11 Songs, 1 Hour 14 Minutes

EDITORS’ NOTES

Fans of quality hard rock have long regarded Glass Harp as one of the genre’s most underrated combos. The reunited Ohio power trio is caught in vigorous form on this album, recorded at Cleveland’s Beachland Ballroom. Back in its early-‘70s heyday, Glass Harp was known for its tight, Cream-influenced musicianship, spearheaded by the virtuosic guitar playing of Phil Keaggy. Time hasn’t diminished the kinetic chemistry between these old friends—Keaggy’s fiery improvisational flights still mesh seamlessly with Daniel Pecchio’s liquid bass lines and John Sferra’s agile, genre-spanning drum work. The Ballroom set dips back into Glass Harp’s catalog for a number of signature tunes, including “Children’s Fantasy,” “What Ever Life Demands,” “Never Is a Long Time," and “Can You See Me.” Keaggy’s ability to lay blistering lead lines over guitar loops lets him take these songs into fresh creative territory. Reaching into his post–Glass Harp Christian music catalog, he recasts “A Sign Came Through the Window” as a jazz-rock number and infuses “John the Revelator” with gospel-blues bite.

EDITORS’ NOTES

Fans of quality hard rock have long regarded Glass Harp as one of the genre’s most underrated combos. The reunited Ohio power trio is caught in vigorous form on this album, recorded at Cleveland’s Beachland Ballroom. Back in its early-‘70s heyday, Glass Harp was known for its tight, Cream-influenced musicianship, spearheaded by the virtuosic guitar playing of Phil Keaggy. Time hasn’t diminished the kinetic chemistry between these old friends—Keaggy’s fiery improvisational flights still mesh seamlessly with Daniel Pecchio’s liquid bass lines and John Sferra’s agile, genre-spanning drum work. The Ballroom set dips back into Glass Harp’s catalog for a number of signature tunes, including “Children’s Fantasy,” “What Ever Life Demands,” “Never Is a Long Time," and “Can You See Me.” Keaggy’s ability to lay blistering lead lines over guitar loops lets him take these songs into fresh creative territory. Reaching into his post–Glass Harp Christian music catalog, he recasts “A Sign Came Through the Window” as a jazz-rock number and infuses “John the Revelator” with gospel-blues bite.

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