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Illumination

by Phil Keaggy & Rex Paul

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Time 04:48
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I Believe 03:07
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Full Circle 04:52
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about

WM Worship Guitar Player November 18

Phil Keaggy & Rex Schnelle Interview Questions…

[WM] This new Illumination record is quite an interesting mix of what I would call “up to date” classic rock and melodic pop. The production is fresh, the vocals are inspired and the two-guitar attack is exhilarating.

Let’s start at the beginning. Phil, how did you meet Rex?

[Phil] I think it was back when we met up to play somewhere—where I did my own set and we found a couple of songs we both knew and played together with a band.
Then, as I recall, he invited me to play on his song, an instrumental, called Hero Shuffle.
That was a fun tune to play on. I soloed and he also had Eric Johnson play on it.
I was delighted to be on this recording with these two great players!
Rex and I became good friends and got to know each other through music as well as good conversation about faith and life experiences.
He invited me to play on a few more of his songs and then we wrote a tune together that ended up on my last vocal album—All At Once.
We played some dates with a band later down the road and I was impressed with his abilities as well as his character as a brother and good guy!


[WM] Rex, what did you think when you first met Phil and how did it come about that you started producing and playing with Phil?

[Rex] As a fan, I first met Phil when I was in my early 20’s (mid 1990’s) at his gig at the Paramount Theater in Austin, TX. I moved to Nashville I began playing guitar, singing, and producing in Nashville. The next time we struck up a conversation, I told him about my record, and that is when he so graciously offered to play on my album, Hero Shuffle. Within 3 days, Phil, Eric Johnson and Dann Huff agreed to play on it. I was overwhelmed.
From that point on, Phil and I collaborated a few times, both live and in the studio, overdubbing guitars. When “All At Once” was being recorded, he and I found an amazing method to work together, and we co-wrote and completed the song “I Love The Way You Love Me” in just a couple of days. We then began talking of a project that we could both create, and that led us to this record. But the most amazing part is the koinonia we share in the journey. I could write a book about those blessings!

[WM] The new record has 5 songs that you wrote together, plus 4 vintage Keaggy songs that have been not just given a fresh coat of paint, but have been totally revitalized. You each have a song as well that you collaborated with other people to write.

For the vintage Keaggy tunes… ‘Full Circle”, Spend My Life with You”, “Let Everything Else Go” and “Time” tell us how you guys reworked the guitar parts from the tones (and signal chain) to making enough space to let two different (and very good) guitar players have the room to breathe?

[Phil] The old tunes of mine were chosen one by one as we were adding verses, and guitar parts to Rex’s nearly finished songs.
The whole experiment started with a chorus and a few chords to a song I wrote in 1971 while on tour with Glass Harp playing dates on the west coast. The only reference to that song (which is now called –I Believe, that I had was taken from an old reel to reel tape and the only playable part on that tape was a portion—the chorus, then following, the chords to what would have been the verses.

Rex and I could feel the atmosphere rise with a bit of excitement and anticipation for what we could come up with. We got together and both wrote the verses to I Believe.
The theme is of the days back in the Jesus movement. Jesus touching the lives of a generation!
Rex developed the whole track for me to sing to..we wrote the words and I sang then I played the guitar solo…Rex played everything else, as he did all the songs.
It was a grand start to what would become a “record” from the both of us—a two piece band.
So, as I recall, we chose my old songs in between working on Rex’s tunes. I’m honored he asked me to sing many of them and add my lyrical contribution. The back and forth guitar solos we shared and the new songs he brought to the table sparked the idea to revisit a few of my old songs.
Here are some reasons we chose these particular songs:
Full Circle—originally written in 1977 for Ronnette’s singer Nedra Ross. I also recorded it on my Town To Town LP. It was a strong band song in concert.
Time— originally recorded on my Love Broke Thru album in 1976. I changed up a few words to emphasize the good news of the Gospel—sending a message of hope. I feel Rex captured the energy really well and I played the same Les Paul I did on the 76’ version.
Spend My Life With You--- I originally wrote this in 1980 soon after my dear wife Bernadette gave birth to our daughter Alicia. It took on a deeper meaning…as I initially thought it would be “a sweet lullaby”, but then expressed my relationship with my Heavenly Father. It was on my Ph’lip Side LP.
Let Everything Else Go--- This tune was also written in 1980 and recorded on the Town To Town LP. I also rerecorded it on Way Back Home in a more acoustic style…then again on a CD a few years ago called Live From Kegworth. So this would be the 4th version and special in it’s own way. This is one of my all time favorite and an often requested song in concert.
As far as guitars and amps used, I used my old Vox AC30 and a few different guitars:( Les Paul, Zion and Yamaha SA 2000) with some effects such as some overdrive, verb and delay. Rex played his solos at his studio and processed his jangly and punchy lead tones quite nicely with precision. I feel the contrast between his lead tones and mine are refreshing with diversity.

[Rex] Indeed, it was truly transcendent for me. Somehow, my Dann Huff-meets-Eric Johnson-hacked style, and his once-in-a-lifetime brilliance met and seemed to compliment each other.
I wanted to attempt to produce us like Trevor Rabin (of Yes) would, but more vintage inspired guitar tones.
For most of the songs, I played my hotrod Variax enabled Strat, a Les Paul, an EJ Strat, a 12 string Strat, my Gibson J200 acoustic and a Guild 12 string acoustic, with a few variations of “color” instruments (mandolin, Guild G2420T).
Amps included a Marshall JCM800 (old G12-20Ms), Fender Deluxe, Vox AC30, a newer Orange combo (2x10”), blended with Amp Farm tones.
Effects in included the standard “holy grail” delays, chorus, a Leslie 121, and cool time domain plug-ins.


[WM] When I was visiting Phil’s studio and you two first played me some of these tracks Phil commented on that he felt his vocals were a “25-year-old Phil” singing.

Rex as the producer how did you approach capturing Phil’s voice and Phil what were you thinking as you stepped up to the mic to sing?

[Rex] I’ve been producing here in Nashville for 25 years now, with a lot with artists connected to Sony ATV Publishing, so I’ve developed a lot of supportive coaching skills. With Phil, it was like telling Rembrandt what you wanted him to paint. He has a trademark voice, and has sung well on anything I’ve ever heard him on, including most every live performance. To use a football coach analogy, I was just “in the booth calling plays”, as well as a cheerleader. Plus, we are sold out to the message of our One Hope.


[Phil] Well, maybe I exaggerated a bit—maybe a 45 year old—but that’s young too, Haha!
Rex produced all my vocals except Spend My Life… He’s a great producer and a very good vocal coach. I felt at ease and the melodies just flowed. It turns out that this is a very good vocal album. Rex has a strong voice and we harmonized well together. I like his lead vocals very much as well.

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released March 20, 2018

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