Customer Reviews

Find Me in These Fields

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This album is now 13 years old. Even though one of Keaggy's earliest efforts, it is his best. There is a little bit of everything on this CD. Rock, blues, folk, and country. One listen to Find Me In These Fields and you will know why he is considered one of America's great guitarists.

Now, before you say that's too far-fetched (that "Fields" is Keaggy's "Layla"), consider this. "Fields is different from most of the music of the last ten years-either Christian or secular-in that it does not smack of blatant commercialism. There is a more artistic spirit about this recording-not to mention a spirit of "we're having fun/are you actually getting this on tape?" This is more about music that means something to the artist and less about music for the marketing department. And for that, we can all say, "Thank you, Mr Keaggy."

Yes, the opening acoustic piece does end with a mistake and a groan. To the commercially minded powers-that-be, a faux pas. To the artist and the audience, a point of contact. Beauty is in the eye-make that the ear-of the beholder.

But why would I compare this to Clapton's "Layla?" Surely Phil Keaggy has other works worthy of being considered magnum opus. (Actually, yes, loads of them that go all the way back to the Glass Harp days.) I make the comparison here: the free-wheeling expression of "this is music for music's sake/thank God I'm alive and a musician." If you listen to the Jams CD in "The Layla Sessions Twentieth Anniversary Edition" and compare that to the jams (and oh that we could hear more of them!) on "Fields," you'll see what I mean.

Can you contrast these jams? Well, yeah. Clapton probably broke loads of picks; Keaggy, not a one.

The term classic is thrown around a bit much these days, but this one truly fits that bill. This is as close to a perfect collection of music as Phil could compile. It incorporates every facet of his music that he has mastered. With this in mind, it is not an inconsistent collection of music. Far from it, this album is masterfully laid out. Each track flows perfectly into the next giving you a taste of true acoustic through to hard driving rock and roll.

The album starts with a small acoustic piece that Phil fumbles. This is a brilliant introduction to this collection because right off the top Phil lets you become part of the experience. He says right off the top that he is only human. This removes auspices of him being more than the musician.

To me one of the most amazing things is that through it all, Phil's message is clear: God is worthy of our praise. The wonderful thing is that he makes praising the Lord fun for the believer and delightfully palatable for the music aficionado.

I am deeply involved in contemporary Christian music now. This album was my introduction to that some years ago. It stays as fresh today as it did when I first heard it close to 10 years ago.

This album first came into my collection around 1992. I have not stopped listening to it since. It is just wonderful. The songs are tightly structured, and it is his finest work lyrically. The songs are wide-ranging, yet immediate. There is a true joy in the playing and performance. The title song says it all. Absolutely beautiful, and a rocker too!

Of all the Phil Keaggy CDs to date, this is clearly the most versitile. Find Me in These Fields starts soft with an acoustic rif (a concept that seques throughout the CD), and in a clear, subtle statement of Phil's humble persona he makes a mistake and groans. That's right, The first tones are a mistake. Then he rips into a Keaggy Klassic "Strong Tower" Phil then sweeps through the recording with ease making firm statements in beatiful music. At time soft and acoustic and at others ripping guitar. I listened to this CD the first time with headphones and I am glad I did. A masterfully produced CD, this one could keep you in the headphones the entire time while time appears to stand still. Phils Christian roots are founded strong in this CD as always, but is also musicly sophisticated enough for people who don't particularly care for Christian or Theme music.

Phil Keaggy combines his guitar and songwriting talents on this album. It includes hard rockers like "Final Day" and tender ballads like the title cut. Phil demonstrates his Beatles' influence on "Get Over It" and "Carry On". Also, there are 3 jam sessions included and 2 acoustic interludes. "Gentle and Strong" appears to be a tribute to Phil's son (but this is merely the reviewer's interpretation). "Be In My Heart" is a personal prayer set to music. When you listen to talents like Phil's, you know that the hand of God is upon Mr. Keaggy!

2011 is 21st anniversary since the release of this extraordinary album. When I first heard it I was impressed by the recording quality, entertained by the gritty blues instrumentals and as an overall album, loved its variety from beatlesque style to anthemic rock all gelling together as an album.

I have consistently listened to it through the years. It still surprises one, entertains while the depth of lyrics continues to speaks to the soul. I call it a Keaggy concept album as this represents Phil as a mature artist - you'll find him in all of these fields - from the brilliant acoustic humorous start (listen to the sampler in Amazon as you hear it in full!) to the flat-out electric blues - this runs the gamut of what he does. Yet underpinning all of this is his faith, the bedrock of this album. Phil tells stories through song, some joyful, all encouraging whilst some are deeply moving like 'Calling you' and the final 'Be in my heart'.

