Chris Welch uses Designer Pro 365 to illustrate all 3rd level concepts

Xara Designer Pro X

Thursday, 5 April 2018

People are smelling a rat here in the UK

Facebook Exchange regarding the mystery of the Salisbury Chemical weapons attack and the subsequent withdrawal of diplomats from Moscow, and the removal of Russian Embassy staff from many nations in a united  stand with the UK.
Paul Wbm:
Interesting isn’t it Chris? The government can convince NATO and most of the EU with “compelling evidence” yet they cannot provide any of that evidence to the UK public or to Russia.
Like · Reply · 1h
Chris Welch
Chris Welch Or to the United Nations body given to oversee the prohibition of Chemical Weapons
Funny how our nation quotes United Nations when it wants to.

I was eating out last night and wrote this on Facebook

 I’m near a bar and the conversation is about Porton Down while Sky Tv news talks to itself.
The general consensus is that the News media isn’t being clean.
Nobody at any time has proved to the British public that Russia was involved with Salisbury.

At 5 pm I have forgotten the government spokesman in the BBC , but he said the substance was “ identified as that produced by Russia and only Russia.”
Except I already passed on that article which stated that the dismantling of Russia’s chemical warfare programme was overseen by the relevant UN body in 2005, and that
the only ones having any of this Novishok substance are
USA and
Uk for “ antidote purposes “
No mention of this by the spokesman.

Now rogue elements could have diverted some of Russia’s stock maybe, or equally those three countries could have rogue elements or even purposed agents.

I don’t see how any UK media can say with certainty that it was Putin and main Russia.
It would seem to me as too crass and idiotic anyway. Putin is very clever

At this stage I had only read an article two weeks ago talking about the OPCW which was slightly different from the article below. The News last night actually reported that the OPCW were refusing to believe UK's accusation against Russia.

Nice to be two weeks ahead of UK media!!!

Craig Murray Historian, Former Ambassador, Human Rights Activist
The Novichok Story Is Indeed Another Iraqi WMD Scam 572
14 Mar, 2018 in Uncategorized by craig
As recently as 2016 Dr Robin Black, Head of the Detection Laboratory at the UK’s only chemical weapons facility at Porton Down, a former colleague of Dr David Kelly, published in an extremely prestigious scientific journal that the evidence for the existence of Novichoks was scant and their composition unknown.

In recent years, there has been much speculation that a fourth generation of nerve agents, ‘Novichoks’ (newcomer), was developed in Russia, beginning in the 1970s as part of the ‘Foliant’ programme, with the aim of finding agents that would compromise defensive countermeasures. Information on these compounds has been sparse in the public domain, mostly originating from a dissident Russian military chemist, Vil Mirzayanov. No independent confirmation of the structures or the properties of such compounds has been published. (Black, 2016)

Robin Black. (2016) Development, Historical Use and Properties of Chemical Warfare Agents. Royal Society of Chemistry

Yet now, the British Government is claiming to be able instantly to identify a substance which its only biological weapons research centre has never seen before and was unsure of its existence. Worse, it claims to be able not only to identify it, but to pinpoint its origin. Given Dr Black’s publication, it is plain that claim cannot be true.

The world’s international chemical weapons experts share Dr Black’s opinion. The Organisation for the Prohibition of Chemical Weapons (OPCW) is a UN body based in the Hague. In 2013 this was the report of its Scientific Advisory Board, which included US, French, German and Russian government representatives and on which Dr Black was the UK representative:

[The SAB] emphasised that the definition of toxic chemicals in the Convention would cover all potential candidate chemicals that might be utilised as chemical weapons. Regarding new toxic chemicals not listed in the Annex on Chemicals but which may nevertheless pose a risk to the Convention, the SAB makes reference to “Novichoks”. The name “Novichok” is used in a publication of a former Soviet scientist who reported investigating a new class of nerve agents suitable for use as binary chemical weapons. The SAB states that it has insufficient information to comment on the existence or properties of “Novichoks”. (OPCW, 2013)

OPCW: Report of the Scientific Advisory Board on developments in science and technology for the Third Review Conference 27 March 2013

Indeed the OPCW was so sceptical of the viability of “novichoks” that it decided – with US and UK agreement – not to add them nor their alleged precursors to its banned list. In short, the scientific community broadly accepts Mirzayanov was working on “novichoks” but doubts he succeeded.

Given that the OPCW has taken the view the evidence for the existence of “Novichoks” is dubious, if the UK actually has a sample of one it is extremely important the UK presents that sample to the OPCW. Indeed the UK has a binding treaty obligation to present that sample to OPCW. Russa has – unreported by the corporate media – entered a demand at the OPCW that Britain submit a sample of the Salisbury material for international analysis.

Yet Britain refuses to submit it to the OPCW.


A second part of May’s accusation is that “Novichoks” could only be made in certain military installations. But that is also demonstrably untrue. If they exist at all, Novichoks were allegedly designed to be able to be made at bench level in any commercial chemical facility – that was a major point of them. The only real evidence for the existence of Novichoks was the testimony of the ex-Soviet scientist Mizayanov. And this is what Mirzayanov actually wrote.

One should be mindful that the chemical components or precursors of A-232 or its binary version novichok-5 are ordinary organophosphates that can be made at commercial chemical companies that manufacture such products as fertilizers and pesticides.

Vil S. Mirzayanov, “Dismantling the Soviet/Russian Chemical Weapons Complex: An Insider’s View,” in Amy E. Smithson, Dr. Vil S. Mirzayanov, Gen Roland Lajoie, and Michael Krepon, Chemical Weapons Disarmament in Russia: Problems and Prospects, Stimson Report No. 17, October 1995, p. 21.

It is a scientific impossibility for Porton Down to have been able to test for Russian novichoks if they have never possessed a Russian sample to compare them to. They can analyse a sample as conforming to a Mirzayanov formula, but as he published those to the world twenty years ago, that is no proof of Russian origin. If Porton Down can synthesise it, so can many others, not just the Russians.

And finally – Mirzayanov is an Uzbek name and the novichok programme, assuming it existed, was in the Soviet Union but far away from modern Russia, at Nukus in modern Uzbekistan. I have visited the Nukus chemical weapons site myself. It was dismantled and made safe and all the stocks destroyed and the equipment removed by the American government, as I recall finishing while I was Ambassador there. There has in fact never been any evidence that any “novichok” ever existed in Russia itself.

To summarise:

1) Porton Down has acknowledged in publications it has never seen any Russian “novichoks”. The UK government has absolutely no “fingerprint” information such as impurities that can safely attribute this substance to Russia.
2) Until now, neither Porton Down nor the world’s experts at the Organisation for the Prevention of Chemical Weapons (OPCW) were convinced “Novichoks” even exist.
3) The UK is refusing to provide a sample to the OPCW.
4) “Novichoks” were specifically designed to be able to be manufactured from common ingredients on any scientific bench. The Americans dismantled and studied the facility that allegedly developed them. It is completely untrue only the Russians could make them, if anybody can.
5) The “Novichok” programme was in Uzbekistan not in Russia. Its legacy was inherited by the Americans during their alliance with Karimov, not by the Russians.

With a great many thanks to sources who cannot be named at this moment.

Sunday, 1 April 2018

where are YOU,where is your true PERSON?

A Look through scriptures at the Cross...

When the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was desirable to make one wise, she took from its fruit and ate; and she gave also to her husband with her, and he ate. 7 Then the eyes of both of them were opened, and they knew that they were naked; and they sewed fig leaves together and made themselves loin coverings.

8 They heard the sound of the Lord God walking in the garden in the cool of the day, and the man and his wife hid themselves from the presence of the Lord God among the trees of the garden. 9 Then the Lord God called to the man, and said to him, “Where are you?” 10 He said, “I heard the sound of You in the garden, and I was afraid because I was naked; so I hid myself.” 11 And He said, “Who told you that you were naked? Have you eaten from the tree of which I commanded you not to eat?” 12 The man said, “The woman whom You gave to be with me, she gave me from the tree, and I ate.” 13 Then the Lord God said to the woman, “What is this you have done?” And the woman said, “The serpent deceived me, and I ate.” 14 The Lord God said to the serpent,etc......working out from the root as He does today.

