Shane Philip in the Press
Shane Philip begings a three-week Western Canadian Tour on January 19. Joining Shane on this tour is Zach Sukeweah, who inspired Shane to start playing the didge...
JANUARY SHOWS
THU JAN 19 - The Venue, Vancouver BC
FRI JAN 20 - Howe Sound Brewing Co, Squamish BC
SAT JAN 21 - The Last Drop, Revelstoke BC
SUN JAN 22 - Rockwater, Golden BC
MON JAN 23 - Wild Bill's, Banff AB
WED JAN 25 - Silver Bullet, Blue River BC
THU JAN 26 - Silver Bullet, Blue River BC
FRI JAN 27 - Silver Bullet, Blue River BC
SAT JAN 28 - Royal Canadian Legion #31, Jasper AB
SUN JAN 29 - On the Rocks, Edmonton AB
FEBRUARY SHOWS
THU FEB 2 - The Vat, Red Deer AB
FRI FEB 3 - Tracks, Olds AB
SAT FEB 4 - Communitea Cafe, Canmore AB
SUN FEB 5 - Dicken's, Calgary AB
WED FEB 8 - The Royal, Fernie BC
THU FEB 9 - The Edge, Kimberley BC
FRI FEB 10 - Spirit Bar, Nelson BC
SAT FEB 11 - Miner's Hall, Rossland BC
SUN FEB 12 - MacDady's, Sunpeaks BC
JANUARY SHOWS
THU JAN 19 - The Venue, Vancouver BC
FRI JAN 20 - Howe Sound Brewing Co, Squamish BC
SAT JAN 21 - The Last Drop, Revelstoke BC
SUN JAN 22 - Rockwater, Golden BC
MON JAN 23 - Wild Bill's, Banff AB
WED JAN 25 - Silver Bullet, Blue River BC
THU JAN 26 - Silver Bullet, Blue River BC
FRI JAN 27 - Silver Bullet, Blue River BC
SAT JAN 28 - Royal Canadian Legion #31, Jasper AB
SUN JAN 29 - On the Rocks, Edmonton AB
FEBRUARY SHOWS
THU FEB 2 - The Vat, Red Deer AB
FRI FEB 3 - Tracks, Olds AB
SAT FEB 4 - Communitea Cafe, Canmore AB
SUN FEB 5 - Dicken's, Calgary AB
WED FEB 8 - The Royal, Fernie BC
THU FEB 9 - The Edge, Kimberley BC
FRI FEB 10 - Spirit Bar, Nelson BC
SAT FEB 11 - Miner's Hall, Rossland BC
SUN FEB 12 - MacDady's, Sunpeaks BC
Shane Philip doesn't like to think of himself as a one-man band, just a guy who plays a bunch of different instruments at the same time
Shane Philip performs Thursday with the Tequila Mockingbird Orchestra at the Victoria Event Centre (1415 Broad St.). Tickets are $14.50 at Lyle's Place, Ditch Records and ticketweb.ca.
Shane Philip was born in Toronto, grew up in Ottawa, and went to university in Thunder Bay, Ont. But if you ask him where he feels most at home, and where he imagines he'll stay for the rest of his life, he'll say without hesitation the West Coast.
"When I go to play in Toronto, where I'm from, they tag me as a West Coast guy," Philip said with a laugh.
The rootsy singer-songwriter moved with his girlfriend and their 21/2-year-old son to Courtenay from Quadra Island earlier this year, a switch that has paid off handsomely for Philip. Artistically, he's never been at a loss for inspiration. But in terms of his state of mind, the move to the Comox Valley has left him more refreshed than ever.
"I wanted to find a place where the mountains met the sea. That was my dream. I was always attracted to mountains, and always wanted to be by the ocean. There was always this pull to come out west. Once I got out here, I couldn't go back. That was the end of it."
Philip's journey to this point has been adventurous, to say the least.
He has lived in Banff, 100 Mile House, Smithers, Gold River, Campbell River, Nanaimo and Ladysmith, among other locales. He taught high school social studies for seven years, and raced competitively at the provincial level as a cross-country skier.
Music — now his full-time profession — was kept on the periphery growing up. "It was always there, but I never really did it full-time," he said. "My primary focus was athletics growing up, and I always put music secondary, or even tertiary."
The self-professed "big fan of outdoor pursuits" has also been a whitewater kayaking guide, and still counts himself an avid jogger. But over the past few years, his outdoor activity schedule has slowed somewhat as he grows more accustomed to the freedom associated with being an artist, and balances his burgeoning musical career with his parental duties.
Philip had a solid year in 2011, the likes of which kept him on the road almost constantly. He took four months off at the end the year, in hopes of getting recharged and refocused. Philip said he can already feel the difference.
Soon enough, however, he will be back in action. Philip performs on Thursday with the Tequila Mockingbird Orchestra at the Victoria Event Centre, the warmup for a three-week tour that will see Philip open for Bob Marley's backing band, the Wailers, in Vancouver on Jan. 19.
The amazing part of Philip's success? Not only is he a one-man band outfitted with didgeridoo, aslatua shakers, djembe drums and Weissenborn-style guitar, he is entirely self-taught. He learned guitar in Grade 6 and picked up the drums in high school, but his formative years as a musician were limited by his relative isolation. "To find another drummer and another guitar player is a really big chore when you're in farm country. The other drummer might be an hour away. When you're 16, that
doesn't work so well."
A natural athlete, Philip's focus was almost entirely on sports after high school. He studied outdoor recreation and kinesiology in university, taking courses that appealed to his interests. Upon graduation, however, he knew that life wasn't right for him.
