Введение
Шон Филлипс (англ. Shawn Phillips; род. 3 февраля 1943 года) — американский певец, автор песен и музыкант, оказавший наибольшее влияние в 1960-х и 1970-х годах. Его творчество уходит корнями в фолк-рок, но охватывает и другие жанры, включая джаз-фьюжн и фанк. Филлипс записал двадцать восемь альбомов и работал с музыкантами, такими как Донован, Пол Бакмастер, Дж. Питер Робинсон, Эрик Клэптон, Стив Уинвуд, Берни Таупин, Тим Хардин, Манос Хацидакис и многие другие. Рок-импресарио Билл Грэм назвал техасского музыканта «лучше всего хранимой тайной в музыкальном бизнесе». В биографии Филлипса на AllMusic говорится: «Его отказ от навешивания ярлыков на свою музыку — плавно сочетающую в себе фолк, рок, джаз, фанк, прогрессив, поп, электро, классику и традиции мировой народной музыки — чтобы соответствовать чьим-либо ожиданиям, позволил ему сохранить свой культовый статус, так и не достигнув той славы, которой, казалось, он заслуживал своим талантом». Он выступал в фолк-клубах в начале 1960-х годов вместе с певцом и автором песен Тимом Хардином, комиком Ленни Брюсом и другими, а в Саскатуне (Канада) встретил и преподавал техники игры на гитаре начинающей певице Джони Андерсон (позже Митчелл). В 1964 году он записал свой первый сингл — адаптацию версии Боба Гибсона песни «Фрэнки и Джонни» (под названием «Новая песня Фрэнки и Джонни»). Во время путешествия в Индию он остановился в Лондоне и встретил продюсера Дениса Престона, который подписал с ним контракт с Columbia Records. Филлипс выпустил два альбома на этом лейбле: I'm a Loner (1965) и Shawn (1966), однако ни один из них не имел успеха. В этот период Филлипс также познакомился с Донованом. В итоге они сотрудничали над несколькими песнями, включая «Season of the Witch», для которой Филлипс написал мелодию. Донован впоследствии признал, что именно Филлипс написал музыку к этой песне. В 1967 году он покинул Англию после истечения срока действия рабочей визы, а после пребывания в Париже переехал в Позитано (Италия), продолжая гастролировать. Он вернулся в Англию, чтобы написать и исполнить вместе с The Djinn музыку для скандальной пьесы Джейн Арден «Vagina Rex and the Gas Oven» в Лаборатории искусств на Дрюри-Лейн в Лондоне в феврале 1969 года. При поддержке Дика Джеймса он также записал материал со Стивом Уинвудом, Джимом Капальди и Крисом Вудом из группы Traffic. Кроме того, синглы «Lost Horizon» (№ 63) и «We» (№ 92) попали в чарт Billboard Hot 100 в 1973 году. По словам Брюса Эдера с Allmusic, его записи 1970-х годов «закрепили его репутацию безграничного, почти несравненного творчества и виртуозности [как] гитариста, играющего на 12-струнной гитаре, в сочетании с его четырех-октавным вокальным диапазоном. Авторы щедро хвалили Филлипса за его необычные тексты, завораживающие мелодии, сложное музыкальное мастерство и амбициозность его записей. Он был полной загадкой: американцем по рождению, но воспитанным в международной среде, с чужим восхищением всей музыкой своей родины и любовью опытного путешественника к мировой музыке, без каких-либо обычных ограничений в своем мышлении о музыке». Эдер продолжил: «Филлипс так и не достиг большой славы, несмотря на признание критиков. Он никогда не стремился к очевидному коммерческому звучанию, предпочитая писать песни, которые, по его словам, «заставляют вас чувствовать себя иначе, чем вы чувствовали до того, как начали слушать», в основном любовные песни и звуковые ландшафты». Сейчас он делит свое время между написанием песен, записью, гастролями и работой в качестве фельдшера. О своей работе в качестве фельдшера он говорит: «Один из моих вызовов был к 89-летней женщине по имени Клара, которая сломала таз, слишком резко выбравшись из кровати. Я очень старался не дать ей страдать, прежде чем передать ее службе скорой помощи Остина. Я сказал ей: «Мы передадим тебя этим ребятам, но ты в очень хороших руках». Она была очень испугана. Когда я уходил, она схватила меня за руку, посмотрела мне в глаза и сказала: «Большое спасибо, что позаботился обо мне». И музыкальный бизнес просто исчез вдали. Я получил двойную овацию перед 657 000 человек на острове Уайт в 1970-х годах. Можете себе представить, какой это был восторг. Но тот момент с Кларой был гораздо сильнее, потому что эта работа немедленна. Она настолько реальна, насколько это возможно».