Exodus 12
Now the Lord said to Moses and Aaron in the land of [a]Egypt, 2 “This month shall be the beginning of months for you; it is to be the first month of the year to you. 3 Speak to all the congregation of Israel, saying, ‘On the tenth of this month they are each one to take a [b]lamb for themselves, according to their fathers’ households, a [c]lamb for [d]each household. 4 Now if the household is too small for a [e]lamb, then he and his neighbor nearest to his house are to take one according to the [f]number of persons in them; according to [g]what each man should eat, you are to [h]divide the lamb. 5 Your [i]lamb shall be an unblemished male a year old; you may take it from the sheep or from the goats. 6 [j]You shall keep it until the fourteenth day of the same month, then the whole assembly of the congregation of Israel is to kill it [k]at twilight. 7 Moreover, they shall take some of the blood and put it on the two doorposts and on the lintel [l]of the houses in which they eat it. 8 They shall eat the flesh that same night, roasted with fire, and they shall eat it with unleavened bread [m]and bitter herbs. 9 Do not eat any of it raw or boiled at all with water, but rather roasted with fire, both its head and its legs along with its entrails. 10 And you shall not leave any of it over until morning, but whatever is left of it until morning, you shall burn with fire. 11 Now you shall eat it in this manner: with your loins girded, your sandals on your feet, and your staff in your hand; and you shall eat it in haste—it is the Lord’s Passover. 12 For I will go through the land of Egypt on that night, and will strike down all the firstborn in the land of Egypt, both man and beast; and against all the gods of Egypt I will execute judgments—I am the Lord. 13 The blood shall be a sign for you on the houses where you [n]live; and when I see the blood I will pass over you, and no plague will befall you [o]to destroy you when I strike the land of Egypt.

Who has believed our message?
And to whom has the arm of the Lord been revealed?
2 For He grew up before Him like a tender [a]shoot,
And like a root out of parched ground;
He has no stately form or majesty
That we should look upon Him,
Nor appearance that we should [b]be attracted to Him.
3 He was despised and forsaken of men,
A man of [c]sorrows and acquainted with [d]grief;
And like one from whom men hide their face
He was despised, and we did not esteem Him.

4 Surely our [e]griefs He Himself bore,
And our [f]sorrows He carried;
Yet we ourselves esteemed Him stricken,
[g]Smitten of God, and afflicted.
5 But He was [h]pierced through for our transgressions,
He was crushed for our iniquities;
The chastening for our [i]well-being fell upon Him,
And by His scourging we are healed.
6 All of us like sheep have gone astray,
Each of us has turned to his own way;
But the Lord has caused the iniquity of us all
To [j]fall on Him.

7 He was oppressed and He was afflicted,
Yet He did not open His mouth;
Like a lamb that is led to slaughter,
And like a sheep that is silent before its shearers,
So He did not open His mouth.
8 By oppression and judgment He was taken away;
And as for His generation, who considered
That He was cut off out of the land of the [k]living
For the transgression of my people, to whom the stroke was due?
9 His grave was assigned with wicked men,
Yet He was with a rich man in His death,
Because He had done no violence,
Nor was there any deceit in His mouth.

10 But the Lord was pleased
To crush Him, [l]putting Him to grief;
If [m]He would render Himself as a guilt offering,
He will see His [n]offspring,
He will prolong His days,
And the [o]good pleasure of the Lord will prosper in His hand.
11 As a result of the [p]anguish of His soul,
He will see [q]it and be satisfied;
By His knowledge the Righteous One,
My Servant, will justify the many,
As He will bear their iniquities.
12 Therefore, I will allot Him a portion with the great,
And He will divide the booty with the strong;
Because He poured out [r]Himself to death,
And was numbered with the transgressors;
Yet He Himself bore the sin of many,
And interceded for the transgressors.  END Isaiah53

My God, my God, why have You forsaken me?
[b]Far from my deliverance are the words of my [c]groaning.
2 O my God, I cry by day, but You do not answer;
And by night, but [d]I have no rest.
3 Yet You are holy,
O You who [e]are enthroned upon the praises of Israel.
4 In You our fathers trusted;
They trusted and You delivered them.
5 To You they cried out and were delivered;
In You they trusted and were not [f]disappointed.

6 But I am a worm and not a man,
A reproach of men and despised by the people.
7 All who see me [g]sneer at me;
They [h]separate with the lip, they wag the head, saying,
8 “[i]Commit yourself to the Lord; let Him deliver him;
Let Him rescue him, because He delights in him.”

9 Yet You are He who brought me forth from the womb;
You made me trust when upon my mother’s breasts.
10 Upon You I was cast from [j]birth;
You have been my God from my mother’s womb.

11 Be not far from me, for [k]trouble is near;
For there is none to help.
12 Many bulls have surrounded me;
Strong bulls of Bashan have encircled me.
13 They open wide their mouth at me,
As a ravening and a roaring lion.
14 I am poured out like water,
And all my bones are out of joint;
My heart is like wax;
It is melted within [l]me.
15 My strength is dried up like a potsherd,
And my tongue cleaves to my jaws;
And You lay me [m]in the dust of death.
16 For dogs have surrounded me;
[n]A band of evildoers has encompassed me;
[o]They pierced my hands and my feet.
17 I can count all my bones.
They look, they stare at me;
18 They divide my garments among them,
And for my clothing they cast lots.

19 But You, O Lord, be not far off;
O You my help, hasten to my assistance.
20 Deliver my [p]soul from the sword,
My only life from the [q]power of the dog.
21 Save me from the lion’s mouth;
From the horns of the wild oxen You answer me.

22 I will tell of Your name to my brethren;
In the midst of the assembly I will praise You.
23 You who fear the Lord, praise Him;
All you [r]descendants of Jacob, glorify Him,
And stand in awe of Him, all you [s]descendants of Israel.
24 For He has not despised nor abhorred the affliction of the afflicted;
Nor has He hidden His face from him;
But when he cried to Him for help, He heard.

25 From You comes my praise in the great assembly;
I shall pay my vows before those who fear Him.
26 The [t]afflicted will eat and be satisfied;
Those who seek Him will praise the Lord.
Let your heart live forever!
27 All the ends of the earth will remember and turn to the Lord,
And all the families of the nations will worship before [u]You.
28 For the kingdom is the Lord’s
And He rules over the nations.
29 All the [v]prosperous of the earth will eat and worship,
All those who go down to the dust will bow before Him,
Even he who [w]cannot keep his soul alive.
30 [x]Posterity will serve Him;
It will be told of the Lord to the coming generation.
31 They will come and will declare His righteousness
To a people who will be born, that He has performed it.  END ps22

In the writings Of Paul We see there is yet more to the depth of Jesus sacrifice.
In the Old Testament there is currently some confusion over the translation of Azazel in Leviticus 16.8 , which relates to the second goat. 
Some modern scholars say King James translation wrongly translated Azazel as meaning scapegoat.

Wikipedia - Scapegoat

The word 'scapegoat' is an English translation of the Hebrew azazel (Hebrew: עזאזל) which occurs in Leviticus 16:8. The lexicographer Gesenius[1] and Brown–Driver–Briggs Hebrew Lexicon[2] give la-azazel (Hebrew: לעזאזל) as a reduplicative intensive of the stem azel "remove", hence la-azazel, "for entire removal". This reading is supported by the Greek Old Testament translation as "the sender away (of sins)".

Alternatively, broadly contemporary with the Septuagint, the pseudepigraphical Book of Enoch may preserve Azazel as the name of a fallen angel.[3][4][5]

"And Azazel taught men to make swords, and knives, and shields, and breastplates, and made known to them the metals of the earth and the art of working them, and bracelets, and ornaments, and the use of antimony, and the beautifying of the eyelids, and all kinds of costly stones, and all colouring tinctures."[6]

English Christian Bible versions traditionally follow the translation of the Septuagint and Latin Vulgate which interpret azazel as "the goat that departs" (Greek tragos apopompaios, "goat sent out", Latin caper emissarius, "emissary goat"). William Tyndale rendered the Latin as "(e)scape goat" in his 1530 Bible. This translation was followed by following versions up to the King James Version of the Bible in 1611: "And Aaron shall cast lots upon the two goats; one lot for the Lord, and the other lot for the scapegoat."[7] Several modern versions however either follow the reading as a demon, Azazel, or footnote "for Azazel." as an alternative reading.

Jewish sources in the Talmud (Yoma 6:4,67b) give the etymology of azazel as a compound of az, strong or rough, and el, mighty, that the goat was sent from the most rugged or strongest of mountains.[8] From the Targums onwards the term azazel was also seen by some rabbinical commentators as the name of a Hebrew demon, angelic force, or pagan deity.[9] The two readings are still disputed today.[10]
The scapegoat was a goat that was designated (Hebrew לַעֲזָאזֵֽל ) la-aza'zeyl; "for absolute removal", (for symbolic removal of the people's sins with the literal removal of the goat) and outcast in the desert as part of the ceremonies of the Day of Atonement, that began during the Exodus with the original Tabernacle and continued through the times of the temples in Jerusalem. END QUOTES

What does this tell us?
The very same devil who muddies the waters and who keeps us from ever finding out about our true identity as Vessels or containers, for one divinity power or the other.....not least in our day , by disavowing spirit altogether by virtue of a skilfully woven science teaching that says only what is seen and testable is true. So the essence of us is now taught as the biology of us, two hemispheres of the brain.

Why should this be such an issue? Because Day of Atonement teaching in the Spirit, if not in Judaism, is the rediscovery of the FULL NATURE of the deliverance Jesus has wrought on our behalf.

Some of the clearest teaching is presented by Sylvia Pearce here in the earlier post
Two Deliverances at the Cross

What we can see though is as ever a muddying of the waters, but both sides are not wrong.
One emphasises the practice of scapegoat, the other declares deliverance from this being known as Azazel, or place named after this spiritual entity.