Philip worked various jobs during those uncertain years, the bulk of which allowed him to follow his career as a cross-country skier.
As such, he moved often. He raced at the provincial level for the better part of 10 years and enjoyed the lifestyle, but eventually he grew tired of competing.
"It didn't take long to realize there was a definite end to that as a career," he said. "My philosophy in life was developing at that time.
"I realized being 30 seconds faster than the next guy on that particular day, and then having him be 30 seconds faster than me the next week, didn't mean anything. I needed more."
He eventually took up teaching, and spent seven years at various schools in B.C. It paid the bills, but Philip was still unsure. He was playing music on the side, often for his students. But creatively he felt stifled.
He soon realized teaching wasn't for the long-term. "If I'm going to spend my entire life focused on something, it has to be something I'm really passionate about."
Free from the daily grind, he dove into music full-time and recorded his debut, 2005's OM Cooking. "It was a real snap decision," Philip said.
"I made it overnight. It was the first career decision I made that wasn't influenced by how much money I would make. I did it trusting that money would follow, that I would be able to make a living doing it. I've never really been interested in trying to get rich, I just want to make a living."
His music made some immediate waves in B.C., especially in areas well suited to Philip's surf-friendly vibe. It didn't take Philip long to realize his decision was the right one.
"Nobody knew who I was. But I just had to try. I had the sense that what I was doing was fairly unique. I did fine right off the bat, and it has been growing ever since."
He released his second recording, Earthshake, in 2006, followed by his third effort, In the Moment, in 2008. As luck would have it, Philip wasn't the only one-man band with a didgeridoo setup on the circuit at that point, which caused some confusion. Australian performer Xavier Rudd, who, oddly enough, spent time in Courtenay during the late 1990s and who bears a striking resemblance to Philip, was out of the gate first — to the complete surprise of Philip.
"I heard about him after I was doing my stuff," he said with a laugh. "I thought I was completely unique, something that nobody in the world was doing. I guess it's hard to be unique in this world."
Philip need not worry. Barring vast changes to his setup, he will always be known as the guy with the vast artistic arsenal. "I do have a lot of junk with me," he said of his cache of instruments, which evolves on a regular basis. "I'm the equivalent of a five-piece band, in terms of the gear that I have. There's a lot going on."
That said, if he could change anything about his career, it would be how people regard him as a performer.
"I don't like to call myself a one-man band because people think of the old guy with the cymbals between his knees and the monkey. I'm just a songwriter who happens to express myself with a bunch of different instruments at the same time."
By Mike Delvin
Shane Philip performs Thursday with the Tequila Mockingbird Orchestra at the Victoria Event Centre (1415 Broad St.). Tickets are $14.50 at Lyle's Place, Ditch Records and ticketweb.ca.
Shane Philip was born in Toronto, grew up in Ottawa, and went to university in Thunder Bay, Ont. But if you ask him where he feels most at home, and where he imagines he'll stay for the rest of his life, he'll say without hesitation the West Coast.
"When I go to play in Toronto, where I'm from, they tag me as a West Coast guy," Philip said with a laugh.
The rootsy singer-songwriter moved with his girlfriend and their 21/2-year-old son to Courtenay from Quadra Island earlier this year, a switch that has paid off handsomely for Philip. Artistically, he's never been at a loss for inspiration. But in terms of his state of mind, the move to the Comox Valley has left him more refreshed than ever.
"I wanted to find a place where the mountains met the sea. That was my dream. I was always attracted to mountains, and always wanted to be by the ocean. There was always this pull to come out west. Once I got out here, I couldn't go back. That was the end of it."
Philip's journey to this point has been adventurous, to say the least.
He has lived in Banff, 100 Mile House, Smithers, Gold River, Campbell River, Nanaimo and Ladysmith, among other locales. He taught high school social studies for seven years, and raced competitively at the provincial level as a cross-country skier.
Music — now his full-time profession — was kept on the periphery growing up. "It was always there, but I never really did it full-time," he said. "My primary focus was athletics growing up, and I always put music secondary, or even tertiary."
The self-professed "big fan of outdoor pursuits" has also been a whitewater kayaking guide, and still counts himself an avid jogger. But over the past few years, his outdoor activity schedule has slowed somewhat as he grows more accustomed to the freedom associated with being an artist, and balances his burgeoning musical career with his parental duties.
Philip had a solid year in 2011, the likes of which kept him on the road almost constantly. He took four months off at the end the year, in hopes of getting recharged and refocused. Philip said he can already feel the difference.
Soon enough, however, he will be back in action. Philip performs on Thursday with the Tequila Mockingbird Orchestra at the Victoria Event Centre, the warmup for a three-week tour that will see Philip open for Bob Marley's backing band, the Wailers, in Vancouver on Jan. 19.
The amazing part of Philip's success? Not only is he a one-man band outfitted with didgeridoo, aslatua shakers, djembe drums and Weissenborn-style guitar, he is entirely self-taught. He learned guitar in Grade 6 and picked up the drums in high school, but his formative years as a musician were limited by his relative isolation. "To find another drummer and another guitar player is a really big chore when you're in farm country. The other drummer might be an hour away. When you're 16, that
doesn't work so well."
A natural athlete, Philip's focus was almost entirely on sports after high school. He studied outdoor recreation and kinesiology in university, taking courses that appealed to his interests. Upon graduation, however, he knew that life wasn't right for him.
Philip worked various jobs during those uncertain years, the bulk of which allowed him to follow his career as a cross-country skier.
As such, he moved often. He raced at the provincial level for the better part of 10 years and enjoyed the lifestyle, but eventually he grew tired of competing.
