Shawn Phillips: Ignored Talent? by Albert Salerno out the ‘70S and ‘80S, and He Never Acoustic Trio, and Occasionally with a Collins
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JANUARY 2000 discoveries 39 Shawn Phillips: Ignored Talent? by Albert Salerno out the ‘70s and ‘80s, and he never acoustic trio, and occasionally with a Collins. Like Phillips, Collins had been Since the mid–1960s, when he began scored the hit single which might have 7–piece band. When he’s not on the consciously moving away from folk as veering away from folk music, Shawn helped him expand his audience. But road, Phillips lives with his wife in she began using rock and neo–classical Phillips’ music has been nearly impos- certain of Shawn’s albums were popu- Austin, Texas, where he serves as a orchestral arrangements. Her record- sible to categorize. Is he a progressive lar in the midwestern and southern part–time volunteer firefighter and cer- ing of Joni Mitchell’s “Both Sides Now” folk–rocker, a protest singer, or a United States, on the West Coast, Cana- tified emergency technician. was given a straight–ahead pop treat- singer of orchestrated pop? da, and South Africa. During the 1970s, he tended to be ment, became a Top 10 single, and Perhaps “singer of art songs” is Phillips’ voice has always been his overshadowed by fellow ex–folkies like introduced her to a mass audience in more accurate. Yet each of these trademark – hear him once, and you’ll James Taylor, Paul Simon, Neil Young, 1968. Had Shawn’s “progressive pop” descriptions could be justified by lis- usually recognize him again. His 35 Jackson Browne, and Joni Mitchell. songs reached those listeners who were tening to a scattering of tunes on any year career has been fraught with bad Some of these performers lacked embracing Collins, he might have of his Best Of compilations, and every management, lack of promotion, tax Shawn’s vocal gifts, but due to other enjoyed a similar crossover success. person who listens is apt to hear some- problems, and various mis–dealings. factors – better management, higher In the liner notes for the 1992 com- thing different. At a particularly low point in the early visibility, more accessible songwriting – pilation, The Best Of Shawn Phillips -- An exceptional singer with a 1980s, he could be found playing guitar they achieved a level of stardom that The A&M Years, Bob Garcia writes: multi–octave range, Shawn Phillips is and panhandling on Santa Monica Pier. would elude Shawn throughout his “Phillips has never played the rock perhaps the definitive American cult Although currently without a record- career. Radio by then had already and roll game with exactly accepted artist. Perhaps you know his music; ing contract, Shawn still makes his liv- begun solidifying into the rigid cate- rules. A prolific writer, Phillips has maybe you’ve only heard of him, or ing as a performer. Stubbornly refus- gories in place today. Programmers composed poetry, fairy tales, and even possibly remember the image of the ing to take part in the corporate music must have considered Phillips someone two ballets. He has continually long–haired guy with hazel eyes that hustle, he appears at festivals, college who fell just outside their ever–narrow- worked outside of mainstream rock, in stared dreamily out from his album concerts and bars – any place where ing formats, and excluded him from a variety of musical forms – from his covers. His dozen or so albums he can connect with his audience. He their playlists. A fellow ex–folksinger early symphonic, fully–orchestrated received only regional airplay through- performs either solo, as part of an who escaped a similar fate was Judy musical tone poems, to his much later photo: Rob Gravis photo: Rob 40 JANUARY 2000 discoveries rock / jazz musical configuration with be finding them again every day. I’m scat, be-bop and croon vocalizing.” always surprised at what an avid bunch Shawn adds: “I have chosen to be a they are, too.” musician. I discovered early in life that Barry Margolis, who worked in a I had what I consider the greatest gift Minneapolis record store in the early any individual can be given – the ability “Second ‘70s, says Second Contribution was a to create music. Not rock and roll, but monster hit in Minneapolis. “Our local music.” progressive station, KQRS–FM, was A&M Records co–owner Jerry Moss playin’ the shit out of that album, along says, “I admired and had a great deal of Contribution was with people like Joni Mitchell and Jack- respect for Shawn Phillips when I son Browne, while ignoring all the inter- worked with him. He was, to me, a very esting British artists like David Bowie, interesting and unique artist. He never Mott The Hoople, and Roxy Music.” fit into any particular slot on the pro- one of the finest Arlo Hennings says of Second Contribu- gramming scale, but