Customer Reviews

220

5 star:		(20)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

After buying the album I listened a few times and put it aside. It was only after coming back to it and really -listening- that I noticed how absolutely magnificent and subtle the guitar work is, and how it outshines most of the other work I have of Keaggy's (a VERY extensive collection). His flexibility and wide range are exhibited in this electric album, which I bought within a month of the recent acoustic only album. 220 is unbelievable, and highly underrated, and will now go in my collection as one of the very best I own.

In a departure from his normally acoustic instrumental offerings (Lights of Madrid, Beyond Nature and Acoustic Sketches), Keaggy offers up a selection of amplified tunes (hence the album title). While most of the music is heavily blues influenced there are a few songs that are a bit off the beaten track for the album such as Tennessee Morning. The work is a tour de force for Keaggy as he displays his impressive skill on the axe as well as his ability to interpret the music with great feeling and nuance (unlike some other guitarists who have profound technical ability but lack the emotional ability to bring a song to life).

I would highly recommend this album for any Keaggy fan as well as for those who like to hear someone just flat out wail. If you like what you hear, you may also wish to check out the outtakes from the recording sessions which can be found on Keaggy's "Premium Jams" two disk set which can be found at www.PhilKeaggy.com

That's the best word I can use to describe this disc. Clean but not overly slick production, beautiful chord progressions, especially on "Arrow" and "Montana", and excellent compositions. Mr. Keaggy is no showoff. His lead runs are tastefully flashy ( yes, he combines the two ). "Tennessee Morning", "Beyond This Day" and especially "Highland" (I feel like I'm flying over emerald fields as this song fades off), are as beautiful as ANY songs by this artist. The supporting musicians play excellently. 220 is Phil Keaggy's Masterpiece. Thank you, Lord.

220 is and is not what one might expect. It is vintage Keaggy with a few twists. Make no mistake; the cover is certainly indicative of the content, but Keaggy offers a couple of detours along the way. The album opens with "Animal," a rocker with a whiff of southern and classic rock, along with a definite Keaggy-esque opening riff. "Arrow" begins with a reverse-recorded riff, then builds to an emotional crescendo. "Montana" is what the Old West would have sounded like had rock music been invented then. Keaggy uses a war-drum sound and an acoustic bridge. Then comes "Tennessee Morning." It is certainly the softest song on the disc, and carries Keaggy's usual understated acoustic style. His speed and talent are well-known, but on this particular track Keaggy displays his affinity for simplicity. "The Great Escape," no doubt a nod to the classic WWII prison camp film, is one of the most layered, and most urgent tunes. It's also one of the best on the disc. The basic tune has a cinematic ring to it, and about halfway through the song Keaggy breaks into a jam of sorts. "Stomp" is southern-flavored rock, "Highland" is celtic rock (complete with whistle and pipes), and "Beyond this Day" is reminiscent of "March of The Clouds." Track 9, "Ian's Groove," on which Keaggy's son plays drums, is bluesy and twangy, but it can best be described as "greasy." It even includes a live crowd at the beginning of the track. The highlight is Pat Bergeson's harmonica solo. The disc closes with "Watt Ever," a fun three minute jam with Keaggy, Spencer Campbell and Lynn Williams. This is an outstanding disc; it's great road music, and is a good one for the rock fan who's not heard Phil Keaggy.

This one really grows on you. Soon you will have music in your dreams. Great instrumental. Also, Phil Keaggy is a very godly man who is incredibly gifted on guitar (electric & acoustic), as well as other instruments. God bless!

Phil starts out his "220" with a bang, then some crackle and some sizzle. The first cut "Animal" is a grinding, flashy groove with growling guitar tones reminiscent of early Leslie West's Mountain. He follows with what is my favorite track;"Arrow". Opening with a backward guitar riff that smoothly flip-flops forward to kick off the song in earnest. He builds to a cliff-edge crescendo and then lets you fall like a bird, floating on the air currents, before taking you back in to build it up again. Phil is not known for angry displays, but the emotion in this song is incredible. Equal to Joe Satriani's great "Flying in a Blue Dream", this is the kind of music you crank up in the car and put the pedal down. At 6 minutes long it's not nearly enough. Not letting up, "Montana" simmers with an indian-like tribal rhythm that allows Phil again to stretch out with extended electric runs and trademark sustain. These first three songs definitely set a strong tone for the CD that ultimately goes on to hit some highs and lows from there. "The Great Escape" simply rocks for 7 minutes and I'll bet it was based on a studio jam. "Stomp" has some of the tastiest electric guitar interplay that is patent Phil. You can't listen to this song without picturing him grinning from ear to ear. "Highland" pays homage to Phil's Irish heritage in a spirited dance between guitar, tinwhistle, fiddle, and Scottish warpipes. "Tennessee Morning" and "Beyond this Day" slip into an ethereal mood that could be lost tracks from Phil's earlier masterpiece "The Wind and The Wheat". Those 2 tracks are the most polished of the CD. For the most part the feel is "Live", edgy and unrefined. Phil sounds comfortable stretching out in the company of a few trusted, and very competent, friends. Very much the family man, he even includes his son Ian on drums for the bluesy Claptonesque "Ian's Groove". In the CD liner there's a quote from St.Francis of Assisi; "Go out today and preach the Gospel.....and if you must, use words." Thanks Phil for sharing your God-given talents with all of us. Play this CD loud and revel in the joy of a man who has mastered his true calling.

The Hellecasters still set the benchmark for instrumental guitar musik.( but they are 3 ) Johnny A. comes close and Phil is almost there.( and they do it on their own ) This is another very original CD from a true master of the guitar.
ELEGANT METAL might describe the overall flavour, but woudn't do it justice as it dazzles with infinite variety and unpredictability. It is not necessary to pidgeon hole this virtuoso but if you have a passion for the guitar you will be rewarded with a feast of musik that may require you to re-assess
your current guitar heros. Can't wait for the next one to be delivered to OZ.

I feel the need...the need for jamming Keaggy lead lines and rhythms! This instrumental album is great car stereo fodder for the open road--or the dorm. It is the alter-ego to Phil's earlier Beyond Nature acoustic guitar masterpiece. Once again he shows that melodic expression and creativity in a lead line beats speed any time. No shred metal, no boring paint-by-numbers licks, or garage grunge. Just awesome, soaring rock...all carefully controlled by the master craftsman. My favorites are "Beyond This Day" (sounds a lot like March of the Clouds) and "Montana" with its tribal sounding acoustic guitar vamps in the middle evoking a primitive modal feel.

After playing the guitar myself for thirty years, and being influenced by such talents as Roy Buchanen, BB King, Jeff Beck, and Gearge Harrison, (and yes all you purists, Harrison is an amazing talent when he really tries), I have found a renewed vigour in playing my own music and doing my best to keep up with Phil on those make believe sessions in my basement. The varied styles of sound from blues to celtic, (which has been a great dance tune for my daughters Irish dance class). God has blessed this man with talent and has blessed us with the ability to hear it. Highly recommended.

Eclectic in style, Phil manages to cover a broad range (from Celtic to blues to rock) on this one. His guitar work stands in the forefront of modern axe-slingers. This is one of his best efforts to date, and a bit of a "throwback" to vintage Keaggy stylings.

There's something for everyone in this one.