"It didn't take long to realize there was a definite end to that as a career," he said. "My philosophy in life was developing at that time.
"I realized being 30 seconds faster than the next guy on that particular day, and then having him be 30 seconds faster than me the next week, didn't mean anything. I needed more."
He eventually took up teaching, and spent seven years at various schools in B.C. It paid the bills, but Philip was still unsure. He was playing music on the side, often for his students. But creatively he felt stifled.
He soon realized teaching wasn't for the long-term. "If I'm going to spend my entire life focused on something, it has to be something I'm really passionate about."
Free from the daily grind, he dove into music full-time and recorded his debut, 2005's OM Cooking. "It was a real snap decision," Philip said.
"I made it overnight. It was the first career decision I made that wasn't influenced by how much money I would make. I did it trusting that money would follow, that I would be able to make a living doing it. I've never really been interested in trying to get rich, I just want to make a living."
His music made some immediate waves in B.C., especially in areas well suited to Philip's surf-friendly vibe. It didn't take Philip long to realize his decision was the right one.
"Nobody knew who I was. But I just had to try. I had the sense that what I was doing was fairly unique. I did fine right off the bat, and it has been growing ever since."
He released his second recording, Earthshake, in 2006, followed by his third effort, In the Moment, in 2008. As luck would have it, Philip wasn't the only one-man band with a didgeridoo setup on the circuit at that point, which caused some confusion. Australian performer Xavier Rudd, who, oddly enough, spent time in Courtenay during the late 1990s and who bears a striking resemblance to Philip, was out of the gate first — to the complete surprise of Philip.
"I heard about him after I was doing my stuff," he said with a laugh. "I thought I was completely unique, something that nobody in the world was doing. I guess it's hard to be unique in this world."
Philip need not worry. Barring vast changes to his setup, he will always be known as the guy with the vast artistic arsenal. "I do have a lot of junk with me," he said of his cache of instruments, which evolves on a regular basis. "I'm the equivalent of a five-piece band, in terms of the gear that I have. There's a lot going on."
That said, if he could change anything about his career, it would be how people regard him as a performer.
"I don't like to call myself a one-man band because people think of the old guy with the cymbals between his knees and the monkey. I'm just a songwriter who happens to express myself with a bunch of different instruments at the same time."
By Mike Delvin
An ancient tribal instrument from Northern Australia, the didgeridoo is considered the oldest wind instrument that exists today. The hypnotic, haunting sound it produces can induce listeners into a trance-like state and is even thought to have a special healing power.
Harnessing this power to produce an irresistible fusion of reggae and funk-influenced rhythm and song is multi-instrumentalist Shane Philip, who returns to Squamish as the headline act for the first show of the 2012 Squamish Equinox Rock Festival (SERF) series, set to take place at the Howe Sound Brew Pub next Friday (Jan. 20).
“I just play what comes from my heart and soul,” Philip told The Chief.
Self-described as a singer/songwriter “first and foremost,” Philip uses an arsenal of didgeridoos, guitars and drums to bring his songs to life and the effect is so cutting edge that some mistake it for electronic looping.
“That’s the ultimate compliment for me,” he said. “I know people that like electronic music hear a little bit of that when I get the kick drum and high hat going, and the didge, but that’s as close as I get.”
“I’m doing it live off the floor so it’s completely 100 per cent organic.”
The Squamish SERF concert will be the second stop on Philip’s upcoming Western Canadian tour with African drummer Zach Sukuweh. He kicks the tour off the night before at The Venue in Vancouver — opening for The Wailers.
“I’m excited,” Philip said. “There are two bands that I really want to open for; one is The Wailers and the other is Ben Harper, and in both cases I will probably know every single lyric to every single song.”
Philip has played Quest University’s Dancing Bear Festival for the past three years, and performed last year at the Brackendale Art Gallery.
“I like Squamish — we have a lot in common because I’m into outdoor activities and that, so I feel I’m surrounded by kindred spirits when I play a show there,” he said. “It’s like all this good energy just bouncing around.”
Opening for Philip is the root-infused Francophone band Volume Collective. Based in Squamish, the five-person group played Envol et Macadam — Quebec’s top alternative music festival — this past fall after winning the western Planetrox music competition, and is working on its first album, due out sometime this spring.
Harnessing this power to produce an irresistible fusion of reggae and funk-influenced rhythm and song is multi-instrumentalist Shane Philip, who returns to Squamish as the headline act for the first show of the 2012 Squamish Equinox Rock Festival (SERF) series, set to take place at the Howe Sound Brew Pub next Friday (Jan. 20).
“I just play what comes from my heart and soul,” Philip told The Chief.
Self-described as a singer/songwriter “first and foremost,” Philip uses an arsenal of didgeridoos, guitars and drums to bring his songs to life and the effect is so cutting edge that some mistake it for electronic looping.
“That’s the ultimate compliment for me,” he said. “I know people that like electronic music hear a little bit of that when I get the kick drum and high hat going, and the didge, but that’s as close as I get.”
“I’m doing it live off the floor so it’s completely 100 per cent organic.”
The Squamish SERF concert will be the second stop on Philip’s upcoming Western Canadian tour with African drummer Zach Sukuweh. He kicks the tour off the night before at The Venue in Vancouver — opening for The Wailers.
“I’m excited,” Philip said. “There are two bands that I really want to open for; one is The Wailers and the other is Ben Harper, and in both cases I will probably know every single lyric to every single song.”
Philip has played Quest University’s Dancing Bear Festival for the past three years, and performed last year at the Brackendale Art Gallery.
“I like Squamish — we have a lot in common because I’m into outdoor activities and that, so I feel I’m surrounded by kindred spirits when I play a show there,” he said. “It’s like all this good energy just bouncing around.”