What Paul is preaching is that God's salvation includes the death and carrying away of the old man, the old me. Which is why none of us are duty bound to sin anymore.We begin this mystery of walking Christ in my members as me, by faith. And what begins in the cold as "faith" without sight, is confirmed to me by the Spirit with a flow of new creation life, and inner knowing.
Christ in us the hope of glory.

The Levitical priesthood was one complete infrasctructure. But God quite deliberately chose Jesus out of the tribe of Judah. He was not a Levite.

Hebrews 7.12 For when the priesthood is changed, of necessity there takes place a change of law also. 13 For the one concerning whom these things are spoken belongs to another tribe, from which no one has officiated at the altar. 14 For it is evident that our Lord [f]was descended from Judah, a tribe with reference to which Moses spoke nothing concerning priests. 15 And this is clearer still, if another priest arises according to the likeness of Melchizedek, 16 who has become such not on the basis of a law of [g]physical requirement, but according to the power of an indestructible life. 17 For it is attested of Him,

“You are a priest forever
According to the order of Melchizedek.”

according to the power of an indestructible life  is exactly related to Jesus saying
I have come that you may have life, and life more abundantly.

Happy Easter

The rise of two groups

What we see this Easter is almost like the raising of two peoples.
Jesus prophesied that brother would rise against brother. Spiritually we now see quite clearly those who accept Romans 3 to 5 and are content.
But we see also a lesser but growing number who press through to their real identities and learn Romans 6 to 8 firsthand.
Now the first group , understanding only first things, (which the writer of Hebrews strongly addresses in Hebrews 6,) are dull of hearing and only hear Law, and commandments, not unsurprisingly since in their day to day lives they are still rebellious.
They view themselves as the now forgiven prodigal Son returning home to feasting and fasting, and an elder brother who is spouting Law and commandments , they think , in the form of what one calls deeper truth, Romans 6 and 7, messages about taking up your cross, and falling into the ground and dying.
In reality the Elder brother knows neither
Unconditional love
Nor the deeper truths about Genesis 3 and identity.
But the returning prodigal mixes the one , the Elder brother with the other, the now skipping upon the mountains saint who has found resurrection life.

Jesus position with the proud Peter , the night before His own trial,
Wasn’t to be an elder Brother figure pointing out yet more laws and commandments, but one by the spirit laying bare who Simon Peter still thought he was , as an “ independent being”.
Jesus did this by the power of the Spirit using a prophetic word of knowledge, since there is no way humanly He could have known Peter would have done 3 actual denials within the time period that the early morning cock decides to crow three times.

Peter was convinced Jesus was wrong. The Elder brother coming out with nonsense.
Events would be Simons undoing.

We who are mature are going to be used increasingly in this way to reveal to people by the Spirit their own folly.

This will be received as “ Elder brother religious tosh”
But it isn’t , it is coming by the Spirit.

But you can see quite distinctly that there are emerging these two groups within the church, and those who are foolish will be caught up in the attempt generally to rid the world of Christ and Christians. The Lord has to show them in real time the false spirit they are living from, and indeed that there are only two spirits it is possible to live from.

So just as Jesus was consigned to death by the very spirit the disciples were still living in.... and they did absolutely nothing in All the events leading to Jesus death.... so the immature Christians are also to be caught out in real time, in order that they learn the utter awfulness of the human condition, whereby we make a proper repentance out of the whole Genesis 3 condition.

The first God -Ordained Stage : Self Organisation

First of two writings this Easter day. Whether the cells in our body, or the cells in our brain, the first thing is self-organisation.

First thing a civilisation has to do is organise itself. Same for the world.
But if you are plugged into the wrong spirit , yes you build a big phallic structure called Babel, but what then?
Now Freemasons everywhere are still angry about God stepping in to prevent this, seeing Him as the angry threatened Adonai cowering in fear lest humans get it together, but real Jews, real Christians and those of real inner faith know otherwise.
For like individuals learning their way in the world as I said, so much starts by organisation. Moving the counters around and storing them neatly. Or saving counters to buy more extraordinary complex counters.
But simultaneous to this first socialisation stage, we were also to be brought up in worship. Parents were always meant to be , not the final object of respect, but the leverage means by which kids scale up to what God is like.
The big scalar difference is that God is Spirit, and unlike the theft of the Buddhist, He is our Father and very much a Person. But He is Spirit.
“ Scalar difference” in that we are making our first leaps from the material to “ within the material”.
Reading between the lines.
Higgs Boson.
Melchizedek particles
The ghost in the machine
The quantum.
Kids in a non Illuminati run world, would, like Emsworth Church’s kids in the eighties be brought up within the atmosphere of all ages seeking the Presence of God together.
Dancing in worship.
I will enter into His courts with thanksgiving and praise.
Sir James Macmillan the composer and at times choir director spoke in St Andrews of the difficulty of getting volume out of Catholic boys in their English choirs.
Their Male Peer models spend their entire life using music to provoke sex hormones and love hormones. While this is a service to help our community reproduce, in our Illuminati world, music is now seen to do little else.
In worship from a young age kids learn sensitivity to the Holy Spirit
Who exalts God big time
Who leads us into all truth
Who leads us creatively as He too is the Creator
He tells us the Plan of God sufficient to its unfolding, this we call the prophetic.
In their “self organising “ years they are also beginning to learn of the quantum world.

Whatever the genuine spirit belief system, you will learn from books, and in deeper teaching, that just about all esoteric teachers, may not see the need yet of Jesus Christ the Cornerstone of the new creation, but they do know world civilisation has to rise to a new place spiritually, in order for the outer to change.
We have to rise beyond mere bean counting.
The organisation and storage of our “ counters”
House of Rothschild is pre eminent in materialism. Their dynasty has taken the organisation principle, the shifting and sorting of what is here, to the nth degree.
In the plan of God this is like the Victorian classroom monitor kindly laying out all the requirements for the class for the lessons ahead. The pencils, pens , the paper, collecting any free milk.
Rothschild has collected up many of the tools we need.
House of Rothschild , while seeking their own Solar Cult Dawn, and paying for it through the arrangement of all the wars, and repositioning Israel, and confusing us with many aspects of the concentration camps,
Have overseen the entire computer age, and through their “ secret wars “ plan, have tabulated every aspect of human life.

But to rise further we need spirituality. Now the solar cult plan is to further Genesis 3 and keep everyone pursuing “ their own false independent “ courses, and continue stripping the Name of Jesus, the true Lord, from planet earth altogether.

Instead of prayer, worship, seeking Gods face
and loving the One who gives us life eternal,
the aim is to reintroduce spirituality almost in the guise of a secular tool

The FIRST THING THAT HAPPENS when we enter proper relationship with God is that He is the I AM.... which necessarily brings us back into “ a mindfulness on acid”

We enter into Gods mind, His way of thinking.
His Plans for Incarnating Himself like Jesus through a multitude.

But for this flood tide to happen we are forgetting the first and second commandment

To love God with everything we have got
And to love each other in the same way
Knowing He it is living As Us

Friday, 30 March 2018

This Easter, why not fill your house ,familiarising yourself with an UNKNOWN

Fill your house with this 28 song mix of Phil Keaggy on youtbe.
In America he is well known. Paul McCartney knows him. They have both played together at a wedding reception.
Over here in Britain and outside of the rather small Christian music world he is unknown.However, I tuned for a non Christian Brit once who told me he travelled miles to attend a Phil Keaggy concert, because he knew the secret. Phil is one of the most prolific songwriters, one of the most stylistically varied, and also world class accomplished guitarists on the planet.
And this makes me angry.

Here is what I wrote on Facebook today about the first track above.

Chris Welch
3 hrs ·
I HAAAAAAAAAATE the fact that through Britain's hidden Agendas we only experienced this as a tiny tiny subculture in Britain.
Thanks to Rothschild, the rest of Britain were forbidden from the exaltation that this track always brings.... never should have missed out....please accept my apologies on Rothschild's account.

Here is a film of Phil Keaggy returning to his first house which he left in 1958, the year I was born in Ghana.

This is Phil's entire lifestory as recorded on Wikipedia

Background information
Birth name Philip Tyler Keaggy
Born March 23, 1951 (age 67)
Youngstown, Ohio, United States
Genres Contemporary Christian, Jesus music, Christian rock, new-age, folk, jazz-funk
Instruments Guitar, vocals
Years active 1966–present
Associated acts Glass Harp, 2nd Chapter of Acts, Love Song, Paul Clark, Randy Stonehill
Philip Tyler "Phil" Keaggy (born March 23, 1951) is an American acoustic and electric guitarist and vocalist who has released more than 50 albums and contributed to many more recordings in both the contemporary Christian music and mainstream markets. He is a seven-time recipient of the GMA Dove Award for Instrumental Album of the Year, and was twice nominated for a Grammy Award for Best Rock Gospel Album. He has frequently been listed as one of the world's top-three "finger-style", as well as "finger-picking", guitarists by Guitar Player Magazine readers' polls.