he was a wonderful tion, “It is Shawn’s Let It Bleed, Dark guitarist, composer and vocalist. Bright, Side Of The Moon, – take your pick, hall- sometimes downright funny, and always mark. Personally, I think the record easy to be around.” American should be recognized by the [Rock & A host of legendary musicians have Roll] Hall of Fame as a work of special appeared on Shawn Phillip’s albums; merit. It was one of the finest American keyboardists Steve Winwood, Joe Sam- progressive rock albums ever made. In ple and Rick Wakeman, guitarists Glen progressive rock Quebec and South Africa for example, Campbell, Larry Carlton, Caleb Quaye it’s considered a cult classic like and Robben Ford, bassists Alphonso Sergeant Pepper.” Johnson, Lee Sklar and Chuck Rainey, albums ever made.” To further substantiate his claim, drummers Russ Kunkel and Jeff Por- Hennings credits Shawn with introduc- caro, among many others, have con- ing the sitar into pop music. Phillips tributed their services. Producer was instrumental for the sitar being Jonathan Weston and orchestral the series, My Favorite Things, with a Shawn remembers. “They were truly heard on a few songs from Donovan’s arranger Paul Buckmaster (who also similar format. A merger with CBS more interested in who made really Sunshine Superman album in 1966. But provided orchestration for Elton John) resulted in the re–release of both good music than who would sell the the commercially oriented Hall of Fame were longtime collaborators, providing albums, but after poor sales, the strug- most singles. There were, of course the is not noted for inducting many cult lush settings for Shawn’s quirky compo- gling folksinger was dropped from the usual bunch of naysayers and artists into its hallowed ranks; and, sitions. label. (The Landsdowne masters were bean–counters like Bob Fead. Still, notwithstanding its immeasurable Born in 1943 in Fort Worth, Texas, subsequently acquired by Polygram, some 60,000 records [sold] by word of stature in Indian classical music, the Shawn is the son of writer/journalist and are now owned by Universal.) mouth alone should give you some indi- sitar’s influence on pop music proved to James Atlee Phillips, who published a In London, Shawn roomed briefly cation that you might have had a hot one be fleeting, briefly adding a quaint touch long series of cold–war espionage novels with Donovan, with whom he co–wrote on your hands. At last report, the people of druggy exotica during the psychedel- in the 1960s under the name “Philip the Sunshine Superman album. During who were working there believe that the ic ‘60s. Atlee,” and also wrote the screenplay this period, he met and hung out with finest record made at RCA during their Today at 56, Shawn is brimming with for the 1958 film “Thunder Road,” star- the Moody Blues, Paul Simon, and sev- tenure was Transcendence.” insights, and has amassed a bumper ring Robert Mitchum. As a child, eral Beatles, and also acted in a film Phillips survived open-heart surgery crop of new compositions. There are Shawn traveled constantly with his called “Run With The Wind.” Return- in 1991. “I had no idea that 42 years of enough, he says, to fill three CDs. What father, settling for brief periods in vari- ing to America, he was chosen to play smoking, stress, and fatty foods, (in that he lacks is a label to provide the finan- ous parts of the United States, Mexico, the lead in the Broadway musical “Jesus order), had caught up with me. After cial backing necessary to produce such the Canary Islands, Tahiti, France, Eng- Christ Superstar,” but when the deal fell the procedure, I was glad to be alive, a project, and then to promote it. Shawn land, Switzerland, Germany, Africa and through, Phillips set off for Europe but I felt incredibly violated. After the speaks in a Texas accent far too ener- Italy. again, eventually settling in Italy. pain passed I went into a deep depres- getic to be called a drawl, and recently Shawn’s musical talents were evident In 1970, he was signed to A&M sion, and still am to some degree. I discussed his long career and its current from an early age. In addition to his Records, which released his Contribu- know how many people out there love challenges with the magazine. impressive vocal range, he also became tion album, a collection of folk–rock my work, and how I have affected peo- Discoveries: I’m hearing your early a nimble and creative guitarist. Add to songs with cryptic lyrics that seemed ple all over the world, maybe changed folk albums for the first time, and they this his talent for composing offbeat deliberately obscure. His next two their lives or helped them get through are certainly as good as a lot of the stuff songs, many of which reflected the cyni- releases, Second Contribution and Col- crises and trauma, and I cannot get that came out in the ‘60s.