SHAWN PHILLIPS

— First review of this album —

The ProgArchives bio for the Texan-born singer-songwriter SHAWN PHILLIPS (b. 1943) is very long and gives also brief descriptions of albums, but I'd really like to read more album reviews here. I've actually listened to three albums plus a compilation only, so the seventh album Bright White (1973) is not familiar to me as I'm now having a taster of it in the form of this single. According to All Music Guide, "Possessing more rhythmic vitality than its predecessors, as well as a smoother, quasi-jazz feel, Bright White may be Phillips' most conventionally accessible album". In the light of the few PA ratings it's not quite among his best ones but not very far behind either.

Suitably these two songs represent two contrasting sides in Phillips' music. 'Bright White' is an energetic and rather cheerful uptempo song with a rich arrangement. The horns stick out powerfully. It is well done, but as a song per se it's not so spectacular. 3/5

The hazy 'Dream Queen' represents the fascinating uniqueness of this artist. As a side note, my first acuqaintance with his music was the Finnish cover recorded by the domestically popular long-term artist HECTOR; his 'Käenpoika' (1978) is a good version of the 1971 song called -- take a deep breath -- 'She Was Waitin' for Her Mother at the Station in Torino and You Know I Love You Baby But It's Getting Too Heavy to Laugh'. It is an extremely powerful song in its under-the-surface tension. 'Dream Queen' is not even closely as good but it has something similar in it as it delicately grows from the whisper-gentle beginning. The vocals are mesmerizing and very flexible. In this matter Phillips can be compared to TIM BUCKLEY. The arrangement is nice too, highlighting steel guitar, piano and acoustic guitar. 4/5

Shawn himself tells in the inner notes, that this album was taped "live" in the studio, with every musician playing together in the same room, after short rehearsal, going for the magic of the moment. The resulting vibe is undeniable, and it feels like some kind of electric charge floating through the whole record. Even so, this is not to be perceived as the mere product of a jam session, since each track shows the result of care in composition and the whole of them emerges as a cohesive (and pretty convincing) unity.

"Life" starts proceedings with crowd sound, and a quote of "The Liberty Bell." One would expect a political statement then, and it really comes, but that's not all, there's also (setting the tonic for the rest of the album) an open invitation to take part and action in the drama of life, as it ocurrs.

"The Force That We Call Life" features orchestra arranged by Paul Buckmaster.

"Tribute To D," is an instrumental track dedicated to David Gilmour, combining with the "dark side themed" cover art. The sax takes the solo, immersed in sonic atmosphere provided by the band, and gaining presence towards the ends.

"C'mon Round" lead us downtown to have a good time, with country pace and phrasing.

Cutting the long story short, look for the progressive meat in "Song For A Thief" and "Bach To The Fusion", both with nice instrumental work and spectacular guitar.

I must say to be true, even being a Shawn's fan myself, that this may be one of his weakest efforts.

It's not only that there are virtually nothing progressive about it, but in addition this album also lacks psychedelic or folkie elements, which are easily found on the rest of his output. Still, there are some good tracks here:

"As All Is Played" features nice piano, string and voice on a highly developed classical fantasia, that repays and makes up for the very poor previous tracks.

"Looking At The Angel" is a song with the qualities we have learned to love in Shawn: free yet classical harmony sustained on acoustic guitar and grand piano, fantastic tonal & dynamic range in the vocals, the whole package.

The closer "Summer Vignette" is also very good, on the relaxed end of the spectrum.

Does a couple of excellent tracks like these justify the entire album? I don't know, but it makes it good, at least

Good old Shawn is an american guitarist, singer and composer who made his career as a recording artist in the UK, so you may easily find some West Coast imprint in his vocals. But, wait a fair second: isn't that enough for stamping the infamous "non-prog stuff" label all over his output?. Well, no, and if you follow me for a few lines more I'll tell you why.

First, l concede that the opener is a West Coast flavored song, and that the 2nd track steams with its electro-funk charged groove (delicious, but hardly prog stuff). But, after that, if you are still in for this, Shawn delivers the goods. Take for example:

03 Implications: Harmonizing with himself, our guy is in his element here, i.e., interweaving an ethereal, richly shaded tapestry of vocal perfection.

