Description
Play Thru Me is the sixth solo album the American singer, songwriter, and guitarist Phil Keaggy, released on Sparrow Records in August 1982. Also distributed by MCA Records. The album was recorded by Bob Cotton and Wally Grant at Sound Recorders in Kansas City, Missouri; and at Weddington Studios in North Hollywood, California; with Phil Keaggy and Cotton producing. Written and arranged by Keaggy.
Play Thru Me was included among the Best Albums of 1982 by CCM Magazine, on a list featuring thirteen albums.
A Guitarist’s Guitarist’s Album. Quin-tes-sence – n. 1) The pure concentrated essence of anything. 2) The most perfect manifestation of a quality or thing.
A friend of mine and I were discussing Phil Keaggy as a “guitarist’s guitarist”, meaning his craft not only entertained the masses, but set afire the hearts and fingers of those of us who travel up and down the fretboard of life (so to speak). If the quality of quintessence rightly applies to the musical gifts Phil brings to us, let it be known that ‘Play Thru Me’ (Sparrow SPR-1062) is most certainly the quintessential Keaggy album. Within its grooves are all the impossible chords, brave new leads and distinctive melodies that one has found regularly on any of Phil’s records. Plus one more thing: The most relaxed, confident and able voice ever heard from the man.
‘Play Thru Me’ is a celebration of those things around us we can yet delight in; the value of friendship, the beauty of nature, the sanctity of marriage, the glory of carefree children, and the child of God in all of us. And oh yes, the joys of music. In all shapes and styles and sounds and colors, Keaggy is the consummate musician throughout, playing most of the imaginative bass lines on the album as well.
If you are a Phil Keaggy afficionado, it goes without saying that ‘Play Thru Me’ belongs in your collection. If Phil’s music is new to you and you’re wondering where to start – start here. Two other technical notes: If anyone thinks a record has to be digital nowadays to sound good, listen to this record and tell me traditional analog recording is passe (Bob Cotton take a bow). And Stan Evenson Design gets my vote for the best cover art so far this year with a style that is classic, handsome and wholly appropriate. [Thom Granger, CCM, September 1982]
> Apple Music (https://music.apple.com/us/album/play-thru-me-remastered/1654667150)
LP tracklist:
Side One
A1. “Happy” – 2:47
A2. “Carefree” – 4:39
A3. “Nobody’s Playgirl Now” – 4:02
A4. “Cherish The Moment” – 5:00
A5. “She Came To Stay” – 3:33
A6. “Papa Song” – 3:19
Side Two
B1. “The Wall” – 2:44
B2. “Make A Change” – 3:30
B3. “Train To Glory” – 3:11
B4. “Play thru Me” – 4:25
B5. “His Master’s Voice” – 3:07
B6. “Morning Light” – 3:30
Note: Simultaneously released on cassette and 12-inch vinyl LP by Sparrow Records. “Three Great LPs on two Cassettes/CDs“: Play Thru Me was digitally remastered by Word in 1990 and re-issued together with Ph’lip Side and Town to Town on two CDs/cassettes.
The original album, as well as a Deluxe-Bonus Disc, are available at Bandcamp: https://philkeaggy.bandcamp.com/album/play-thru-me
https://philkeaggy.bandcamp.com/album/play-thru-me-deluxe-bonus-disc
The October 1982 issue of CCM Magazine featured a cover story on Phil Keaggy (while a review of Keaggy’s Play Thru Me was featured in the previous issue).
A full-page advertisement for Phil Keaggy’s album Play Thru Me and his US Tour (introducing special guest artist Sheila Walsh) was featured in the October 2, 1982 issue of Billboard Magazine.
Phil Keaggy live at the GMA Awards, backed by an ace rhythm section consisting of Rick Cua (ex-Outlaws) on bass and Joe English (ex-Wings) on drums.
Phil Keaggy and Phil Driscoll perform at the Dove Awards Show.
HAPPY
(I Peter 1:8, 2:10; Psalm 68:6)
This almost entirely instrumental tune came about one day as I was vigorously passing through the introduction of “Happy Are We.” In the past, with the Crossection Band, I’d usually open a concert doing “Happy.” Eventually the simple but true lyrics emerged as a result of the joy in my heart. With God, the “giver of joy,” we can choose to be joyful in all circumstances.Guitar Rap: This tune and all the album started in a Kansas City studio with only the drummer, Jim DeLong, and myself. A very basic beginning. I enjoyed seeing all the rest come together. For rhythm I used the Yamaha SA 2000 and also for slide at the top. Incidentally, no bottle or slide was found so I used a mic-cable adapter. Sure was awkward! My old (relatively speaking) 1971 Les Paul Deluxe resumes the leads accompanied by the YA SA 2000 on the octaves. This basic track was a “first take” to our surprise! All leads were played either thru my Yamaha G 100 112 amplifier or directly into the board (mixing console). Hadley Hockensmith played Fender Precision Bass.