Opening for Philip is the root-infused Francophone band Volume Collective. Based in Squamish, the five-person group played Envol et Macadam — Quebec’s top alternative music festival — this past fall after winning the western Planetrox music competition, and is working on its first album, due out sometime this spring.
NANAIMO DAILY NEWS
Derek Spalding
Shane Philip's sound is rhythmic, intoxicating
Life's changing for the multi-instrumentalist Shane Philip, who is known world-wide for his dynamic didgeridoo-infused music.
He officially became a former Quadra Island resident yesterday as he and his family moved to Courtenay, where he bought his first home. All this amidst a very busy tour, which brings him to the On the Dock acoustic concert series at the Dinghy Dock Pub on Tuesday.
Philip has been touring constantly for the few years now. His rhythmic and intoxicating sounds are powerful enough to fill a room with dancing fans and soulful enough to quiet a packed house.
Those songs have captured audiences for years in Canada, particularly along the west coast, but for the past five years, he's captured listeners around the globe.
He released Earthshake in 2006, introducing his unique sound and creating a small following almost instantly. By 2008, he released In the Moment, which showed further that he could seamlessly blend folk, reggae and blues genres into his own creation.
The title track of this album is one of his best works to date. The tracks include the occasional serf beats that made him stand out to me.
He followed this impressive project with Live at Baker Studios in 2009. Heavier on the blues side, this album had more of the grit that comes out during Philip's live shows, which was essential for anyone who had never been to a performance. Now they could get a taste of that by adding the music to their playlist at home.
Philip is a one-man force on stage. His feet wildly work his drum kit while he plays guitar, the aslatua, the djembe and, of course, his didgeridoos.
His best work to date definitely came last year when he released Life Love Music. The album has a lot more vocals than I'm used to hearing and much more of that mesmerizing sound that he is so well known for.
Philip hooked up once again with producer Joby Baker and the two collaborated for what is another memorable product. Baker often plays bass and drums on the tracks and the two took a total of eight days to record. Might sound quick, but Philip is known for completing his projects quickly. The Baker Studios album took two days, as an example.
The result, though, of taking the extra time is a wonderfully polished recording that maintains the grit and integrity of Philip's compositions.
This show will be one of the must-sees in the Got Pop? acoustic series. Philip will be joined by Chantel Upshaw, Ian Wall and Mark Lee at the Dinghy Dock.
Derek Spalding
Shane Philip's sound is rhythmic, intoxicating
Life's changing for the multi-instrumentalist Shane Philip, who is known world-wide for his dynamic didgeridoo-infused music.
He officially became a former Quadra Island resident yesterday as he and his family moved to Courtenay, where he bought his first home. All this amidst a very busy tour, which brings him to the On the Dock acoustic concert series at the Dinghy Dock Pub on Tuesday.
Philip has been touring constantly for the few years now. His rhythmic and intoxicating sounds are powerful enough to fill a room with dancing fans and soulful enough to quiet a packed house.
Those songs have captured audiences for years in Canada, particularly along the west coast, but for the past five years, he's captured listeners around the globe.
He released Earthshake in 2006, introducing his unique sound and creating a small following almost instantly. By 2008, he released In the Moment, which showed further that he could seamlessly blend folk, reggae and blues genres into his own creation.
The title track of this album is one of his best works to date. The tracks include the occasional serf beats that made him stand out to me.
He followed this impressive project with Live at Baker Studios in 2009. Heavier on the blues side, this album had more of the grit that comes out during Philip's live shows, which was essential for anyone who had never been to a performance. Now they could get a taste of that by adding the music to their playlist at home.
Philip is a one-man force on stage. His feet wildly work his drum kit while he plays guitar, the aslatua, the djembe and, of course, his didgeridoos.
His best work to date definitely came last year when he released Life Love Music. The album has a lot more vocals than I'm used to hearing and much more of that mesmerizing sound that he is so well known for.
Philip hooked up once again with producer Joby Baker and the two collaborated for what is another memorable product. Baker often plays bass and drums on the tracks and the two took a total of eight days to record. Might sound quick, but Philip is known for completing his projects quickly. The Baker Studios album took two days, as an example.
The result, though, of taking the extra time is a wonderfully polished recording that maintains the grit and integrity of Philip's compositions.
This show will be one of the must-sees in the Got Pop? acoustic series. Philip will be joined by Chantel Upshaw, Ian Wall and Mark Lee at the Dinghy Dock.
By Kim Hutchison - Ponoka News
Shane Philip’s newest release sure to be a crowd pleaser
Shane Philip has recently released his fourth album “Live at Baker Studios” which was recorded – as the title suggests – live off the floor at Baker Studios. After the three hours it took to set up and mic the instruments, the nine hours of recording and the additional 12 hours of mixing, the album, which is sure to be a success, was complete and the result truly emphasizes Philip’s natural, seemingly effortless talent as a singer, songwriter and performer. Aside from playing the didgeridoo, djembe drums, kick drum, acoustic/electric six string guitars, weissen born and kona lap steel guitars, drums, and shakers, Philip produced the album with Joby Baker.
His soulful sound transcends musical borders ultimately producing a sound that can be associated with the elements: There are beautiful, natural, earth, tones; the flowing sounds of unique wind instruments; the cool, mellow sounds that provide relaxation properties similar to the gentle waves of the open ocean; the change of tempo creating fiery, upbeat and enjoyable melodies and lyrics, and the obvious heart, determination and dedication it takes to create an album of this magnitude.
Listening to this album, especially the songs “Breakdown”, “Sacred Garden” and “Skydance” was truly a treat.