06 Lament Pour L'enfant Mort: Vocals full of dramatism and dynamic expansion, served over sensible and indescriptibly beautiful piano arrangement.

08 Motes Of Dust: At first glance, a smooth song and little else, but to the careful ear, the gateway to a soaring, atmospheric orchestral arrangement full of captivating tension in the harmonic and vocal intervals.

The prog is there, although not in the obvious manner

An excellent Gustafson (Quatermass, Roxy Music) bass riff opens this album, for a syncopated electro-funk song ( January First, 3:11) written by Shawn Phillips and John Peter Robinson (Quatermass). What are we listening to? A collaboration between SP and Quatermass? In fact this album, one of the most proggy by Phillips, sees our singer- songwriter exploring new musical directions, decidedly more electric than the trilogy (Contribution, Second Contribution, Collaboration) that made it more elaborate, complex, articulated, in a word more progressive, thanks to the increasingly massive collaboration with keyboardist JP Robinson, and secondly with cellist Paul Buckmaster.

The beginning, as just said, is a marvelous piece, very sustained, fast, complex, with a stratified music that, for the keyboard games, almost remembers Gentle Giant. Rating 8.

"Starbright (3:49)" follows: romantic ballad, with mellotron (Ann Odell) on the foreground. it's conventional, but the keyboard arrangement and Phillips' wonderful voice raises the quality of the piece. After having touched a remarkable climax on a "crescendo", the song, instead of concluding in a solemn and triumphant way, fades, too resignedly, which does not enhance it. Here the desire to make a sophisticated arrangement has prevented this song from being a masterpiece. Rating 7,5.

"Breakthrough (5:47)" is another romantic folk ballad with an acoustic beginning and a progression that sees the orchestra arrive, strings and woods, which embellish it in a masterly way, with a truly splendid sound, especially when the oboe enters but ... suddenly it fades too quickly (Rating 8), and afterwards two melodic, acoustic and slow pieces, SP picks up with the funky syncopation (Ninety Two Years, 3:08) that we heard at the beginning. Another good piece, seems not to miss a shot and, if anything, so far, to lack in depth, its splendid music is too concise, concentrated (Rating 7+).

"See You (4:14)", romantic, sweet, keyboards are more important than guitars in this album. After the beginning, the piece becomes orchestral, and at the end it is mixed with the last piece of the first side (Planscape, 4:17), instrumental, co-signed with Buckmaster; it is an electric jam, rhythmic, and again veiled with funky, with a powerful orchestra and an electric guitar in evidence (Caleb Quayle). It's a piece of symphonic prog, mixed with jazz rock, but closer to Afro-American, funky, soul music. Overall, Rating 8.

Excellent Side A, containing a lot of musical ideas, sophysticated compositions and arrangements but... it lacks in development of that ideas, so the pathos can't increase until touching elevated peaks.

Side B. "Troof (4:24)" is a piano ballad, very lyric, which then becomes symphonic prog. Also in this case, we are faced with a decidedly refined song, but with the arrangements that outweigh the inspiration of the piece. That is, we are always close to the masterpiece, but in my opinion something is missing in terms of melodic quality. Rating 7,5/8. An ethereal, abstract song follows, Cape Barres (4:02), largely made up of vocalizations, in the wake of what we have already heard in "Second Contribution". Here the quality rises, and SP must thank the Quatermass couple again, because the work of JP Robinson (co-author of the track) on keyboards, and that of Gustafson on the bass are as important as the vocal virtuosities of Phillips, which finally fades in a noisy piece, flooded with electronics and distorted singing. Masterpiece of sperimentalism, Rating 8,5.

"Song For Northern Ireland (2:07)" begins slow: after touching the abstract apex, our songwriter also touches the melodic apex with this track, mixed with the following "Mr President (3:35)" where finally we can hear a piece very inspired, a spontaneous melody, with an orchestral progression: in this case inspiration grows high as the arrangement. So, in this last three tracks, Phillpis reach the peak of masterpiece, suggesting us a fusion between symphonic prog, prog folk and jazz-funk-rock. Rating 8+.