Early life
Keaggy was raised in a small farmhouse in Hubbard, Ohio with nine brothers and sisters. Keaggy went to high school at nearby Austintown Fitch High School, graduating in 1970.[citation needed] He is missing half of the middle finger on his right hand due to a childhood accident at age four involving a water pump.[1][2] Reflecting on the incident, Keaggy says,

We lived on a farm in Hubbard, Ohio, which had a big water pump, and I was climbing up on it. As I was kneeling on top of the platform, it broke and the faucets came crashing down on my finger and cut it off. I can remember it very vividly—as if it happened yesterday, and I can see my dad running down the hill, rescuing me, and taking me to the hospital. I can recall having a white cast and bandage; it was gigantic! They tried to sew it on, but it didn't take, so I grew up with nine fingers. As a young kid, I was embarrassed about it a lot, especially when I was beginning to get into guitar. I used to be red when I'd play in front of people because I believed they were looking at my hand, which they probably weren't...Before my accident with my finger occurred, my oldest brother was killed in a car accident and two weeks afterward my younger sister had her big toe cut off. These were all really heavy things for my mom and dad to go through.[3]

Initially, it was not the guitar that attracted Keaggy to playing music. Keaggy explains:

I asked my dad for a set of drums for my tenth birthday but he came home with a Sears Silvertone guitar[4]...I had wanted a set of drums, but my folks couldn't afford them, so I got the guitar. I didn't know how to tune the guitar;. as it was when it came, that's how I thought it was supposed to be...So for about nine months I learned funny little melodies with my guitar tuned out. Finally, my brother Dave said "Here, let me show you how to tune this thing properly." I said, "Well, O.K., but I gotta learn all over again." I was disappointed[3]...My oldest brother Dave, showed me some chords...But if I were to pinpoint one turning point...when I was in sixth or seventh grade, I met a man named Nick who worked an electronics store in California, where my family lived for awhile. One day, Nick took me to a music store loaded with all these great guitars the British groups were using and he asked me "Which one is your favorite?" I pointed out a 1962 Stratocaster and he bought it for me. He got me my first professional gig at Artesia Hall—just me and my guitar and amp[4]...I paid him back by sweeping driveways and working in the electronics store. I had that guitar for quite a while and put a lot of time and effort into playing it.[3]

Keaggy was a member of a mid-1960s garage rock band called the Squires; one of their songs ("Batmobile"), which he co-wrote, appears on the compilation album Highs in the Mid-Sixties, Volume 9. In 1966 he joined Volume IV, which in 1967 became New Hudson Exit. The band appeared frequently in Youngstown clubs and also released a Keaggy composition, "Come With Me", as a single on the Date label. At one point, New Hudson Exit had considered Joe Walsh as its lead guitarist. Walsh would later establish himself as guitarist for the James Gang before embarking on a solo career and work with the Eagles.

In 1968, Keaggy and longtime friend drummer John Sferra, along with bassist Steve Markulin, formed the band Glass Harp. The band gigged in and around the Youngstown, Ohio, area and found work at school dances and clubs. This incarnation of the band recorded several demos, and released the single "Where Did My World Come From?" on the United Audio label in 1969.

Markulin left the group to join his cousin Joe in another successful Youngstown band, The Human Beinz. Keaggy and Sferra then recruited bass player Daniel Pecchio. Pecchio, formerly of the band The Poppy, was also a flute player, a talent that would later be showcased on several Glass Harp's songs. Having recorded a new set of demos and signing with new management, the band set out to polish their live act and shop for a recording deal.

A major turning point for the trio was their winning of an Ohio area's "Battle of the Bands", One of the event's judges happened to be an associate of producer Lewis Merenstein, whom he alerted to the threesome. Merenstein was persuaded to fly down from New York to listen to the band in concert. Upon hearing Glass Harp perform, Merenstein's enthusiastic report resulted in Decca Records signing Glass Harp to a multi-record deal.[5]

Reflecting on 1970, Keaggy recalls:

...the 18th year of my life was very dark; I was into drugs by now....back in '69 I was experimenting with LSD. I had done some trips and it was terrible, I thought it might enhance my creative ability in music, but it didn't. I once heard a tape of me playing when I was high and it was awful. I sang weird and I played badly. I thought I was doing such a great job, but it was a deception. People I was supposedly very close to, who were close to me, were turning on me. It seemed really strange...I was experiencing such was just...terrible...During these days I would take naps in the afternoon because I'd be so tired playing at night, staying up till 4 in the morning, getting up early and napping again in the afternoon. I'd wake up having nightmares...I had "Peace" written on my wall and I went around giving the peace sign, but I didn't experience peace in my life. I didn't know what peace really meant; it was just a cliché.[3]

On Valentines Day in 1970, Keaggy's mother was seriously injured in an auto accident. After her death a week later, and inspired by his sister, Keaggy became a Christian.[3]

In September, Glass Harp found itself in New York's Greenwich Village recording its first album Glass Harp at Jimi Hendrix's Electric Lady Studios with Lewis Merenstein as producer. At the time of this recording, Keaggy and Sferra were nineteen years old. As for the album's content, all three members of Glass Harp were active in songwriting the band's material. Keaggy sang the majority of songs, but Pecchio and Sferra also sang lead on several numbers. One song of Keaggy's in particular, "Can You See Me", reflected his newfound Christian faith, with its reference to Jesus' death. Keaggy recalls, "It was recorded in New York City in about a week. Even though I had bronchitis and had to sing one verse at a time, it worked out. And I was even able to get in a witness for the Lord Jesus in "Can You See Me" and "Look in the Sky".[3]

As a Decca Records artist, the band began to open for such bands as The Kinks, Iron Butterfly, Yes, Traffic, Grand Funk Railroad and Chicago. Contrary to the tight production and song-oriented nature of Glass Harp's studio albums, their live performances demonstrated the band's ability to stretch out and expand the boundaries of their compositions. As a result, they are one of the pioneers of what would later be known as the jam rock genre, with songs many times reaching over 30 minutes in length with extended solo passages and group improvisation.

In 1971, Glass Harp released a follow up album, Synergy. Again Keaggy's Christian faith surfaced in some of the lyrics. The guitarist notes, "That album was a real experience because I was able to sing 'The Answer', a song I wrote right after my conversion to Christ. And with...producers and an engineer that didn't care about Jesus, I was surprised that out of 15 songs, one of the ten that got on the album was 'The Answer'. I praise Jesus for that work, because it's just a simple song of testimony."[3] The following year the band released its third album: It Makes Me Glad, which included a version of the old spiritual "Do Lord". "We all worked the best that we could. The group knew that it would be our last album together because I had given notice that I was going to leave. And on August 8, I did. It was a really heavy thing for everybody."[3]

Having recorded three albums with Glass Harp, Keaggy left the band in 1972. Keaggy says, "We enjoyed playing together and we really got tight musically. But spiritually we were going different directions."[3]

In 1973 Keaggy released What a Day, his first solo album. The songs were written while Keaggy was still with Glass Harp[6] Keaggy performed all the instruments on the album. The title track remains a staple of Keaggy's concerts up to the present day.

Keaggy married his wife Bernadette in the summer of 1973. He then took a brief hiatus from recording on his own and only toured in support of other artists like Love Song, 2nd Chapter of Acts, Paul Clark, and Nancy Honeytree. Years later, Amboy Dukes guitarist Ted Nugent was quoted as saying "I don't know what happened to that Phil Keaggy. He could have saved the world with his guitar."[7] Keaggy and his wife had migrated to rural Freeville, N.Y., to participate in, and become immersed in the discipleship program of Love Inn Community led by Scottish-American disc-jockey Scott Ross. Ross affiliated himself and Love Inn Community with the Shepherding Movement, which progressively took on many characteristics of an authoritarian cult.[8][9] It was not until Keaggy extracted himself from this group, and the menial labor to which they had largely confined him, that he once again began to record significant music.

In late 1974, Keaggy played guitar on Joe Vitale's debut solo album Roller Coaster Weekend produced by The Albert Brothers. The album featured guitarists Joe Walsh and Rick Derringer.[10]

Keaggy returned to the studio in 1976 with Love Broke Thru, an album which included his version of a song that would eventually be considered a classic in Christian Music: "Your Love Broke Through". Written by Keith Green, Todd Fishkind and Randy Stonehill, the song would later be closely identified with Green, yet it was at Green's insistence that Keaggy's rendition be the first released recording.[7] A longtime fan of C.S. Lewis, Keaggy also included an arranged version of the author's poem "As the Ruin Falls". The seven-minute "Time" is considered by some fans to be the first album-oriented rock extended-length "Free Bird" of contemporary Christian music. "Time" featured Keaggy's innovative guitar technique of violin-like swelling, found approximately 3:54 and 5:17 in the song. The effect requires picking the string, raising and then lowering the guitar volume knob for each note in a melody. Keaggy's album was listed as No. 64 in the 2001 book, CCM Presents: The 100 Greatest Albums in Christian Music.[11]

During the summer of 1977 Keaggy went on an eighteen-city tour of the western United States with 2nd Chapter of Acts and "a Band called David". This tour was captured in the subsequent live triple-album How the West Was One, a collection that featured concert renditions of "What a Day" and "Your Love Broke Through". That same year also saw the formation of the Phil Keaggy Band. Comprising Keaggy, guitarist Lynn Nichols, keyboardist Phil Madeira, bassist Dan Cunningham and drummer Terry Andersen, the Phil Keaggy Band released their lone album in 1977, Emerging. This band was featured as Love Inn Company on an album of songs by Ted Sandquist titled Courts of the King, and as the backing band for Nedra Ross on her Full Circle album. The title track would be redone by Keaggy in 1981. 1977 also marked the release of the Glass Harp compilation album, Song in the Air.