those of a similar name
Shawn Phillips (born February 3, 1943) is an American singer songwriter and musician, primarily influential in the 1960s and 1970s. His work is rooted in folk rock but straddles other genres, including jazz fusion and funk. Phillips has recorded twenty eight albums and worked with musicians including Donovan, Paul Buckmaster, J. Peter Robinson, Eric Clapton, Steve Winwood, Bernie Taupin, Tim Hardin, Manos Hatzidakis and many others. Rock impresario Bill Graham described the Texas born musician as "the best kept secret in the music business". Phillips' AllMusic biography states: "His refusal to pigeonhole his music – which seamlessly melds folk, rock, jazz, funk, progressive, pop, electro, classical, and global folk traditions – to meet anyone else's expectations allowed him to retain his cult following without ever achieving the stardom that his talent seemed to merit." He played in folk clubs in the early 1960s, alongside singer songwriter Tim Hardin, comedian Lenny Bruce and others, and when in Saskatoon, Canada, met and taught guitar techniques to aspiring singer Joni Anderson (later Mitchell). He recorded his first single, an adaptation of Bob Gibson's version of "Frankie and Johnnie" (credited as "The New Frankie & Johnnie Song"), in 1964. While travelling to India, he stopped in London and met record producer Denis Preston, who signed him to Columbia Records. Phillips released two albums on the label, I'm a Loner (1965) and Shawn (1966), though neither was successful. During this period, Phillips also met Donovan. The pair ultimately collaborated on several songs, including "Season of the Witch", for which Phillips composed the melody. Donovan has since acknowledged that Phillips did indeed write the music of the song. In 1967, he left England after his work permit expired and after a period in Paris moved to Positano in Italy, while continuing to tour. He returned to England to write and perform, with The Djinn, the music for the controversial Jane Arden play Vagina Rex and the Gas Oven at the Arts Laboratory on Drury Lane in London in February 1969. Sponsored by Dick James, he also recorded material with Steve Winwood, Jim Capaldi and Chris Wood of Traffic. In addition, the singles "Lost Horizon" (No. 63) and "We" (No. 92) appeared on the Billboard Hot 100 chart in 1973. According to Bruce Eder at Allmusic, his 1970s recordings "established his reputation for boundless, nearly peerless creativity and virtuosity [as a] 12 string guitarist combined with his four octave vocal range Writers lavished praise on Phillips for his unusual lyrics, haunting melodies, daunting musicianship, and the ambition of his records. He was a complete enigma, American born but raised internationally, with a foreigner's keen appreciation for all the music of his homeland and a seasoned traveler's love of world music, with none of the usual limits on his thinking about music." Eder continued: "Phillips never achieved major stardom, despite his critical accolades. He never courted an obvious commercial sound, preferring to write songs that, as he put it, 'make you feel different from the way you felt before you started listening,' primarily love songs and sonic landscapes." He now divides his time between writing, recording, touring, and his EMT work. Of his EMT work, he says: “One of my EMT calls was an 89 year old woman named Clara, who had fractured her pelvis from stepping out of bed too hard. I took a great deal of care to keep her from suffering before we transferred to Austin EMS. I said to her, ‘We’re gonna give you over to these guys, but you’re in very good hands.’ She was very frightened. As I left, she grabbed me by the arm, looked me in the eyes, and said, ‘Thank you so much for taking care of me.’ And the music business just disappeared into the distance. I got a double standing ovation in front of 657,000 people at the Isle of Wight in the 1970s. You can imagine the rush. But that moment with Clara was much more powerful, because that work is immediate. It’s as real as you can get.”
In an interview with Chicago music critic Scott Itter, Phillips was reminded that he had once been described as "the best kept secret in the music business" by the late rock impresario Bill Graham. Asked why he was still "a secret" to many people, Phillips replied:blockquote|I'm not that interested in the fame, and popularity, but I would like to have the money that comes with it. I suppose the two have to go hand in hand. My "secrecy" is simply because none of the companies I have ever been affiliated with have cared enough to hire a national PR firm on an annual basis as part of the machine that creates the fame and popularity. Also, if you use a word like xenophobia in a song, or any word that the general public has to look up, they tend to shy away from any semblance of intelligence in popular music.