Philip will be performing at the Communitea Café in Canmore on Feb. 12 and at Dicken’s Pub in Calgary on Feb. 17 and 18 for anyone in the area interested in checking him out.
For more information on venues, this album, and Philip’s previous work, visit www.shanephilip.com
Shane Philip’s newest release sure to be a crowd pleaser
Shane Philip has recently released his fourth album “Live at Baker Studios” which was recorded – as the title suggests – live off the floor at Baker Studios. After the three hours it took to set up and mic the instruments, the nine hours of recording and the additional 12 hours of mixing, the album, which is sure to be a success, was complete and the result truly emphasizes Philip’s natural, seemingly effortless talent as a singer, songwriter and performer. Aside from playing the didgeridoo, djembe drums, kick drum, acoustic/electric six string guitars, weissen born and kona lap steel guitars, drums, and shakers, Philip produced the album with Joby Baker.
His soulful sound transcends musical borders ultimately producing a sound that can be associated with the elements: There are beautiful, natural, earth, tones; the flowing sounds of unique wind instruments; the cool, mellow sounds that provide relaxation properties similar to the gentle waves of the open ocean; the change of tempo creating fiery, upbeat and enjoyable melodies and lyrics, and the obvious heart, determination and dedication it takes to create an album of this magnitude.
Listening to this album, especially the songs “Breakdown”, “Sacred Garden” and “Skydance” was truly a treat.
Philip will be performing at the Communitea Café in Canmore on Feb. 12 and at Dicken’s Pub in Calgary on Feb. 17 and 18 for anyone in the area interested in checking him out.
For more information on venues, this album, and Philip’s previous work, visit www.shanephilip.com
-- intense tracks like Insomnia and How Could You Know are plenty rough, and Philip keeps things off-balance with surprising the use of ominous Australian wind pipe the didgeridoo, which might be the perfect horror movie instrument. Philip is clearly carving something unique in Canadian music.
January 23, 2009
LIVE AT BAKER STUDIOS -- Shane Philip (Independent)* * *
It took British Columbia's one-man-band Shane Philip three hours to set up, nine hours to record, and 12 hours to mix "Live at Baker Studios." Even Jack Bauer can't do that much in 24 hours.
Once you're done marveling at how he made it, Philip's solo act blends everything from Jack Johnson to the Dave Matthews Band to Jack White into a polished wall of sound. The mistake is labelling Philip a folkie --
LIVE AT BAKER STUDIOS -- Shane Philip (Independent)* * *
It took British Columbia's one-man-band Shane Philip three hours to set up, nine hours to record, and 12 hours to mix "Live at Baker Studios." Even Jack Bauer can't do that much in 24 hours.
Once you're done marveling at how he made it, Philip's solo act blends everything from Jack Johnson to the Dave Matthews Band to Jack White into a polished wall of sound. The mistake is labelling Philip a folkie --
Lucidforge
Canadian arts and entertainment magazine
Written by Rachel Packota
"The sidewalk is my band." At least, that's what I think he said. But honestly, who cares. Let's just keep dancing!
Two amazing notes on the production of "Live at Baker Studios": 1) It was recorded in its entirety in only nine (9) hours (followed by a mere twelve hours of mixing that did NOT include any dubs or loops); and 2) Philip played every - EVERY! - instrument on the album - approximately nine in total - including, but not limited to, lap steel guitar, acoustic and electric 6-string guitars, didgeridoo and the aslatua.
"Live at Baker Studios" is essentially one man's vision and solo execution, and that is likely the reason for the near-hypnotic experience of it. Philip knows exactly when, where, and how to include every beat, every shake, every clap, stomp or shout.
Folk, reggae, blues and tribal sounds mix inside his brain, then flow into his vocal chords and fingertips before exploding into the ether, wildly persuasive, intangibly relentless, and dancing with affirmation and excitement. It pulses and sweeps with a vitality perceptible across generations. It's no wonder he found such popularity at Kensington Market's outdoor summer street festival, Pedestrian Sunday.
Between the energy of such tracks as "How Could You Know" or the foot-stomper "Stranded", there are some songs that "drip melodically with honey and sunshine" (from the shanephilips.com biography) filled with reflections on nature and community. Really, though, I don't care in what order he plays his songs as long as he keeps playing.
Canadian arts and entertainment magazine
Written by Rachel Packota
"The sidewalk is my band." At least, that's what I think he said. But honestly, who cares. Let's just keep dancing!
Two amazing notes on the production of "Live at Baker Studios": 1) It was recorded in its entirety in only nine (9) hours (followed by a mere twelve hours of mixing that did NOT include any dubs or loops); and 2) Philip played every - EVERY! - instrument on the album - approximately nine in total - including, but not limited to, lap steel guitar, acoustic and electric 6-string guitars, didgeridoo and the aslatua.
"Live at Baker Studios" is essentially one man's vision and solo execution, and that is likely the reason for the near-hypnotic experience of it. Philip knows exactly when, where, and how to include every beat, every shake, every clap, stomp or shout.
Folk, reggae, blues and tribal sounds mix inside his brain, then flow into his vocal chords and fingertips before exploding into the ether, wildly persuasive, intangibly relentless, and dancing with affirmation and excitement. It pulses and sweeps with a vitality perceptible across generations. It's no wonder he found such popularity at Kensington Market's outdoor summer street festival, Pedestrian Sunday.
Between the energy of such tracks as "How Could You Know" or the foot-stomper "Stranded", there are some songs that "drip melodically with honey and sunshine" (from the shanephilips.com biography) filled with reflections on nature and community. Really, though, I don't care in what order he plays his songs as long as he keeps playing.