In 1978, Keaggy released his first critically acclaimed instrumental album entitled The Master and the Musician. It would go on to become the best-selling album of his career.[12] A 1989 reissue of the album included a new track, "Epilogue: Amazing Grace".

The Keaggy family moved to Leawood, Kansas in August 1979, and their first daughter, Alicia, was born there in March 1980. They left Leawood in 1983 and settled in Costa Mesa, California. Their second daughter, Olivia, was born on February 14, 1984 and their son Ian was born on June 16, 1987.

Keaggy's record label during the early part of the decade was Sparrow Records. 1980's Ph'lip Side features "Sunday School" and the gentle "Little Ones", an early anthem for the pro-life movement. The following year saw the release of Town to Town, noted for what has become a concert staple "Let Everything Else Go". It also included Keaggy's arrangement of "Rise Up O Men of God". This would begin a trend in which Keaggy would frequently feature a hymn on his albums. In 1982, Keaggy released Play Thru Me, noted for its upbeat classic, "Morning Light" as well as the slide-guitar instrumental workout, "Happy".

In 1984, Keaggy and Randy Stonehill co-wrote and sang the duet "Who Will Save the Children?" for Stonehill's album Celebrate This Heartbeat. The duet would also serve as a theme song for Compassion International, a Christian child advocacy ministry. Both artists remain avid supporters of this ministry up to the present day.[citation needed]

The following year Nissi Records released Keaggy's next studio album, Getting Closer. Keaggy would later re-record two of the album's songs: a rearranged version of "I Will Be There" appears on 1993's Crimson and Blue while "Passport" received an update for the 2009 Christian Progressive Rock compilation album CPR 3.

1986 saw the release of Way Back Home. The album consisted of quieter acoustic numbers, including a new take on 1981's "Let Everything Else Go" and "Maker of the Universe", a ballad about the incarnation of Christ. The album also emphasized one of the prominent themes in Keaggy's music: family.

The next year Phil Keaggy released his second instrumental album, The Wind and the Wheat. The album reflects the "new-age" instrumental sounds of the day. The Wind and the Wheat won the guitarist his first Dove Award, an honor that he received in 1988. Also in 1988, Keaggy and Stonehill would team up with singer Margaret Becker, former Wings drummer Joe English and others as the Compassion All Star Band. The group released a subsequent live album One by One.

In 1989, Keaggy teamed up with Randy Stonehill, vocalist Russ Taff, bassist Rick Cua, Derri Daugherty, Mark Heard, Steve Taylor and other musicians to create Phil Keaggy and Sunday's Child. Lynn Nichols, guitarist for the 1977 Keaggy Band, produced the Sunday's Child project. The title track in particular recalled the sounds of the 1960s, and that, along with an album cover that resembled that of the classic image of With The Beatles, has sometimes seen the Sunday's Child album referred to as a tribute album of sorts to the 1960s.[citation needed] Referring to the Sunday's Child album cover, Keaggy says that the idea

was the producer's. I actually had a different cover in mind...It was...a black and white [photograph] of my daughter Olivia sitting on a guitar case, with this Gretsch anniversary model standing up behind her against this concrete wall, and she's got a little white flower wreath in her hair. She's about four years old, and...I just loved that cover. So when the album came out, I wasn't really knocked out by the Beatles thing, because it didn't look like the Beatles to me! It was my goofy face and then these three guys in the background, one of which was Lynn Nichols, the producer. And I thought, "Oh, I don't care for this." I wanted to have the other cover. I wanted it to say "Phil Keaggy and Sunday's Child," and to me, that was Olivia, being as she's my daughter. So my nephew works in a printing place, and I created this cover that had all the same photos and information inside the CD insert, but I had him make 500 of these new covers, and we took the shrink wrap off...500 CDs, and...inserted these covers that I wanted and took them on the road and sold them, and we mailed them out through the fan club, since we didn't have a website in those days."[13]

Reflecting on the music of the project, Keaggy says,

I feel the album, as a good collection of songs, is really listenable...I feel that folk who want to listen to an album are more interested in good songs than merely the guitar player. For Sunday's Child, not only did we resort to using vintage guitars and amps, but I resorted back to old ways of playing. The rock leads are shorter and more precise. More to the point, feisty, and a little bit more dangerous. What you get is more incisive work. It's something that fits the song rather than trying to create a song around a riff or guitar figure...What I think comes through this album is that sense of longing, of love, of suffering and in all of this there can be hope. Everyone has to find their way to God and I hope people will see Jesus in my life and this album as a guide along the way."[7]

One track, "I've Just Begun (Again)", was first written when Keaggy was 17, and was updated for this album. In addition to his own material, Keaggy recorded two Mark Heard songs for the album: "I Always Do" and "Everything is Alright". The recordings would appear again on subsequent tribute albums to Heard. One of the tribute albums, Orphans of God, was listed at No. 25 in the book, CCM Presents: The 100 Greatest Albums in Christian Music.

Also in 1989, Keaggy hit the road with Stonehill for a tour by The Keaggy/Stonehill Band, which included Swirling Eddie drummer David Raven and Daniel Amos bassist Tim Chandler. In the fall of that year, the Keaggys relocated once again, leaving southern California and moving to Nashville, Tennessee where they reside currently.[citation needed]

A few years later, Keaggy would perform at former Beatle Paul McCartney's sister-in-law's wedding. Keaggy had met Laura Eastman, sister of Linda McCartney, while the former worked at CBN. After the wedding, Keaggy fulfilled a lifelong dream by jamming with McCartney in a bedroom at the Eastman family estate, site of the wedding.[14][citation needed]

Keaggy followed Sunday's Child in 1990 with an all-out rock album Find Me in These Fields. The project was produced by Lynn Nichols and garnered a Grammy award nomination.

In 1992, Keaggy released what has become a landmark acoustic instrumental album, Beyond Nature. His third instrumental project reflected a Celtic-influence and earned the guitarist his second Dove Award in the "Instrumental Record" category. The album's title, Beyond Nature, was derived from a quote in C.S. Lewis' book Mere Christianity. A long-time fan of Lewis' work, Keaggy also referenced the author in several song titles ("Brother Jack", "Addison's Walk" and "County Down").

The following year saw Keaggy work with another group of talented musicians for his next project. These recording sessions reunited Keaggy with former Glass Harp bandmate John Sferra on drums. Keaggy says, "I started Crimson & Blue with a two-fold purpose: To record something more aggressive and to work with John again. We recorded all the basic tracks together and most of the leads were recorded live. It's just your basic four-piece group."[4] Comprising the rest of the group were Phil Madeira, the former keyboardist of the 1977 Phil Keaggy Band, bassist Rick Cua, and guitarist Jimmy Abegg. Lynn Nichols produced the sessions. Other guest musicians included Sam Bush on mandolin, John Mark Painter (of Fleming and John), and Ashley Cleveland on backing vocals. Charlie Peacock and Steve Taylor also played a prominent role in the project. The sessions resulted in the release of Crimson and Blue, a bluesy rock album geared to the Christian market that included a cover of Van Morrison's "When Will I Ever Learn to Live in God". "Love Divine", "I Will Be Here" and "Everywhere I Look" all received significant airplay. That album was released simultaneously in the mainstream market as Blue, with a modified track list and some reworked songs. The most significant differences are the inclusion of three different songs (a cover of Badfinger's "Baby Blue"; "All Our Wishes"; and "The Further Adventures of...") and the exclusion of five songs from Crimson and Blue ("Love Divine", "Reunion of Friends", "Stone Eyes", "I Will Be There", "Nothing But The Blood".) The song "All Our Wishes" is a story about Phil and Bernadette Keaggy losing a baby. The song was written, musically, in 1967 when Keaggy was in ninth grade.[15] The band that toured in support of the album featured Madeira on Hammond B-3 organ, Sferra on drums, and Wade Jaynes (of Chagall Guevara) on bass.

In June 1994, Phil released a heavily revised version of his 1986 album Way Back Home.[16] The 1994 edition featured new recordings of ten of the original album's eleven songs, including the moving classics "Maker of the Universe" and "Let Everything Else Go". The updated version also included four brand new tracks: "It Could Have Been Me". "She's a Dancer", "Father Daughter Harmony", and "The 50th". Keeping with the album's family motif, "Father Daughter Harmony" was a moving duet with daughter Alicia while "The 50th" features Keaggy's guitar playing over excerpts from a vinyl record of his grandparents' 50th wedding anniversary in 1948.

