worked out pretty good . And so that ’ s part of the story . Some people ask me , “ Phil , do you have any special or favorite albums that you ’ ve done ?” I will immediately say , “ What a Day is very special to me .” I can listen to that album and get a little choked up just because of the innocence and simplicity . It was just me expressing myself . And so I have a fondness for that album , Master and the Musician , too . Love Broke Through is very special to me ! That was around the time I met Keith Green , who taught me the title song “ Your Love Broke Through ”. The The Wind and the Wheat and Beyond Nature are also special . And then there are songs on various albums that are special to me . Not always the whole album , but I can say for certain that the entire What a Day album is special to me . And it was self-produced and just like Master and the Musician was selfproduced with some help and encouragement from Lynn Nichols who later down the road produced a couple more of my albums .
I had a helping hand from Tommy Coombs for The Wind and the Wheat , and JB ( Jim Baird ) engineered for Beyond Nature . There was another album I did years later called 220 that Bill Deaton produced , which I thought was a great kicking electric album . Tom Laune coproduced my self titled album in 1998 . That also is a very nice collection of songs .
[ Bruce ] Oh , 220 was a great album . Yeah , I remember the album cover . That was a great looking .
[ Phil ] Yeah , very creative cover .
[ Bruce ] I ’ ve got a question back on the What a Day record . On the song “ All Things Become New ” I thought that was an EBow ...
[ Phil ] Well , actually , that ’ s not an EBow . That ’ s just my swells . I got the EBow for the first time about 1976 , and I remember trying it out on a gig with the band I was touring with at the time . And I ’ ve used it ever since . And I still use an EBow on recordings where it ’ s appropriate . And one of the fun pieces I did with EBow was
Phil , 1973
one of the incidental instrumentals On the Fly , which was about a 1996 album , and on many of my albums you can find on my Bandcamp site , “ bandcamp . philkeaggy ” and it ’ ll say Keaggy ’ s Garage .
[ Bruce ] That ’ s amazing .
[ Phil ] Yeah , I ’ ve made a lot of music in my lifetime for sure .
[ Bruce ] Now , another What a Day question , what amps were you using ? You got a great sound in the studio . Do you remember what amp you were playing through with your Les Paul ?
[ Phil ] Absolutely , I do . I was playing all the electric parts through a Fender Princeton Reverb that I had at the time . When I was playing with Glass Harp , I was playing through two souped up Fender Twin Reverbs , and just if you want to hear a pure sound with a guitar and two amps ( without any pedals in between ) listen to the Glass Harp Live at Carnegie Hall . There were no overdrive pedals , it was just pure volume , pure tone , and ... Yeah , it sounded amazing ! But the Princeton had a sweet sound . I used that on What A Day . I had an inexpensive bass that I used for the album . I played a little piano here , little drums there , percussion , acoustic , classical and electric on that album .