On Phil Keaggy's recent solo outing 220. his legendary instrumental work paints vivid images, such as a dew-kissed morning in Tennessee or a Braveheart-type scene from the Scottish Highlands several hundred years ago, but it's hard to get a glimpse Keaggy the man.

Keaggy's elusiveness carries over to the interview scenario. Jumping from subject to subject, spanning three decades of music, it's difficult enough to keep up with Phil's rapid-fire barrage of wisdom, playing tips and philosophies, let alone attempt to dig deep into his psyche. But that's okay, 'cause you walk away knowing the important stuff: keep an open heart, mind, ears -- and play a Gibson.

"I had my beginnings as a band member back in the '60s and early '70s," Keaggy recalled, noting that his band Glass Harp opened for the Kinks at Carnegie Hall in Nov. 1971 and frequently opened for Traffic and Yes. "I got my first Gibson Les Paul in '68, and played 335s prior to that. All my electric work in those days was done on Gibson Les Pauls."

Keaggy, who currently uses a variety of effects such as looping processors, said his earliest "effect" was simply a Les Paul.

"[My] playing showcased the versatility of the instrument without anything in between the guitar and the amp but the cord," he explained. "I would do a lot of volume swells with my pinky. For an interesting sound, a good setting is the middle toggle position, with the treble pickup volume all the way up and the rhythm pickup volume all the way down."

Switching gears, Keaggy was eager to talk about his latest work. Invention, a collaborative effort between Phil, and fellow virtuoso guitarists/contemporary Christian artists Wes King and Scott Denté. After years releasing solo records, Keaggy said it was refreshing to record a work that, in a way, took him back to his band days. Ironically, Invention's "invention" didn't come from Keaggy, King or Denté.

"We were inspired to get together by the record company," Keaggy said. "The three of us would also do a lot of interviews together for various magazines and the people who interviewed us would say, 'you guys should make an album together.'"

Make an album they did, each bringing in his share or material, but also co-writing on the fly in the studio. The end result is three great guitar players complementing each other's respective styles rather than just taking turns playing lead.

"We enjoyed leaving space for each other, so everyone's talents can shine forth," Keaggy said, noting that King, who normally plays an acoustic guitar, realized his "talent" as an electric guitarist with a '56 goldtop Les Paul. "We became a band."

The "band" hits the road next spring to showcase the album, which hits the stores Oct. 7.

Since Keaggy lives in Music City now, you'd think he would play a lot of sessions. The answer is no -- not that he doesn't get asked. When he does offer his services, he does so on his terms. Having clients send him an ADAT with a sub mix of the other tracks, Keaggy can record his parts in his home on his own time (being a guitar hero has its advantages).

In the studio, Keaggy says he uses a variety of Gibsons. He recently started recording with a Custom, Art, Historic ES-336 which he has on loan while the paint dries on the new 336 he ordered for himself. He also plays a '70s G-3 bass, better known as the three-pickup version of the Grabber.

"I've had it for 17 years, I'll never part with it," Keaggy said.

As far as electrics are concerned, Keaggy's war horse is a '71 Les Paul Deluxe which he hasn't played recently because it's on display at the Rock and Roll Hall of Fame in Cleveland.

"I want it back," he said.

For a man who's managed to ride the cutting edge of guitar style and technique since the 1960s, Keaggy's philosophy about playing is surprisingly simple.

"I love music and I love guitar," he said. "I love a variety of sounds from different cultures. I've allowed myself to be influenced by every decade where I played guitar."

Keaggy also attributed his staying power to playing music instead of playing dated "licks."

"I've never been a shredder on the guitar, there's always have been a melodic bent to it," he said. "I'm grateful that I could even make a living doing this. I'm grateful to my influences."