Talking In The Garden (3:13) is mixed with the final track, "Furthermore" (2:30), instrumental (JP Robinson is co-author, once again), The beginning is, another time, slow and acoustic, with guitar and voice but soon the orchestra arrives and we listen to another wonderful symphonic prog (Rating 8), that, in the end become a boogie, a piece of fusion, instrumental, syncopated, with great work on the rhythm and keyboards bot too forced (It recalls Gentle Giant, again). that nothing adds up again (Rating 7+).

With Side B, Shawn Phillpis rise the quality of his music and so, this Lp is a little masterpiece, at the same level of Second Contribution. Here there is less folk and Classical music, more electronic and keyboards, more rhythm, more elaboration and orchestration of the arrangement, more prog attitude. The masterpiece of the third phase. Medium quality of the songs: 7,85.

Rating album 9, Five Stars.

With Steve Winwood on keyboards, Jim Capaldi on drums, Chris Wood on saxophone and flute, Shawn Phillips can afford to debut as a songwriter (he signes all songs) with Traffic as musical support ensemble. Paul Buckmaster and John Peter Robinson (Quatermass), also on keyboards, will become his main collaborators from the next album.

Side A, first song: "Man Hole Covered Wagon" (4:34), the beginning is folk, acoustic, with delightful melody, and typically folk, then comes a rhythmic progression, the piece is enriched with blues tones, comes a piano almost boogie, a guitar almost contry: this is a manifesto song of the hybrid music signed Shawn Phillips. There comes a sound orgasm, accentuated by the vocalizations of his voice, which give spectacle on the acute notes. Rating 8+.

"L Ballade" (6:47), also based on a folk melody on guitar, is an acoustic song, with classical tones, with instruments in the background giving acid-folk tones. Rating 8. After this acoustic and austere song, Phillips, to change mood, switch to a musical's piece.

"Not Quite Nonsense" (1:45) is a typical pop song, very nice, swing and vaudeville. Rating 6.

"No Question" (3:37) is still an acoustic folk track, hypnotic, with a final progression. Rating 7.5/8.

End of Side A.

"Withered Roses (8:18)" opens Side B. The beginning is a typical Indian raga, then it becomes folk, with acoustic guitar played in a very gritty way; well arranged, with piano in the background; only defect: it's too long: Exceeding the last two minutes. Rating 7,5/8.

"For J.F.K. R.F.K. & M.L.K. (4:54)". Exuberant song, with folk melody and piano, reminiscent of a traditional and singing that recall Cat Stevens. Rating 7,5.

"Lovely Lady (4:56)" acosutic ballad, without percussions, with a doubled voice, doubled acoustic guitar, it's a fast- paced acid-folk, which at the end of the verses becomes taller as a musical tone, touching Space-Rock. Rating 7,5/8.

"Screamer For Phlyses" (6:09) is another folk-rock ballad, this time with the drums to hold the rhythm, with piano and electric guitar in the background, with the high notes of the singing going towards the psychedelia. Rating 7,5.

With "Contribution" Phillips starts his trilogy, that continues with "Second Contribution" and "Collaboration". Here, Shawn Phillips' music is still predominantly folk: he mainly uses his splendid voice and acoustic guitar, played in a very rhythmic and hypnotic way, but he embellishes his tracks with moments of space-rock and psychedelia, acid- rock, musical, Classic music and Indian Raga. Side A is better than Side B but, anyway, quality is still high. The music, in this Lp, recalls Donovan, Strawbs but this anomalous folk also recalls the solo works of Syd Barrett. It's prog folk, most of the time, with some classical passage and some space-rock moment and with high-class lyrics and singing.

Medium quality of the songs (without the third track): 7,76. Rating album: 8+. Four Stars.

In 1968, Shawn Phillips is in London with Steve Winwood, Chris Wood and John Capaldi ie Traffic, and he's recording a lot of material, which he would like to publish in a trilogy of albums. But the record companies show no interest, and the project vanishes, but it's not lost, in fact in 1970 Phillips manages to publish his English debut, his first real album totally written by himself: "Contribution", which contains part of the material recorded with Traffic, which in fact appears as session-men in LP credits.

