**New** This is a fantastic podcast interview with a music industry professor who corroborates my own little following story. A MUST listen:
http://feeds.feedburner.com/~r/Tollbooth_pod/~5/132476134/20070630reimaginingccm64bithour.mp3
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Bob Kilpatrick once said, "...an industry built on the sale of youth and hit songs will dispose of everything that isn't."
Phil Keaggy, www.philkeaggy.com, an extroirdinary artist and musician of world class proportions, is someone who has personally been hit with the full impact of the above statement, taken to it's logical conclusion.
In the early 1970's, extremely talented and respected guitarist and Decca Records (Rolling Stones) recording artist Phil Keaggy made a decision to leave his band, Glass Harp, to record an album on his own and devote more time getting to know Jesus, of whom he had chosen to be a disciple of. This little decision (amazingly happening simultaneously with people like Larry Norman, who had just recently left his band, People, but was still signed to Capital Records {The Beatles}) unwittingly set in motion something these people were never intending, certainly not even imagining: an entirely new genre that would not only produce 100's of it's own superstar artists, but spawn entirely new record companies, ending ultimately in a multi billion dollar industry.
What simply began as a handful of hippies who now sung about this Jesus amidst their albums that STILL continued with themes of human heartbreak, social observation, and continued seeking (or, growing) and still being released on labels like Decca and Capital resonated strongly with the disalussioned hippie youth of not only a generation, but of a nation...
...became 40 years later a slick, severed entity from society at large called 'contemporary christian music', that created their own labels, their own charts, their own stars, their own rules.
Artists like Phil Keaggy, the young 'guitar god' rock star from Decca Records were suddenly being pushed and pulled by a whole new entity, being touted as representatives of what savvy business men in the early 70's saw as the new and profitable answer to the dying hippie trend and fading 'summer of love': "Christian Music", released on "Christian Record labels" that were to stand seperate (or corner the market) from the greedy 'worldly' record companies. Now, under this new 'Christian' management, and no longer opening for such artists like the Kinks at Carnegie Hall, Keaggy - whose music and songs about the person of Jesus did much to fill churches with youth - was now persuaded by the new powers to play strictly churches, with church youth in turn (who are likely to hold the most disposable cash), turning over their money to those who had 'cornered' the market and were newly in charge of Keaggy. The more Keaggy's fame grew amidst church youth, his once respected status among the worlds guitar players shrank, and then vanished. A small price to pay, because this is church were talking about, right? They will take care of the Christian brother. Besides, he created the very thing that was currently lining their pockets. Surely they will remember that!
Slowly, singing about Jesus was no longer something done from the heart of those who found themselves in God's grip - it was now 'trendy'. Trends create followers, and followers pay to continue the trend. This becomes an industry. Industries become a self perpetuating machine taking on a life of their own, and begins to growl when it's hungry. Remember, youth have the most disposable cash right?
And Bob Kilpatrick says, "...an industry built on the sale of youth and hit songs will dispose of everything that isn't."
Phil Keaggy got older, but his talent only grew. His lyrics became more relevent and poignant, expressing things as only those with a little age and life experience can. His guitar playing now became amazing & wonderful, as his skill became layered with the integration of styles and infusion of generes that again only time and dedication - which takes years - can give. He was truly inspiring to watch and listen to.
At this point the multi-billion industry he unwittingly helped create, that labels and identifies itself with the very name of Jesus - robbed him, dumped him, and forgot about him.
Then something strange happened. Those greedy worldly record companies were re-issuing all their great back catalogue of artists, heralding them as heroes and leaders of modern music. The likes of the Beatles and Rolling Stones , packaged and re-packaged, still saturated record stores constantly finding themselves in the hands of new fans and new generations.
Keaggy's records were pulled from print. Keaggy's royalties dried up. Keaggy didn't even own his last 40 years of music history. As Keaggy said himself, "It's like paying 40 years on a mortgage, and never end up owning the house!"
The 'brother's in Jesus' at the christian record companies create a myriad of forgettable 13 year old teenage superstars to mimic Britney Spears and Green Day. Gone are the themes of human heartbreak, social observation, and continued seeking and asking (or, growing); they now sing trite 3 minute sermonettes full of fluffy answers when no one has asked the questions. They make millions.
Then, suddenly, they sell these huge christian record companies that were created to 'stand apart', for huge money to the likes of EMI (capital records), etc.
Phil Keaggy, now in his fifties, still hits the road and plays to groups of faithful fans - not because he necessarily wants to, but because he still has to put bread on the table. He generally gets $12 at the door (I just paid ticketmaster $450 to see Paul McCartney). He can't afford the additional cost to take his wife on tour, and desperately misses his family. He is never mentioned when they rehash the likes of technically inferior artists Jimmy Page and Eric Clapton as guitar gods endlessly in Rolling Stone.
He makes his own records in the basement of his house.
And he hurts.
Now that the 'worldly' companies own the 'christian' companies, it seems odd that Phil left to begin with roughly 40 years ago. He created with his music a stand alone industry that in his lifetime, apart from himself, made many instant millionaires. Then at the end, it all goes back to the companies he and others were putiing out records under in the first place. It is a series of events that is hard to understand, amazing but true, and I'm sure, a very big part of why it hurts.
I got to know Jesus because of Keaggy's records. Is that enough to make some of the pain go away? I don't know.
So I wrote this song just in case. "Singing To Us While It Hurts"
Love Ya, Philly.
Richard Cummins
P.S. Phil Keaggy himself actually plays guitar and sings bgv on this very song that was meant as a tribute to him! As with all things Phil, his stories continue to be amazing, but true. Great to do a song with you, Phil. Bless you.