1995 saw the release of a two volume compilation project: Time: 1970-1995. The anthology featured selections from throughout Keaggy's career, including several classic instrumentals. Several unreleased tracks were featured, including a live version of "Do Lord" with Glass Harp, a live version of "Shouts of Joy" from the Crimson and Blue tour and "We'll Meet Again", a song Phil wrote and recorded as a teenager. An alternate version of "Time" was also included as was a new solo recording of the Glass Harp song "The Answer".

Also in 1995, Keaggy was voted by Guitar Player Magazine readers as the No. 2 Best Acoustic Fingerstyle Guitarist.

That same year, Phil released what has become one of his best-selling albums, True Believer. The title track was written by producer Alan Shacklock and reached number one on the Christian radio charts. It also won Shacklock the EMI Songwriter of the Year award. Shacklock's production work on the album was a departure in style and sound for Keaggy; this would prove to be Keaggy's lone work with Shacklock. Years later, in reflecting on the album, Keaggy would say that True Believer "is really the most unlike me of any album I've ever done, in my personal opinion. It was more of a manufactured concept: "We're gonna make a pop album for you that's going to launch you into the next ten years". I don't know if it did. It's an unusual album to listen to for me, but there are a couple of good songs on there, though."[13]

The following year Keaggy released another critically acclaimed instrumental album, Acoustic Sketches. Comprising mainly Keaggy originals, the album features a cover of "Swing Low, Sweet Chariot", and would later win Keaggy another Dove Award. A second instrumental album, 220, was also released. The album, titled after the 220 volt electric standard, featured a diverse mix of musical styles, ranging from blues to Celtic. The album's final track, "Ian's Groove", marks the recording debut of Phil's son on drums. Despite its stellar performances, as a collection of original instrumentals, the album was largely overlooked. Keaggy says, "that was a very cool album that...Christians and Christian bookstores and...the marketplace ...couldn't make the connection, because it's electric guitar music. So it kind of fell by the wayside."[13] Also in 1996, Phil's wife Bernadette published A Deeper Shade of Grace, a moving account of the emotional and spiritual struggles she experienced in losing their first five children via early infant death, miscarriage and stillbirth. Phil wrote the foreword to the book.

In January 1997, the Rock and Roll Hall of Fame, located in Cleveland, Ohio, opened an exhibit called "My Town". Because the exhibit focused on Cleveland's rock and roll history, Glass Harp was invited to perform at the Museum. The band is also currently represented in the Museum's Ohio Exhibit.[17]

The year also saw the release of Keaggy's On the Fly album, arguably his most ambitious instrumental project to date. Released through Canis Major Records, highlights includes the Spanish-flavored "Praise Dance", the hypnotic groove "Firewalker", and the six-part epic, "Way of the Pilgrim". Also in 1997, Phil teamed up with Wes King and Out of the Grey's Scott Dente for the mostly instrumental album Invention. The album would win a Dove Award the following year. Keaggy would then go on to sign with Word Records.

Phil Keaggy, Phil's last vocal album of the decade, came out in 1998. Lacking the slick production style of the previous vocal album, True Believer, Phil Keaggy was a strong return to form for Keaggy in terms of recapturing his usual organic, live sound. Several songs reflected a Beatles influence, including "Days Like You", his last single to receive considerable airplay as Christian radio has been moving towards a more youth-oriented format. Keaggy also appeared as a guest singer on the Ragamuffins' "All the Way to Kingdom Come", on his friend Rich Mullins' last original work, The Jesus Record (which contained demo tracks recorded by Mullins just before his 1997 death, and renditions of those songs by the Ragamuffins and other artists).

1999 saw a flurry of Keaggy instrumental releases. The double album Premium Jams is a stunning collection of previously unreleased electric instrumentals dating back to the recording sessions for Crimson and Blue and 220. Majesty and Wonder, a Christmas album featuring the London Festival Orchestra, includes Keaggy's take on standards such as "Oh Holy Night" as well as a three-part original, "Nativity Suite". Majesty and Wonder would also win Keaggy a Dove Award. Phil later released the four-disc collection Music to Paint By. The project was composed of Still Life, Electric Blue, Splash, and Brushstrokes.

Re-Emerging, Keaggy's first album of the new millennium, came out in April 2000.[16] The disc was a reunion of the Phil Keaggy Band in which they updated their classic 1977 album, Emerging. With the exception of "Gentle Eyes", Re-Emerging retained the material from the original album and also introduced four brand new tracks: "My Auburn Lady", "Mighty Lord", "You're My Hero", and "Amelia Earhart's Last Flight".

In September, Phil released the instrumental album Zion.[16] Recorded exclusively on a Zion Radicaster created by master guitarmaker Ken Hoover at Zion guitars, Zion features a mix of new songs such as "Z-Blues" and revamped versions of "Like an Island", "March of the Clouds" and the Glass Harp classic "Whatever Life Demands".

Having performed together occasionally since 1981, in October, Keaggy, John Sferra and Daniel Pecchio reunited as Glass Harp for a concert in their hometown of Youngstown, Ohio at a sold out Powers Auditorium. Joining the band for the occasion was conductor Isaiah Jackson and members of the Youngstown Symphony. The following year saw the commercial release of the reunion concert in the form of the live album Strings Attached. Although the album is largely devoted to the band's previous work, it also includes Glass Harp's take on several songs from Phil's solo career such as "Tender Love", "Chalice", "From the Beginning" and a solo acoustic version of "The True Believers".

October 2000 also marked the release of Inseparable, initially available in both single and double disc format,[16] with the single disc version eventually going out of print. The album featured "Chalice", a collaboration with Glass Harp drummer John Sferra as well as a cover of Paul McCartney's "Motor of Love". That same month, Phil released Lights of Madrid,[16] an album of Spanish-flavored instrumentals that included a re-recording of "Praise Dance" from 1996's On the Fly. Lights of Madrid also contains a PDF with guitar tabliature for the album's music. Lights of Madrid would go on to win Keaggy a Dove Award for best instrumental album.

In November, Phil released The Uncle Duke project, a collaboration with his uncle Dave "Duke" Keaggy, with Phil setting his uncle's eclectic poetry to music.[16]

In 2001 Keaggy released the albums In the Quiet Hours and Cinemascapes.[16] Both consisted of selections from the 1999 four-disc project Music to Paint By. In the Quiet Hours showcased a new composition "As It Is in Heaven", while Cinemascapes includes three previously unreleased songs: "The Road Home", "Lighthouse", and "For the Love". The song "Spring" was previously released on 2000's Uncle Duke as "Interlude". The year also saw the release of What Matters, a nine-song compilation drawing mostly from the albums Phil Keaggy and Crimson and Blue. "Tell Me How You Feel" from Sunday's Child is also included as is a brand new song "What Matters". The album was exclusively produced for and released through the International Bible Society.

2002 saw the release of Hymnsongs.[16] Primarily a collection of classic hymns, the album also includes a Keaggy original composition that is centered around the Lord's Prayer. This track, "Our Daily Bread", as well as the entire album, are dedicated to Todd Beamer, a Christian passenger of 9-11's Flight 93, and a fan of Keaggy's music.[18] Describing the concept of the project, Keaggy says, "I've always loved hymns. They're great melodies that still stand on their own, and are still sung, even after centuries have passed. And those melodies are even more appreciated when you know the lyrics. The writers of the hymns were great wordsmiths; they could be so concise and so eloquent in their expression of truth. And theirs is music that speaks to every generation".[19] Yet Keaggy's then label, Word Records, did not share his vision for the project and asked that it be an instrumental album: "it's the oddest me, hymns should be really sung. I had a conflict with it because, here I am, I can sing, and yet they didn't want me to sing...I offered--I went to management about it and it was pretty much, "No, don't do that. That's not want they want."[6] Hymnsongs would be Keaggy's last album with Word Records.

That same year, Phil also participated on Randy Stonehill's Edge of the World album, singing a duet "That's the Way It Goes" as well as appearing on "We Were All So Young" with other veteran musicians such as Larry Norman. Additionally, Keaggy's wife Bernadette published Losing You Too Soon, an updated version of A Deeper Shade of Grace, her 1996 book on losing her first five children through early infant death, miscarriage and stillbirth.

The next year Keaggy released It's Personal, an album in which he set poetry by Keith Moore to music.[16] Keaggy and Moore had previously collaborated on the song "A Little Bit of Light" that appeared on the guitarist's 1998 self-titled album. Also in 2003 Keaggy released Special Occasions, an eclectic collection of music focusing on birthdays, weddings and graduations.[16] The album consisted primarily of Keaggy originals and also featured a re-recording of "Here and Now" from 1986's Way Back Home, as well as covers of the Beatles tune "When I'm 64" and Elton John's "The Greatest Discovery". That same year, Sparrow Records, Phil's former record label (1980–1983, 1994–1997), released a 15-track compilation History Makers.[16] It features standards such as "Let Everything Else Go", "Morning Light", and "The True Believers". 2003 also saw the release of Hourglass, the first album of new material by Glass Harp since 1972. The album included a new recording of a rare Keaggy solo tune, "What Matters", the title track of a compilation album exclusively produced for and released through the International Bible Society in 2001.