CAREFREE
(Matthew 18:3-6; Luke 18:16-17; I Corinthians 9:24-25; I Timothy 6: 11-12)
I don’t write many shuffles, if any, but this one came about as I was reflecting on the “carefree=ness” of children, the parallels of faith to running a race as dear Eric Liddell of Scotland echoed St. Paul’s words through true human experience.Guitar Rap: The rhythm guitar is my old 1965 Fender Strat going through a Dyna comp, board limiter and one channel direct through the amp and miked. The lead is recorded at low volume with a pre-amp up all the way but master volume low. I didn’t use my MSR DDL but used Lexicon PCMs for the delays and slap back sounds on the guitars. I find my DDC very useful in concert. The bass I’m playing is a Gibson G-3. Smitty Price played two Prophet 5s and made his own stereo mix and EQ as we recorded him. Jim used Gretsch drums.
NOBODY’S PLAYGIRL NOW
(Psalm 34:5, Psalm 107 4-9; Matthew 6:19-21; Isaiah 9:2; II Corinthians 5:17)
I was watching a TV program and it featured an interview with this young lady who had turned to Christ and was formerly a Playboy bunny. She found true peace and fulfillment in knowing who she is in God. The song came to me afterwards, written from the standpoint of one who knew her and was amazed at the change and not just the Bible in her hands.At the conclusion I felt I expressed the Spirit of the song and as the tape was rolling, I just had fun trying my (big) voice which has never been recorded. I sound almost 6’ 4” instead of 5’ 4”. Please don’t take the jive too seriously, maybe you can laugh too.
Guitar Rap: I’m playing on the Strat on both tracks, just feeling the groove – no leads. Hadley played my G-3. Wish I could make it sound like that! We got the percussion to duplicate my basement demo – to the “T”. Simple things are nice.
CHERISH THE MOMENT
(Revelation 3:20; Psalm 139:7-12, Psalm 24:1. Psalm 90:12: Proverbs 27:1; II Corinthians 6:2)
I wrote this while on tour in Washington State last October. The scenery was beautiful. God showed me I shouldn’t take anything precious for granted whether it be His creation or true friendship and foremost His saving grace. My friend next to me on the bus was Jim DeLong.Guitar Rap: I used my Yamaha SA 2000 for rhythm and leads, Paul Clark’s Martin; I believe it’s a 1926 acoustic. Thanks Paul. My rhythm and lead parts are tuned down one whole note from EADGBE to DGDFAD. That’s partly how I got some of those low growls at the end lead plus it’s fun to feel the strings looser to the touch. The SA 2000 is very versatile. G-3 Bass.
SHE CAME TO STAY
(Proverbs 18:22; Matthew 19: 5-6; Proverbs 5:18; Song of Solomon 8:7)
This is to Bernadette, my wife of nine years at this time. I’ve written a few songs to her and it was time for another. She asked me if I’d write one last October before I left for tour. The tour concluded and I was waiting at the baggage claim at K.C. airport just 45 minutes from home, and then remembered. Oh my – her song! These words came as I waited for my bags. The next day they were made one with chords and melody. B – I love you!Guitar Rap: I’m using the old Mark Even Whitebook acoustic. I’ve used it on every LP since Glass Harp’s “It Makes Me Glad.” Thanks again to my friend Don Absure for presenting the gift of the instrument to me back in September 1971. Thanks to Mark Whitebook for his craftmanship. Strat on electric rhythm, Yamaha SA 2000 on lead lines, using pinky on volume control. (I had the toggle switch changed with the front pick up volume so that it could be reached.) Lots of compression on lead; G-3 Bass.
PAPA SONG
(Psalm 127:3; Joshua 23:14)
While I was finishing up “Town To Town” last year, I had to be away from my girls a little while. Well my heart just ached to hold them. Alicia calls me Papa – I like that! I turn the corner, she asks mama “Where’d Papa go?” I wrote this song at 3:00 AM at my friend Leon Gaer’s house, with tears running down my face. Really got homesick! I came home when the LP was finished and put this tune on my porta studio. I captured just a few moments of Alicia’s voice and dubbed it in the song. Ten months later I recorded it anew and used the same track. Bernadette sings two choruses and it turned out – just like home. I think this is Alicia’s favorite song on the LP.Guitar Rap: I used a Roland Compu rhythm 78 drum machine. I’d like to thank Kerry Livgren for the use of his mini Les Paul, a 22 fretted gold-top Les Paul replica scaled down to about 26 inches, one soap bar pick up. Plays great! It’s used on Chords and harmonics. Also used Yamaha SA 2000, Mark Whitebook acoustic and G-3 bass.
THE WALL
(Luke 21:26; I Timothy 1:7; Hebrews 2:14-15; Jeremiah 1:5-8; Isaiah 41:10; I Thessalonians 5:21)
Many of us have to deal with fear. E. Stanley Jones in his classic “Abundant Living” has really helped me to see with the light of scripture the absurdity of fear and worry. He said “worry is atheism,” but he, page by page, ministered to me the way out of internal fear. Jesus Christ is the reason for holding on (John 16:33); (1 Peter 5:7). The number started with just a bass hook and Jim put solid drumming to it and bit by bit it became a song.Guitar Rap: Two tracks of bass, one with Koman bass strings and one with rotos. The strat is used for rhythm and thanks to Wally Grant for all those late nights with the vocals.