SHANE PHILIP • LIVE AT BAKER STUDIOS (INDIE)
For his fourth release, Vancouver’s Shane Philip decided to take a break from the road after a year of live touring to record this album straight off the floor without any overdubs or looping in one marathon nine-hour session followed by mixdowns the next day. Philip serves at times as a virtual one-man band on Live At Baker Studios, performing on a wide series of instruments that ranges from lap guitars to the didgeridoo. The overall feel here is trance-like at times, with the drones created by his fondness for open tunings combining with vocals that move from whispered folkie confessionals to emphatic blues-based pronouncements under a constant wash of reverb. Endearingly and refreshingly uncontrived. Well worth checking out. – Rod Nicholson
Performance: B+/Production: B+
For his fourth release, Vancouver’s Shane Philip decided to take a break from the road after a year of live touring to record this album straight off the floor without any overdubs or looping in one marathon nine-hour session followed by mixdowns the next day. Philip serves at times as a virtual one-man band on Live At Baker Studios, performing on a wide series of instruments that ranges from lap guitars to the didgeridoo. The overall feel here is trance-like at times, with the drones created by his fondness for open tunings combining with vocals that move from whispered folkie confessionals to emphatic blues-based pronouncements under a constant wash of reverb. Endearingly and refreshingly uncontrived. Well worth checking out. – Rod Nicholson
Performance: B+/Production: B+
If you haven’t yet heard Shane Philip’s sound, you’ve got a treat in store for you. His music somehow surprises you – because it’s so different - and captures you – because it’s so good - on a whole bunch of levels. It includes flavours of reggae and blues as it sets up an organic dance feel along with a folk rocky sound. Philip’s resonant voice, moving rhythm, topical lyrics, sweetly different combination of instruments and overall unique, full sound appeals to most everyone with ears.
Once a teacher of high school students, Philip would, “play music for the kids.” He called it “dabbling.” He found himself to be, “a fairly decent song writer and (he) enjoyed it.” When he decided to engender more student interest in the Social Studies curriculum through his funky rock and reggae, it worked for everyone, including himself. His students commented, “(Your music) is very cool. What are you doing teaching school? You should be making music.” So he got busy doing what he now loves to do. “That’s when I decided to do music (full-time),” remarks Philip. “That’s when the journey started.”
Although Philip sees himself as first and foremost a singer songwriter, the one man band’s eclectic array of instruments brings various qualities to his primal message and one-of-a-kind sound. The collection includes an electric kick drum. “It gives the music the pulse,” remarks Philip. ”And electric music is addictive.” H’s also got a djembe in the mix. “Africans have been doing it (drumming) for years. It’s organic.” When he plays the drum, Philip says, “I feel it myself. I feel it rather than think it.” The guitar lends, “the melody, voice and mood” to the mix. Philip adds, “I’ve always played guitar.”
He discovered an age-old Australian instrument’s enchantment, the didgeridoo, on Quadra Island where he now makes his home. His research on music as healing showed that the didgeridoo was used for sound therapy. “What a great expression,” says Philip. “It’s a natural, healing element. I love the way it complimented the other sounds. It opens up a whole new canvas.”
The didgeridoo also, “brought Spirit into my consciousness.” Now, Philip is aware of Spirit in his life all the time. He comments, “It’s there when I wake up in the morning, stretch, go for a walk or go for coffee.” He feels Spirit in his work, but it’s not something that he exactly has a precise language for. “I just know that the music is super powerful for changing moods, thinking and memory.”
On top of the didgeridoo, another divine aspect shows up in how Philip composes his lyrics. “When I write a song, it just comes to me,” he reports. “Bam, I have a song. The (rough) lyrics come out of thin air.” His inspiration comes from his surroundings. “I write lyrics at home on Quadra about my world,” explains Philip. “I live on an island, I talk to people about kayaking, and I’m surrounded by gardens and such. So that’s what I write about.”
Philip presents his music as more than entertainment. Similar to his original teaching platform, Philip continues to teach and sing about the environment, social justice and personal experience. “The role I play is I try to make the world a better place,” says Philip. “It’s my way of contributing to the world’s wellbeing.”
In putting it all together, the didgeridoo and drums produce the “visceral rhythm.” The lyrics are the “cerebral” dynamic and the guitar and voice lend the “melody and mood.” The arrangement is, according to Philip, “a tool to expose what I’m writing. People respond in a magnificent, positive way. It’s unique to them.”
Philip’s organic sound has been recorded on three CD’s, i.e. OM Cooking, Earthshake and his latest, In the Moment. Each work has a slightly different ring to it since each reflects whatever he was doing at the time and how he was developing personally. In his first CD, OM Cooking, he enjoyed a “musician’s dream” as he had access to a recording studio in Smithers, BC. There, he explored the mystical dimensions of the didgeridoo and incorporated its unearthly sound in his mix. In Earthshake, his second production, his message is, “about the natural environment and human nature.” His latest CD, entitled In the Moment, is a call for people to take care of the environment and of each other. As in the past when he was a teacher, Philip now continues to teach and sing about the environment and social justice through his recordings. His personal experience also shows up in various tracks. It all makes for a topical, authentic, powerful, and intimate way to reach out to his fans.
Ultimately, he keeps it simple. “I have a gift – a message that I offer,” he comments. ”It makes me and other people happy. This is where I’m supposed to be. It feels right. That makes it right.”
It’s not a surprise that his live performances are real, raw and spontaneous. “It’s amazing when I go to do a show. I can be in any state of mind but when I sit down and start playing, it instantly takes me into the zone,” says Philip. “When I’m performing, something takes over. I see someone (in the audience) respond and I go with their reaction – try to carry it. Sometimes they drive; sometimes I drive. The energy goes two ways. That’s where the magic is.”
