Do I want to be right or be redeemed?
Will I be brilliant at the cost
Of being obscene?
There is a life in this world
And then the other side
Time and space are curved by sin
And might and pride
Do I want to be right or be redeemed?
Through my eyes is the power of punishment
To not look or recognize
Is the same as looking in judgement
Every action, every thought is alive
Whether slave or free, artist or scribe.
We are all here for each other you see
Not to be uniform but to live in unity.
It is a glorious debt I can never repay
It is an unending wet I cannot dry away
It is a joyous heart beating
Through the din of alone
It is a defeat retreating And turning to stone
It's the darkness of night relinquishing power
To the roar of the dawn
It's a thousand spring flowers bursting into song
It is the deafening quiet just before the storm
The lion of love without shape without form
It is that place where all that is not music
Is silence - It is redemption
Do I want to be right or be redeemed?
Will I be brilliant at the cost
Of being obscene?
There is a life in this world
And then the other side
Time and space are curved by sin
And might and pride
Do I want to be right or be redeemed?
The lyrics REDEMPTION of PHIL KEAGGY is also present in the album Dream again (2006)
Philip Tyler "Phil" Keaggy è un chitarrista e cantautore statunitense nato nel 1952. Considerato uno dei più grandi chitarristi del mondo, Keaggy si distingue per la sua tecnica virtuosistica e il suo stile eclettico che fonde elementi di rock progressivo, folk, jazz e musica classica. Inizia la sua carriera negli anni '70 con l'album "What a Beautiful Name", seguito da successi come "The Road You Travel" e "Beyond the Sunset". Keaggy è noto per le sue performance live energiche e i suoi album spesso caratterizzati da arrangiamenti complessi e un forte impatto spirituale. Tra i brani più rappresentativi figurano "The Wind Cries Mary", "I'm So Glad" e "Love Will Find a Way". Keaggy ha collaborato con artisti come Randy Stonehill, Amy Grant e Michael W. Smith.
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