'Strong tower' and 'Carry on' are strong opening tracks and real band efforts - organic blues rock with Phil reverting to his established rock tones of the earlier 70's leaving behind the almost sterile 80s studio sound. The recording is still vibrant after 21 years - I find the production qualities on this album amazing - punchy bass and drums, swirling keyboards, clear vocals and rich guitar tones. In comparison, the 80s studio material seems a little too smooth, perhaps a touch artificial and controlled.

Perhaps what makes this gel is the core band of Rick Cua on bass, Mike Mead on drums and long-time friends Phil Madeira on some superb Hammond B-3 and piano and Lynn Nichol on background vocals and providing vibrant production. Interestingly, other than Madeira, they had all played together on the previous 'Sundays Child' album which I suggest created a wonderful sense of continuity and trust for this creative and more explorative project.

What this album does so well is embrace the whole spectrum of life - we have joyful anthems like 'Final day', 'Gentle and strong' a father singing about his son, songs seeking forgiveness and songs of encouragement. Lyrically this album shows Phil forging ahead. Many of the lines touching deeply and in the middle of the album some gentle reflective songs. What is more impacting than beautiful melodies intertwined with heartfelt lyrics?

"Find me in these fields alone
Crusted with the salt of my ways
Rinse me with the motion of sweet water
The silky rush of Your cleansing stream"

One cannot do justice to this classic album without commenting specifically on Phil the guitarist. He has five excellent instrumentals through the album, two as bookends and the other three that take you to different stages of the album. The second instrumental contains the tapping acoustic magic in the style of Michael Hedges. (Keaggy first used this on the album 'Wind and the Wheat'. This is also used powerfully on 'Calling you'). The final three instrumentals are scorchers and were recorded direct to disk. Here you hear Phil reeling off blues rock lines with an intensity accompanied by a band having fun. There are of course great solos throughout the album ('Carry on' particularly) with the most intriguing guitaring on the psychedelic track of the album, 'Get over it' with unusual textures, harmonics and eastern sitar like sounds to a Harrison-like solo with the odd Beatles quote thrown in.

As mentioned this album was released after 'Sundays Child'(1990). After it came 'Beyond Nature'(1992) which was followed by 'Crimson and Blue'(1993)- all part of the quartet of what I consider Phil's strongest albums to date. These albums all are listed as favourites by his fans and all stand the test of time. Clearly the early 90's were an incredibly rich recording and composing time for Keaggy. Of this quartet, 'Find me in these fields' best demonstrates the diverse richness of the talents of Phil Keaggy as a guitarist, song writer, musician - an artist who glorifies his maker.

My favorite Keaggy CD. Masterfully written, produced and executed. Has a retro sound and a soul searching mysterious theme to it. Totally unique and could easily put most secular works to shame. I wore out the cassette and will soon buy the CD. Great record.

Now, before you say that's too far-fetched (that "Fields" is Keaggy's "Layla"), consider this. "Fields is different from most of the music of the last ten years-either Christian or secular-in that it does not smack of blatant commercialism. There is a more artistic spirit about this recording-not to mention a spirit of "we're having fun/are you actually getting this on tape''. This is more about music that means something to the artist and less about music for the marketing department. And for that, we can all say, "Thank you, Mr Keaggy."

Yes, the opening acoustic piece does end with a mistake and a groan. To the commercially minded powers-that-be, a faux pas. To the artist and the audience, a point of contact. Beauty is in the eye-make that the ear-of the beholder.

But why would I compare this to Clapton's "Layla?" Surely Phil Keaggy has other works worthy of being considered magnum opus. (Actually, yes, loads of them that go all the way back to the Glass Harp days.) I make the comparison here: the free-wheeling expression of "this is music for music's sake/thank God I'm alive and a musician." Take "The Layla Sessions Twentieth Anniversary Edition" and listen to the "Jams" CD. Compare that to the jams (and oh that we could hear more of them!) on "Fields." You'll see what I mean.

Can you contrast these jams? Well, yeah. Clapton probably broke loads of picks; Keaggy, not a one.

Why does everyone kiss Eric Clapton's ass and compare every decent guitar player to him? Phil Keaggy has more talent in his nub than Clapton has in all of his 10 good fingers. Keaggy is not merely a competant guitar player, he knows how to actually write a well crafted song. Something Clapton, in my opinion cannot.