He’s passionate about his music and minstrelling around British Columbia, frequenting popular venues such as the Queen’s in Nanaimo. Philip comments, “In my life on the road, I can be driving and realize, ‘I live here – all over British Columbia – it’s incredible’.” He’s a country boy and he loves the water. “That’s why I live on Quadra. I stay away from metro centres. They all look the same.”
“I have the foundation – the experience, instruments and songs,” reflects Philip. “But I’m always trying to polish (my work).” Interestingly he finds basking to be not only lucrative but also a venue that keeps him tuned in to his audience. “Basking in Coombs shows me that it’s the most honest form of entertainment.”
Plus, he has his 16 year old son, Zach to keep him on course and real. The young man gives dad the honest feedback that he needs. Philip has found that, “If he (Zach) likes it, it works.” His son is also one of Philip’s biggest influences. Dad reflects on his generation’s legacy, i.e. the condition of the environment, to the next generation. Philip feels intuitively that, “There’s definitely a big change is going on. It’s building. Will the world be uninhabitable? I don’t know. We’ll have to wait and see.”
As far as success is concerned, he cites, “(As a businessman) I expose my music to as many audiences as possible. It’s my job and I’m confident that if people hear it, they’ll like it. (On a personal level) it’s my passion. I’m just going to do what I have to do. Financial success is the by product rather than the goal. I’m just a guy who’s trying to do what he’s passionate about – music,” says Philip. “I just do the best I can.”
But Philip isn’t fixated on a destination in the future. He is grounded in the present and holds it all lightly. His attitude is playful. “Now, what’s going to happen to me today? What do I plan to do? I’m hanging on for the ride,” he ponders. “I’ve never reached a destination. I’m always in process. It’s a journey.”
For more information about Philip, you can visit his website at www.shanephilip.com.
Once a teacher of high school students, Philip would, “play music for the kids.” He called it “dabbling.” He found himself to be, “a fairly decent song writer and (he) enjoyed it.” When he decided to engender more student interest in the Social Studies curriculum through his funky rock and reggae, it worked for everyone, including himself. His students commented, “(Your music) is very cool. What are you doing teaching school? You should be making music.” So he got busy doing what he now loves to do. “That’s when I decided to do music (full-time),” remarks Philip. “That’s when the journey started.”
Although Philip sees himself as first and foremost a singer songwriter, the one man band’s eclectic array of instruments brings various qualities to his primal message and one-of-a-kind sound. The collection includes an electric kick drum. “It gives the music the pulse,” remarks Philip. ”And electric music is addictive.” H’s also got a djembe in the mix. “Africans have been doing it (drumming) for years. It’s organic.” When he plays the drum, Philip says, “I feel it myself. I feel it rather than think it.” The guitar lends, “the melody, voice and mood” to the mix. Philip adds, “I’ve always played guitar.”
He discovered an age-old Australian instrument’s enchantment, the didgeridoo, on Quadra Island where he now makes his home. His research on music as healing showed that the didgeridoo was used for sound therapy. “What a great expression,” says Philip. “It’s a natural, healing element. I love the way it complimented the other sounds. It opens up a whole new canvas.”
The didgeridoo also, “brought Spirit into my consciousness.” Now, Philip is aware of Spirit in his life all the time. He comments, “It’s there when I wake up in the morning, stretch, go for a walk or go for coffee.” He feels Spirit in his work, but it’s not something that he exactly has a precise language for. “I just know that the music is super powerful for changing moods, thinking and memory.”
On top of the didgeridoo, another divine aspect shows up in how Philip composes his lyrics. “When I write a song, it just comes to me,” he reports. “Bam, I have a song. The (rough) lyrics come out of thin air.” His inspiration comes from his surroundings. “I write lyrics at home on Quadra about my world,” explains Philip. “I live on an island, I talk to people about kayaking, and I’m surrounded by gardens and such. So that’s what I write about.”
Philip presents his music as more than entertainment. Similar to his original teaching platform, Philip continues to teach and sing about the environment, social justice and personal experience. “The role I play is I try to make the world a better place,” says Philip. “It’s my way of contributing to the world’s wellbeing.”
In putting it all together, the didgeridoo and drums produce the “visceral rhythm.” The lyrics are the “cerebral” dynamic and the guitar and voice lend the “melody and mood.” The arrangement is, according to Philip, “a tool to expose what I’m writing. People respond in a magnificent, positive way. It’s unique to them.”
Philip’s organic sound has been recorded on three CD’s, i.e. OM Cooking, Earthshake and his latest, In the Moment. Each work has a slightly different ring to it since each reflects whatever he was doing at the time and how he was developing personally. In his first CD, OM Cooking, he enjoyed a “musician’s dream” as he had access to a recording studio in Smithers, BC. There, he explored the mystical dimensions of the didgeridoo and incorporated its unearthly sound in his mix. In Earthshake, his second production, his message is, “about the natural environment and human nature.” His latest CD, entitled In the Moment, is a call for people to take care of the environment and of each other. As in the past when he was a teacher, Philip now continues to teach and sing about the environment and social justice through his recordings. His personal experience also shows up in various tracks. It all makes for a topical, authentic, powerful, and intimate way to reach out to his fans.
Ultimately, he keeps it simple. “I have a gift – a message that I offer,” he comments. ”It makes me and other people happy. This is where I’m supposed to be. It feels right. That makes it right.”