Also in 2003, guitarist Muriel Anderson released an album with Keaggy entitled Uncut Gems. A collection primarily consisting of instrumental improvisations recorded in 2001 and 2003, the two also perform Keaggy's "Tennessee Morning" from his 1996 album 220. Guitarist Stanley Jordan appears on several songs. Portions of the album's earnings go towards Anderson's Music for Life Alliance fundraiser.

The following year, Glass Harp released Stark Raving Jams, a triple-disc 39-song collection of material spanning from 1970 to 2003. The collection focused primarily on live performances but also includes a few unreleased studio recordings. Like Strings Attached, this Glass Harp album includes live renditions of some Keaggy solo material.

In 2004 Keaggy guest performed with the indie band Dispatch for several songs during The Last Dispatch. Phil also released two live DVDS: Phil Keaggy in Concert: St. Charles IL, and Philly Live!

In 2005, after thirty years of being out of print, Glass Harp's first three studio albums were reissued on CD by Music Mill Entertainment. The albums were digitally remastered and include previously unreleased bonus tracks. In July, Keaggy also released an expanded edition of Uncle Duke.[16] First released in 2000, this new edition was entitled The Uncle Duke Project and included the original album plus a bonus disc of new songs, alternate versions and an interview with Phil and his uncle.

The following year, Keaggy released Freehand, the sequel to Acoustic Sketches. That same year Keaggy and long-time friend Randy Stonehill released Together Live! in both album and DVD format. In addition to including acoustic renditions of Keaggy and Stonehill's solo material, the project includes versions of their previous collaborations such as "Sunday's Child", "Who Will Save the Children?" and "That's the Way It Goes". Keaggy later guest performed on two songs of Rufus Tree's album Dying To Live.

2006 saw Keaggy release three additional instrumental albums: Jammed! was a one-disc collection of songs featured previously on 1999's double album Premium Jams.[16] The album also included a new rendering of "Ode to Joy" titled "Joyphil" and "Prehistrobie K-18", a previously unreleased song that Phil wrote and recorded as a teenager. The acoustic instrumental album Roundabout, is another instrumental collection. The songs are either improvisation or other riffs played over loops that were recorded as part of the performance. Keaggy explains that the songs "began with me messing around at my soundchecks before the audience came in. I'd typically just come from taking a nap at a hotel, so my mind would be fresh, and I'd improvise loops that would be recorded by my soundman, Brian Persall. The loops have rhythm, lead, bass, and even percussion parts along with textures created using an EBow and placing plastic between the strings, which creates koto, banjo, and steel drum-type sounds. After I returned home, I imported all of the loops into Pro Tools and edited some sections, but no overdubs were added either after the initial recording or while in the studio. If a song was too long, I might edit some measures or repeated sections to make it a little less repetitious, or maybe move some bits around."[20]

Phil Keaggy and guitarist Mike Pachelli released an acoustic instrumental project titled Two of Us. Also in 2006 Phil released a vocal album, Dream Again. It includes his son Ian, who co-wrote, sings and plays guitar on "Why" while his daughter Alicia sings a duet with her father on "Micah 6:8".[16] In 2006, Glass Harp reunited for a concert to celebrate the release of their first DVD, Circa 72. The DVD is the first official release of their 1972 PBS concert, and includes rare outtakes, home movie footage, and a commentary by the band. The year also saw the release of Happy Valentine's Day, a limited edition compilation of various love songs that Phil had recorded over the years as well as four new tracks.

In April 2006 Keaggy launched a free Podcast that is available through his website and iTunes. His last edition to date is from September 2008. The Podcasts feature music and commentary from Phil as well as music from some of his favorite artists.

On October 29, 2007 Keaggy was inducted into the Gospel Music Hall of Fame by P.O.D. guitarist Jason Truby.[21] He also released Acoustic Cafe, an album, that with the exception of "You Have My Heart", is a collection of covers ranging from Bob Dylan ("If Not For You", "Make You Feel My Love") to Cyndi Lauper ("Time After Time"). Many of the songs are duets, such as the Beatles' "In My Life" with Randy Stonehill and the Everly Brothers "All I Have to Do is Dream" with Jeremy Casella. Later that year Keaggy released another acoustic instrumental album: The Song Within. Recorded using a McPherson acoustic guitar, the album revamped two Keaggy classics, with "What a Day" being transformed as "Water Day" and "Noah's Song" undergoing significant revision as "Noah's Shuffle".

2007 also marked the 30th anniversary of the landmark instrumental album, 1978's The Master and the Musician. The album was re-released with a bonus disc of outtakes, alternate versions and a recent interview. Keaggy also toured in support of the album's anniversary with a band that featured Glass Harp drummer John Sferra. The tour was chronicled on the subsequent live DVD: The Master & the Musician: 30 Years Later Tour. The next year Keaggy released the album Phantasmagorical: Master and Musician 2, the sequel to his 1978 masterpiece.

In 2008, Keaggy received the Gold Level Award as the "Best Spiritual / Worship Guitarist", as voted by readers of Acoustic Guitar Magazine,[22] as well as appearing in the form of vocals and lead guitar on the Richard Cummins CD, Moments, which was nominated for "Best Pop/Contemporary Album of the Year" by the Canadian GMA's, Covenant award.

In June 2009, Keaggy and Randy Stonehill released a new studio album titled Mystery Highway.[23] In support of the album, the two musicians, along with guitarist Mike Pachelli and Glass Harp's Daniel Pecchio and John Sferra, played several concerts as "The Keaggy-Stonehill Band". The year also saw Keaggy contribute a soaring re-recorded version of "Passport" on the album CPR 3; a compilation of musicians from the Christian Progressive Rock (CPR) scene. The original version of "Passport" appeared on Keaggy's 1985 album Getting Closer. In October Keaggy released an instrumental album with pianist Jeff Johnson titled Frio Suite.[23] After meeting each other for the first time at the beginning of the year, the two musicians stayed in touch and created the album via email, with Johnson recording in Seattle while Keaggy recorded in Nashville.[24] December saw the release of the guitarist's third Christmas album, Welcome Inn.[25] Featuring mostly original compositions such as the title track, Welcome Inn also includes the classic "God Rest Ye Merry Gentlemen" and an acoustic instrumental version of "In the Bleak Midwinter". The project also includes a new recording of "On that Day", a song co-written with Glass Harp drummer John Sferra for Keaggy's True Believer album in 1995.

On March 27, 2010, Glass Harp released their fourth live album: Glass Harp Live at the Beachland Ballroom 11.01.08. The ten-song project included material from Phil's solo career: "Sign Came through a Window" and "John the Revelator". The album is a recording of a benefit concert that Glass Harp headlined for Roots of American Music (, "an organization dedicated to the preservation, performance and education about traditional American music in our schools."[26]

Also in late 2010, Keaggy did some session work with former Monkees member Micky Dolenz for Dolenz's solo album King for a Day.[23] and he played guitar on the song "Rushing Wind" on Steve Clark's album Save The Day.

In the fall of 2010, The Phil Keaggy Trio released their first album, Inter-Dimensional Traveler. The project is a collaboration with keyboardist Jack Giering and Glass Harp drummer John Sferra.[23] and is described as being a wonderful blend of ambient jazz and funk, as well as being accredited with creating some of the tastiest jazz-funk licks to come out of Music City in a long, long time.[27][28]

In addition to recording and touring regularly, Keaggy is currently working on a record with former Living Sacrifice and P.O.D. guitarist Jason Truby.[29]

Rumored comments by Jimi Hendrix and others
For decades, rumors[30] have circulated which attribute comments regarding Phil Keaggy to a host of guitar icons. The most common rumored statements are attributed to Jimi Hendrix.

On March 19, 1970, an advertisement appeared in the Mansfield News Journal for an Iron Butterfly Concert at Ashland College the following evening, with Glass Harp listed as the opening band (erroneously printed as "The Grass Harp"). Underneath "The Grass Harp", a caption read "They Jam with Jimi Hendrix".[31] Glass Harp had not in fact appeared anywhere with Jimi Hendrix (they were at that time still a local band to Northeast Ohio with little or no following nationally). It is unknown whether or not the promoter or Glass Harp's then-management directed that the statement be placed in the advertisement, but it is believed to be the first instance of any rumor regarding Hendrix in relation to Keaggy/Glass Harp

In a February 5, 1971 feature on Glass Harp in Cleveland's The Plain Dealer, the paper's rock music critic Jane Scott cited unnamed "record people" who told a story of Hendrix saying (in 1970) "That guy (Phil Keaggy) is the upcoming guitar player in the Midwest".[32] With no sources ever named, and Jane Scott's death in 2011, the accuracy of the article is virtually impossible to verify.

