For her second album, Shawn Colvin took a temporary break from longtime collaborator and producer John Leventhal, teaming up instead with Larry Klein. And while the strongest songs – "Tennessee," "Climb On (A Back That's Strong)," and "Object of My Desire" – are Colvin/Leventhal collaborations, credit should be given to Klein, who incorporated a glossy, more dynamic production and top-notch session players for a stronger and more accessible album. In addition to turning in a strong batch of songs, Colvin shows much more diversity, tackling everything from rootsy rockers to more sensitive folk ballads with equally passionate delivery. "I Don't Know Why" (the first song she wrote) and "Round of Blues" both found considerable success in adult contemporary radio formats, adding to her growing fan base.
Digitally re-mastered two-for containing a pair of albums from the American singer/songwriter on one CD: Contribution (1970) and Second Contribution (1971). Shawn Phillips is one of most fascinating and enigmatic artists to come out of the early '70's singer/songwriter boom. The fact that he was a musician as much as a singer/songwriter made him stand out, and his refusal to shape his music which crosses between Folk-Rock, Jazz, Progressive, Pop and Classical to anyone else's expectations has allowed him to hold onto a large and dedicated following.
Shawn Phillips broke through on A&M in the early '70s with the albums "Contribution," "Second Contribution" and "Rumplestilskins Resolve". With four other Shawn Phillips albums currently available on the Talking Elephant label it seems only fitting to be releasing his most recent work. Perspectives is his 25th release to date. "I don't like listening to albums where every track sounds the same," Phillips said. "This album is called 'Perspective' because it's the way I'm looking at the world today. These are pieces of music I wanted to get out there".
A best-of with a twist, featuring one new song, the synthesizer-driven "Early in the Night," cut by Phillips in 1992. He still has his touch for numbers with haunting, eerie textures (the guitars are pretty cool, too) and compelling lyrics, and the voice is still there, too. As for the rest, in the absence of all but his second A&M album, it's a decent cross-section of his work from a half-dozen albums. The new notes by Phillips who complains that his current music isn't of interest to any record companies and Bob Garcia frame his work reasonably well, also, and the 75+ minutes of music is pretty generous.