В интервью музыкальному критику из Чикаго Скотту Иттеру Филлипсу напомнили, что покойный рок-импресарио Билл Грэм однажды описал его как «лучше всего хранимую тайну в музыкальном бизнесе». На вопрос, почему он все еще остается «тайной» для многих людей, Филлипс ответил: «Я не так заинтересован в славе и популярности, но мне бы хотелось получать деньги, которые с ними приходят. Думаю, эти два аспекта должны идти рука об руку. Моя «тайна» заключается в том, что ни одна из компаний, с которыми я когда-либо был связан, не удосужилась нанять национальное PR-агентство на ежегодной основе в качестве части механизма, создающего славу и популярность. Кроме того, если в песне использовать слово, например, «ксенофобия», или любое другое слово, которое широкой публике приходится искать в словаре, люди, как правило, избегают любой подозрительной интеллектуальности в популярной музыке».
those of a similar name
Shawn Phillips (born February 3, 1943) is an American singer songwriter and musician, primarily influential in the 1960s and 1970s. His work is rooted in folk rock but straddles other genres, including jazz fusion and funk. Phillips has recorded twenty eight albums and worked with musicians including Donovan, Paul Buckmaster, J. Peter Robinson, Eric Clapton, Steve Winwood, Bernie Taupin, Tim Hardin, Manos Hatzidakis and many others. Rock impresario Bill Graham described the Texas born musician as "the best kept secret in the music business". Phillips' AllMusic biography states: "His refusal to pigeonhole his music – which seamlessly melds folk, rock, jazz, funk, progressive, pop, electro, classical, and global folk traditions – to meet anyone else's expectations allowed him to retain his cult following without ever achieving the stardom that his talent seemed to merit." He played in folk clubs in the early 1960s, alongside singer songwriter Tim Hardin, comedian Lenny Bruce and others, and when in Saskatoon, Canada, met and taught guitar techniques to aspiring singer Joni Anderson (later Mitchell). He recorded his first single, an adaptation of Bob Gibson's version of "Frankie and Johnnie" (credited as "The New Frankie & Johnnie Song"), in 1964. While travelling to India, he stopped in London and met record producer Denis Preston, who signed him to Columbia Records. Phillips released two albums on the label, I'm a Loner (1965) and Shawn (1966), though neither was successful. During this period, Phillips also met Donovan. The pair ultimately collaborated on several songs, including "Season of the Witch", for which Phillips composed the melody. Donovan has since acknowledged that Phillips did indeed write the music of the song. In 1967, he left England after his work permit expired and after a period in Paris moved to Positano in Italy, while continuing to tour. He returned to England to write and perform, with The Djinn, the music for the controversial Jane Arden play Vagina Rex and the Gas Oven at the Arts Laboratory on Drury Lane in London in February 1969. Sponsored by Dick James, he also recorded material with Steve Winwood, Jim Capaldi and Chris Wood of Traffic. In addition, the singles "Lost Horizon" (No. 63) and "We" (No. 92) appeared on the Billboard Hot 100 chart in 1973. According to Bruce Eder at Allmusic, his 1970s recordings "established his reputation for boundless, nearly peerless creativity and virtuosity [as a] 12 string guitarist combined with his four octave vocal range Writers lavished praise on Phillips for his unusual lyrics, haunting melodies, daunting musicianship, and the ambition of his records. He was a complete enigma, American born but raised internationally, with a foreigner's keen appreciation for all the music of his homeland and a seasoned traveler's love of world music, with none of the usual limits on his thinking about music." Eder continued: "Phillips never achieved major stardom, despite his critical accolades. He never courted an obvious commercial sound, preferring to write songs that, as he put it, 'make you feel different from the way you felt before you started listening,' primarily love songs and sonic landscapes." He now divides his time between writing, recording, touring, and his EMT work. Of his EMT work, he says: “One of my EMT calls was an 89 year old woman named Clara, who had fractured her pelvis from stepping out of bed too hard. I took a great deal of care to keep her from suffering before we transferred to Austin EMS. I said to her, ‘We’re gonna give you over to these guys, but you’re in very good hands.’ She was very frightened. As I left, she grabbed me by the arm, looked me in the eyes, and said, ‘Thank you so much for taking care of me.’ And the music business just disappeared into the distance. I got a double standing ovation in front of 657,000 people at the Isle of Wight in the 1970s. You can imagine the rush. But that moment with Clara was much more powerful, because that work is immediate. It’s as real as you can get.”
In an interview with Chicago music critic Scott Itter, Phillips was reminded that he had once been described as "the best kept secret in the music business" by the late rock impresario Bill Graham. Asked why he was still "a secret" to many people, Phillips replied:blockquote|I'm not that interested in the fame, and popularity, but I would like to have the money that comes with it. I suppose the two have to go hand in hand. My "secrecy" is simply because none of the companies I have ever been affiliated with have cared enough to hire a national PR firm on an annual basis as part of the machine that creates the fame and popularity. Also, if you use a word like xenophobia in a song, or any word that the general public has to look up, they tend to shy away from any semblance of intelligence in popular music.
Семейная и личная жизнь
Перед переездом в Луисвилл, штат Кентукки, в 2016 году вместе с женой Джульеттой и тогда 12-летним сыном Лиамом (названным в честь его младшего брата), Филлипс жил в Италии и Южной Африке.