The same year, Phillips, very inspired, publishes the sequel, "Second Contribution", that is the second disc of his trilogy, making use of the arrangements of Paul Buckmaster and a bevy of session-men that rivals any singer- songwriter: - Paul Buckmaster on keyboards, and orchestral arranger; - John Peter Robinson (Quatermass) on keyboards, percussion; - Poli Palmer (Family) musician; - Jim Cregan (member of Family since 1972) on guitar; - Bruce Rowland (Joe Cocker's Band) on drums.

The touch of Buckmaster, in this album, manifests itself giving it an orchestral asset, where most of the songs (especially at the beginning and at the end of the LP) are united, mixed together, forming the movements of a real suite. Phillips shows off his music without frontiers, he breaks every genre and proposes himself here as a songwriter who forges a high quality progressive funk of great emotional impact thanks to his talented voice.

In fact, the beginning of the album is simply fantastic, the first four songs, which constitute a suite, are beautiful, and will remain one of the pearls of Phillips' repertoire, especially the solemn beginning from the mileage title: "She Was Waitin' For Her Mother At The Station In Torino And You Know I Love You Baby But It's Getting Too Heavy To Laugh (4:54)". The piece starts slowly, with the voice, in folk style but then comes a fantastic progression, gradually more and more orchestral, exciting soul, with the warm voice of Phillips that touches your heart; before finishing it back acoustic, with the guitar, and then it's mixed, with a pulse on the drums, to the second one, "Keep On" (3:21), that could be considered an orchestral blues, that arrives to a funky orgasm, then, the same pulse on the drums marks the passage to a transition piece, "Sleepwalker" (1:32), very short, that connects to the fourth movement of this suite, "Song For Mr. C" (3:49), again very rhythmic, almost rhythm and blues, with an involving nerve, a guileless singing, a soul orchestral piece that worthily concludes the suite. Rating 9.

What kind of music are we listening to? Jazz-rock / fusion? Symphonic prog? Prog folk? Prog blues? Soul-funk / fusion? We are listening to all this together, without it being totally.

"The Ballad Of Casey Deiss (6:12)" is a wonderful piece: beautifully singing, classical melodic folk, acoustic guitar and vocals, which gradually becomes an orchestral piece, almost a piece of chamber music, with vibraphone and horn, and at the end the melody of the guitar changes, one creeps in instrumental piece, almost symphonic folk, unexpected atmosphere that melodically enriches the song. Rating 8+.

End of side A.

Side B begins with two linked songs in soul-blues style, as in the first side, but less inspired. "Song For Sagittarians" (3:43) is another orchestral rhythm and blues, perhaps less gritty, more conventional than the ones listened on Side A. After the usual pulse on the drums starts "Lookin' Up Lookin' Down" (3:55), a wonderful hybrid song, with a catchy melody, where Phillips sings showing his great vocal range, especially on the high notes. Rating 7,5/8.

"Remedial Interruption" (1:56): is just an interruption! These are celestial, atmospheric vocalises that contribute to widening the repertoire of the disc to abstract music, almost ambient. It's a dreamy interlude. Rating 7,5/8. And it has the role of connection, in fact this Lp must be considered as a one, not as a set of songs: most of the pieces, in addition to their intrinsic value, has the function of creating a single great composition where the musical genres are intertwined between of them. For this reason, short songs aren't to be considered complete in themselves but as pieces of a puzzle.

"Whaz' Zat" (1:56) is another short song. dominated by the Phillips' singing that stands on a percussion carpet. Rating 7.5. This piece is mixed with the next two songs, 10) "Schmaltz Waltz (1:44) and 11) "F Sharp Splendor" (0:36): they are instrumental pieces of almost threatening, epic symphonic rock in which the contribution of orchestral arranger by Paul Buckmaster is tangible (Buckmasters signed the last one). Rating 8.

The last song, 12) Steel Eyes (4:18), is a classical ballad. simple and beautiful melody, reminiscent of Donovan, with ringing guitar, then a whistled piece, with a too nonchalant singing; in the track there are continuous breaks or pauses, seconds of silence and then the singing resumed. Rating 7,5.

And the dance goes on... and on and on and on... Phillips shows all his genius in this album. He is no longer a folk singer, nor even a prog-folk musician, he's now a total musician, who evolved from folk and created his own genre, coming to touch the borders of symphonic and jazz-soul progressive.

Medium quality of the album: 7,92. Great album, masterpiece. Rating 9, Five stars.