodies of his career ("Here, There and Everywhere.") Even Ringo's throwaway novelty tune is the iconic "Yellow Submarine." The performances are top-notch and we see that the band is starting to develop distinct individual personalities while still operating as a unit.

Revolver is sometimes overshadowed by it's successor, Sgt Pepper because it had such a huge influence on the culture when it was released. And, frankly, at the time, Revolver was "just another Beatles album." George has even said that he sees Revolver and Rubber Soul as basically parts one and two of the same album but I think he undersells this album. This is ironic, really, because this album has more of his compositions than any album before and it shows him stepping up as a composer. It also shows some of John and Paul's strongest work. This isn't to say that the albums made before and after this one were weak. It's hard to think of Rubber Soul and Sgt Pepper as anything other than unqualified successes. But time has shown that Revolver found the Beatles at the top of their game.

Rediscovering Iona’s Back Catalog – The Book of Kells

I've written recently about the latest album by Iona and how much I have been enjoying it. In addition to still listening to The Circling Hour, I have been also working my way, slowly, backward in their catalog and enjoying their older albums. I must say, this is a wealth of excellent music. I have worked my way back to their second album, Book of Kells from 1992, which I remember reading a long time ago was considered the best of their first four albums. I've had it for a very long time and I remember it being a sometimes tough album to "get." Reading reviews on Amazon and on iTunes, some of the people there clearly didn't think it was their best, in fact, the reviews were often lukewarm. This puzzled me so when it came time to start listening to Book of Kells I was anxious to hear it with new ears. Having listened to it a number of times over the past week or so I am more convinced than ever that this album is a highlight of their early years.

The Book of Kells is an illuminated copy of the gospels which was made in about 800 AD and is now housed at Trinity College in Dublin. On my trip to Ireland three years ago I actually stopped at Trinity College and was in the same building as this book. I nearly stopped in to see it but time was short. The Book of Kells is the inspiration for this album which is a reflection on the gospels as well as on this particular artisitic rendition of the gospels. The lyrics reflect the ancient character of the book itself and displays a reverence for God's word and for the saints who went before us. The music is ethereal and powerful. The band plays with both force and finesse. Joanne Hogg's voice is spectacular, of course. This album has some compelling melodies although a lot of the music is evocative more than it is melodic so a cursory trip though this album will not reveals all it's treasures. My suspicion is that the people who gave it a lukewarm review did not give it sufficient time to sink in. I think it is a wonderful artistic statement and a great album.

The Song Within – Phil Keaggy

I got a copy of The Song Within that doesn't skip now and I have been able to hear the whole thing a number of times and it is simply the best Phil Keaggy album in years. Phil's albums are all over the map stylistically. One never knows what you're going to get when you hear that Phil has a new album coming out. Just recently he has released an album of electric jams (Jammed!), acoustic improvs based on loops (Roundabout) a vocal album of original songs (Dream Again) and an album of cover songs with guest vocalists (Acoustic Café.) And all of this is just 2006 and 2007!

So now we get The Song Within which I almost didn't order because I heard that it was made specifically for McPherson Guitars. Now, don't misunderstand my hesitation – I have nothing against McPherson Guitars. I've never played one but I understand that they're great. I just figured that this would be an album in which Phil sits down and just plays whatever comes to him which is great in concert and in small doses on recordings but having just bought two of those in a row (Jammed and Roundabout) I wasn't ready for another one. But I read a good review of this album and decided to give it a go – and, truth be told, I haven't failed to buy a Keaggy album yet so the question wasn't if I would buy it as much as when I would.

Much to my surprise, this is the most composed Keaggy instrumental album in quite some time. My all-time favorite instrumental albums of his are the ones that are most composed and arranged, The Master and the Musician (which has a 2-CD 30^th anniversary edition just available!) and Beyond Nature. The Song Within has some echoes of those two albums along with a nice warm sound of it's own. The concept of this album is that Phil has rethought some of his own past music and has used these familiar chord progressions and riffs to make completely new instrumental versions. For example, from his very first album, the chord progression for "What A Day" becomes the progression for a new song, "Water Day." On first listen I didn't catch the similarity (nor the punny title) but, after hearing something sort of familiar, I realized what it was. Similarly, Phil quotes himself in song after song, and part of the fun is finding the song hidden within the new song. (Get it? The song within!)

But that's only part of it. Phil plays beautifully and his arrangements are always tasteful and at times breathtaking. He is augmented by a percussionist and keyboard player and that's where I hear echoes of Beyond Nature, one of Phil's career highlights. Because I listen to so much music I rarely play new albums over and over and over – this is one that I have done that with. It's that good. Well done, Phil!