SECOND CONTRIBUTION

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.