MAKE A CHANGE
(Deuteronomy 18:9-13; Exodus 20:16; Isaiah 47:12-13; Mark 1:15; II Corinthians 13:7; Isaiah 5:18-21; I Corinthians 6: 18; II Corinthians 12:21; Exodus 20:13)
This song reinforced by the power of God’s word is self-explanatory. There’s an ache inside me longing to see the righteousness and justice and love among us all.Guitar Rap: This tune started as just a bass hook as well as the last tune. Words and chords came along afterward. We just simply fashioned the recording after my demo. Michael Fisher’s percussion here as elsewhere is very creative and provocative. Smitty and Jim are essential here. The high guitar in the intro is Kerry’s mini Les Paul, no tape alterations. I played through a harmonizer kicked up one more octave and delayed. Strats on Rhythm, Les Paul doubling bass lines, E bow sparsely used on two notes at the end. The little guitar is featured as is synths by Smitty; G-3 bass.
TRAIN TO GLORY
(Matthew 24:27, Matthew 25:1-13; I Corinthians 2:9; Matthew 20:28)
Christ is coming again. “Everyone who has this hope purifies himself even as He is pure.” (I John 3:3)Guitar Rap: I wrote most songs on this side (one through four) with bass and rhythm machine at the first. There are three bass tracks on this song; one track direct – Koman Performer strings, one track through distortion in amp, and one track roto-sound strings direct. Along with keys it sounds very full. Strats on rhythm and leads. Most leads on this album are the old Strat. G-3 bass.
PLAY THRU ME
(Philippians 1:6; I Samuel 16:12-23
As usual in the winter, I stay up late at night and write songs. I was so tired when I started this one that I was surprised when I finished writing and recording it with the basic parts on my porta studio. There have been many slow walks up the basement stairs, cassette in hand, just in time to hear the birds and see the sunrise. The chorus of this tune is special to me because I desire to be used by God as He used David of old.Guitar Rap: Yamaha SA 2000 on rhythm, Fender strat on leads (really love the piano bit in the middle). On the lead, one track is amp – the other clean, through the board with some lead at the end – a nice contrast to the sound.
HIS MASTER’s VOICE
(I Peter 2:9; Luke 21:14-15; Luke 12:12; Psalm 45:1)
I wrote this song in January of ’81 in preparation for the “Town To Town” LP. I recorded the classic guitar tracks and didn’t use the tune until this album. I feel this song fits the album very well especially following “Play Thru Me.” It’s a self-portrait. Many times I catch myself unsure, hesitating. When I become nervous, my voice cracks and my eyelids close up. In the past, I’ve experienced withdrawing into myself when the Lord is drawing me outward to minister in Music – His life.Guitar Rap: Tama classics – Paul ’26 Martin, Mini Les and Les Paul Deluxe, Smitty Price on Prophet.
Pressing on, there lies a song – His song. To me the whole album was worth waiting thru to get to “Morning Light.” The song is the message of the cross still shining, Love’s pure light, cleansing, healing, saving. Thanks be to God for His inexpressible gift!
MORNING LIGHT
(I Corinthians 1:18; I Peter 2:24; Psalm 107:23-32; II Peter 1:19)
This song was inspired by the poem “Above The Hills Of Time” by Thomas Tiplady. When I sing this tune, it causes me to refocus on my purpose which is not to be another guitar player, but a musician, a herald for the Lord proclaiming that He came, died and rose again and is coming – our Lord Jesus Christ. His Love for us is “an undying love!”Guitar Rap: Guitars – Ovation custom legend, Strat on rhythm and lead. Paul Clark’s 1926 Martin on high capoed position, G-3 bass.
Phil Keaggy, April 28, 2022
CREDITS. Produced by Phil Keaggy and Bob Cotton. Arranged by Phil Keaggy. Recorded at Sound Recorders, Kansas City, MO and Weddington Studios, North Hollywood, CA, a division of PEG. Engineered by Bob Cotton and Wally Grant. Second Engineers: Wally Grant and Denny Siegrist. Art Direction by Stan Evenson. Design by John O’Brien/Stan Evenson Design. Photography by Mark Hanauer. “Morning Light” inspired and adapted from Thomas Tiplady’s poem “Above The Hills Of Time”. All songs written by Phil Keaggy
Musicians: Phil Keaggy (Guitar, Bass, Lead and Background Vocals); Smitty Price (Keyboards); Hadley Hockensmith (Bass on tracks A1 and A3); Jim Delong (Drums); Michael Fisher (Percussion). Bernadette Keaggy: Vocals on “Papa’s Song” and at 16 months and quite petite, Alicia Marguerite Keaggy.
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