In later years, rumors escalated into stories of Hendrix appearing on various television programs where he mentioned Phil Keaggy. A common variation says that during an episode of The Tonight Show, Johnny Carson asked Hendrix, "Who is the best guitarist in the world?" Hendrix is said to have answered, "Phil Keaggy." This has since been proven to be untrue, as evidenced by the available audio from Hendrix's (only) appearance on The Tonight Show on July 10, 1969 with guest host Flip Wilson.[33] No mention of Keaggy or Glass Harp is made.

Another version of the story has Hendrix being asked, "Jimi, how does it feel to be the world's greatest guitar player?" To which Hendrix supposedly replied, "I don't know, you'll have to ask Phil Keaggy!" This account is sometimes attributed to a magazine interview in either Rolling Stone or Guitar Player. Occasionally the story has the setting for the question being a Hendrix appearance on The Dick Cavett Show, which is also untrue, as the clip from the show in question (in 1969) contains no mention of any other guitar players.[34]

Other examples have the question being posed to Eric Clapton. A more recent variant has Eddie Van Halen being asked the question by either David Letterman or Barbara Walters.

Keaggy has long insisted that such stories are completely unfounded, noting that "it was impossible that Jimi Hendrix could ever have heard me...We...recorded our first album at Electric Lady Studios two weeks after his unfortunate death, so I just can't imagine how he could've heard me. I think it's just a rumor that someone's kept alive, and it must be titillating enough to keep an interest there...So I don't think it was said…and that's it for that!"[13] Keaggy's recollection of the time frame during which Glass Harp's first album was recorded differs slightly from Glass Harp's officially-published history (which have the recording sessions ending on September 17, 1970, just hours before Hendrix's early-morning death in London, and not two weeks after).[35]

In a July 2010 interview, Glass Harp bassist Daniel Pecchio commented on the ongoing Hendrix rumors saying "It's a true urban legend. I still have people coming up to me claiming to have a Dick Cavett Show tape where Hendrix says that. We never pushed that rumor, you know, but it didn't hurt us."[36]

Personal life
His son Ian Keaggy was the bass player for the band Hot Chelle Rae, which had a Top 10 hit on the Billboard Hot 100 in 2011.[37] He left the band in 2013 to pursue his solo career.[38]

His nephew was married to contemporary Christian singer songwriter Cheri Keaggy.

His sister is retired American television and film actress Mary Ellen Kay.[39] Keaggy credits her for introducing him to the Christian faith

stop press - LOVE THIS

Excerpt from Behold a Pale Horse 1991 by Bill Cooper

WC/Author's Note: All above emphases are mine as are those in the following
two sections and including bracketed additions throughout.
I do recognize this document, based upon the document's own admission, as a
formal Declaration of War by the Illuminati upon the Citizens of the United
States of America.
I acknowledge that a State of War exists and has existed
between the Citizens of the United States of America and the Illuminati
aggressor based upon this recognition. I present to you that the peaceful
Citizens of this nation are fully justified in taking whatever steps may be
neccessary, including violence, to identify, counterattack, and destroy the
enemy. I base this statement upon the God-given right of any peaceful people
to defend themselves against attack and destruction by any enemy waging
war against them. I cite the principles outlined in the Declaration of Independence,
the Constitution of the United States of America, and the fully
recognized and acknowledged historical precedents that have served as the
justification for destruction of tyrants.
Silent weapon technology has evolved from Operations Research
(O.R.), a strategic and tactical methodology developed under the MILITARY
MANAGEMENT [Eisenhower] in England during World War II.
The original purpose of Operations Research was to study the strategic and
tactical problems of air and land defense with the objective of effective use
of limited military resources against foreign enemies (i.e., logistics).
It was soon recognized by those in positions of power [THE COUNCIL
ON FOREIGN RELATIONS] that the same methods might be useful
for totally controlling a society. But better tools were necessary.
Social engineering (the analysis and automation of a society) requires
the correlation of great amounts of constantly changing economic informa-
tion (data), so a high-speed computerized data-processing system was
necessary which could race ahead of the society and predict when society
would arrive for capitulation.
Relay computers were too slow, but the electronic computer, invented
in 1946 by J. Presper Eckert and John W. Mauchly, filled the bill.
The next breakthrough was the development of the simplex method of
linear programing in 1947 by the mathematician George B. Dantzig.
Then in 1948, the transistor, invented by J. Bardeen, W. H. Brattain, and
W. Shockley, promised great expansion of the computer field by reducing
space and power requirements.
With these three inventions under their direction, those in positions of
power strongly suspected that it was possible for them to control the whole world with the push of a button .

those in positions of
power strongly suspected that it was possible for them to control the whole world with the push of a button.

Immediately, the ROCKEFELLER FOUNDATION got in on the
ground floor by making a four-year grant to HARVARD COLLEGE, funding
structure of the American economy. One year later, in 1949, THE UNITED
In 1952 the original grant period terminated, and a high-level meeting
of the ELITE [Illuminati] was held to determine the next phase of social
operations research. The Harvard project had been very fruitful, as is
borne out by the publication of some of its results in 1953 suggesting the
feasibility of economic (social) engineering. (Studies in the Structure of the
American Economy — copyright 1953 by Wassily Leontief, International Sciences
Press Inc., White Plains, New York.)
Engineered in the last half of the decade of the 1940s, the new Quiet
War machine stood, so to speak, in sparkling gold-plated hardware on the
showroom floor by 1954.
With the creation of the maser in 1954, the promise of unlocking UN
HYDROGEN IN SEA WATER and the consequent availability of unlimited
social power was a possibility only decades away.
The combination was irresistible.
ELITE [THE BILDERBERG GROUP] at a meeting held in 1954.
Although the silent weapons system was nearly exposed 13 years
later, the evolution of the new weapon-system has never suffered any
major setbacks.
This volume marks the 25th anniversary of the beginning of the Quiet
War. Already this domestic war has had many victories on many fronts
throughout the world.
In 1954 it was well recognized by those in positions of authority that it
was only a matter of time, only a few decades, before the general public
would be able to grasp and upset the cradle of power, for the very elements
of the new silent-weapon technology were as accessible for a public Utopia
as they were for providing a private Utopia.
a round the subject of the energy sciences.
Energy is recognized as the key to all activity on earth. Natural
science is the study of the sources and control of natural energy, and social
science, theoretically expressed as economics, is the study of the sources
and control of social energy. Both are bookkeeping systems: mathematics.
Therefore, mathematics is the primary energy science. And the bookkeeper
can be king if the public can be kept ignorant of the methodology of
the bookkeeping.
All science is merely a means to an end. The means is knowledge. The
end is control. [THE END ALWAYS JUSTIFIES THE MEANS.] Beyond
this remains only one issue: Who will be the beneficiary?
In 1954 this was the issue of primary concern. Although the socalled
"moral issues" were raised, in view of the law of natural selection it
was agreed that a nation or world of people who will not use their intelligence
are no better than animals who do not have intelligence. Such
people are beasts of burden and steaks on the table by choice and consent.
CONSEQUENTLY, in the interest of future world order, peace, and
tranquility, it was decided to privately wage a quiet war against the American
public with an ultimate objective of permanently shifting the natural
and social energy (wealth) of the undisciplined and irresponsible many
into the hands of the self-disciplined, responsible, and worthy few.
In order to implement this objective, it was necessary to create, secure,
and apply new weapons which, as it turned out, were a class of weapons so
subtle and sophisticated in their principle of operation and public appearance
as to earn for themselves the name "silent weapons."
In conclusion, the objective of economic research, as conducted by the
magnates capital (banking) and the industries of commodities (goods)
and vices, is the establishment of an economy which is totally predictable
and manipulative.
In order to achieve a totally predictable economy, the low-class elements
of the society must be brought under total control, i.e., must be
housebroken, trained, and assigned a yoke and long-term social duties
from a very early age, before they have an opportunity to question the
propriety of the matter. In order to achieve such conformity, the lowerclass
family unit must be disintegrated by a process of increasing preoccupation
of the parents and the establishment of government-operated
day-care centers for the occupationally orphaned children.
The quality of education given to the lower class must be of the
poorest sort, so that the moat of ignorance isolating the inferior class from
the superior class is and remains incomprehensible to the inferior class.
With such an initial handicap, even bright lower class individuals have
little if any hope of extricating themselves from their assigned lot in life.
This form of slavery is essential to maintaining some measure of social
order, peace, and tranquility for the ruling upper class.

A full PDF copy of  Behold a Pale Horse can be downloaded here

Please be aware that such sites do require financial help because this information cost Bill Cooper his life. The story went out as it usually does that Bill Cooper died  of intoxication.  These are the reports and it clearly shows his body was shot with resistance.
Autopsy Report Excerpt . Full report PDF available above.

In no way did Bill Cooper die of intoxication.
An excerpt of The Toxicology Report is shown here .

Bill Cooper is one source of information about the "Third World War" or the "Silent War".

As well as downloading the whole PDF from the site above you can learn more here
Silent Weapons for Silent Wars

The Role of the Rockefeller Foundation 

The Start of the Briars Series