Phil Keaggy's 1995 album, True Believer, deviated from the styles of his earlier rock records. Whereas Crimson and Blue has the short credit list of Keaggy backed up by a drummer, bassist, keyboardist, and a few guests, True Believer uses an extensive array of tube bells, BGVs, war pipes, all manner of percussion, programmed instruments, and generally a lot going on at once. As a result, True Believer sounds more synthetic and layered than Keaggy's previous releases.

Why this new approach? Producer Alan Shacklock was heavily involved; not only as producer but also as arranger, programmer, musician, background singer, writer of three of the songs and co-writer of one. His heavy involvement seems to be the factor that made the album unique. And often, it's good when an artist or band changes things around for a fresh record... yes, True Believer has its strokes of success. Songs like the title track (which Shacklock wrote) and "Wild Heart" do indeed create a stony or mysterious feel for themselves. And there's "Salvation Army Band," which declares how believers are saved to serve, with its imperviously motivating beat.

But notice: near the end of that song, "Salvation Army Band," Keaggy expertly puts down a guitar part that usually would surface as the lead instrument. But between the repeating chorus and whatever "effects" are going on, his passionate-sounding solo falls into the background. This somewhat "overprocessedness" or "half-heartedness" shows up throughout the album, including in the cover of "Be Thou My Vision." It almost sounds like rock and Celtic music trying to crowd each other out, rather than a proper union of the two. After that is "Have Mercy Lord," in an aggressive, abrasive style that doesn't seem to fit a song that's about begging for God's mercy.

It seems like this record was a more deliberate attempt to get Christian radio play. With the exception of the closer, tracks are kept to a fairly normal length, which didn't allow for much of the enthusiastic solo play and jamming that Keaggy fans are familiar with. Lyrics also seem intended for the airwaves, with lines like "So if you need to call on a friend/ He's there for you right until the very end," "Only You can wash my sins away," "All alone in the cold-hearted night/ I was fading fast," and "I will hold onto You/ For I lack the strength to make it through" as a few examples.

Closer "The Survivor," sung from the perspective of an unborn child, at first stands out from the clutter of the rest of the album. But its bare, wavering tones soon give way to a climactic outro that doesn't allow the song to break free from the True Believer mold. At the very important end-of-the-record moment, the outro becomes a sort of sonic blur that weakens the closer. Still, "The Survivor" is a powerful song, and probably one of the album's best. Really, it can help to summarize the whole album: songwriting that certainly had potential, but song arrangement that watered down a lot of the music's character and feeling.

For potential listeners, don't just write True Believer off without trying it. But if you have written it off, don't reject all of Keaggy's music on account of it. Because pre- and post- 1995, there can be found albums in his catalog in which his strengths shine through, unobstructed.