It’s not a surprise that his live performances are real, raw and spontaneous. “It’s amazing when I go to do a show. I can be in any state of mind but when I sit down and start playing, it instantly takes me into the zone,” says Philip. “When I’m performing, something takes over. I see someone (in the audience) respond and I go with their reaction – try to carry it. Sometimes they drive; sometimes I drive. The energy goes two ways. That’s where the magic is.”
He’s passionate about his music and minstrelling around British Columbia, frequenting popular venues such as the Queen’s in Nanaimo. Philip comments, “In my life on the road, I can be driving and realize, ‘I live here – all over British Columbia – it’s incredible’.” He’s a country boy and he loves the water. “That’s why I live on Quadra. I stay away from metro centres. They all look the same.”
“I have the foundation – the experience, instruments and songs,” reflects Philip. “But I’m always trying to polish (my work).” Interestingly he finds basking to be not only lucrative but also a venue that keeps him tuned in to his audience. “Basking in Coombs shows me that it’s the most honest form of entertainment.”
Plus, he has his 16 year old son, Zach to keep him on course and real. The young man gives dad the honest feedback that he needs. Philip has found that, “If he (Zach) likes it, it works.” His son is also one of Philip’s biggest influences. Dad reflects on his generation’s legacy, i.e. the condition of the environment, to the next generation. Philip feels intuitively that, “There’s definitely a big change is going on. It’s building. Will the world be uninhabitable? I don’t know. We’ll have to wait and see.”
As far as success is concerned, he cites, “(As a businessman) I expose my music to as many audiences as possible. It’s my job and I’m confident that if people hear it, they’ll like it. (On a personal level) it’s my passion. I’m just going to do what I have to do. Financial success is the by product rather than the goal. I’m just a guy who’s trying to do what he’s passionate about – music,” says Philip. “I just do the best I can.”
But Philip isn’t fixated on a destination in the future. He is grounded in the present and holds it all lightly. His attitude is playful. “Now, what’s going to happen to me today? What do I plan to do? I’m hanging on for the ride,” he ponders. “I’ve never reached a destination. I’m always in process. It’s a journey.”
For more information about Philip, you can visit his website at www.shanephilip.com.
He is a one-man phenomenon who combines guitar, Weissenborn lap-slide, djembe and didgeridoo into a rich sonic tapestry to support his expressive voice. Those looking for a sonic reference will find elements of John Mellencamp, 54-40, John Fogerty and Big Sugar in Shane Philip's music.
Breakdown opens the album with a foot-stomping groove lots of acoustic guitar. Stranded is a little lighter and more swampy. Insomnia is a
smoldering didgeridoo romp. Octopus has didgeridoo swelling beneath a techno beat.
Other highlights include Skydance, Sweet Ocean, Web of Fear and Cool Clouds.
There is something primal and compelling about the combined sounds of didgeridoo and Weissenborn together, and if you haven't heard either
instrument you need to get a copy of this album. It is infectious and magical.
Dave Reed
Breakdown opens the album with a foot-stomping groove lots of acoustic guitar. Stranded is a little lighter and more swampy. Insomnia is a
smoldering didgeridoo romp. Octopus has didgeridoo swelling beneath a techno beat.
Other highlights include Skydance, Sweet Ocean, Web of Fear and Cool Clouds.
There is something primal and compelling about the combined sounds of didgeridoo and Weissenborn together, and if you haven't heard either
instrument you need to get a copy of this album. It is infectious and magical.
Dave Reed
The Newspaper
U of T’s Community Newspaper
Recorded live off the Baker Studio floor in Victoria, BC the new 2009 musical release from Shane Philip showcases a self-taught and self-motivated style of a one-man multi-instrumental powerhouse.
In addition to didgeridoo, his first instrument, Shane Philip plays 6-string acoustic and electric guitar Weissenborn and kona lap steel guitar along with djembe, kick drums and shakers. And yes, he sings too! The grungy and crispy sounds spin only a positive message along with swirling vibes of organic dance grooves. Most certainly appealing I would think to the colourful underground alternative and hippy culture
The music has been catagorized as folk world fusion and island soul music and I am reminded of Jamaica listening to the swaying reggae beat of Sweet Ocean and Cool Clouds. But Shane Philip is a Canadian boy and a British Columbia native sending his positive vibrations from this, his fourth release direct from the island of Quadra
Secret Garden is the song that stands out for me with a softer sound than the other 11 tracks, a Zeppelin-esque quality catches my ear. Shane Philip, a former high school social studies teacher creates thought provoking dialogue with his listeners
in a song asking..."what if we decide to stop using Plastic Bags every time we shop? Such a simple step to take and oh what a serious change it could make to the world
Know we've got to change in this world, Can't stay the same in this world"
Having never seen Shane Philip perform live I still think it's safe for me to say this musician would be popular in the jam band community especially in an outdoor environment where fans can spin around grooving with the music while leaving only footprints on grass and festival mud all over the country
Philip has been a non-stop touring musician since 2005
For more information on this artist and to see his full calendar
Shane Philip can be found in cyberspace
At either one of these two websites...
www.shanephilip.com
www.myspace.com/shanephilip
Lisa McDonald
January 2009
U of T’s Community Newspaper
Recorded live off the Baker Studio floor in Victoria, BC the new 2009 musical release from Shane Philip showcases a self-taught and self-motivated style of a one-man multi-instrumental powerhouse.
In addition to didgeridoo, his first instrument, Shane Philip plays 6-string acoustic and electric guitar Weissenborn and kona lap steel guitar along with djembe, kick drums and shakers. And yes, he sings too! The grungy and crispy sounds spin only a positive message along with swirling vibes of organic dance grooves. Most certainly appealing I would think to the colourful underground alternative and hippy culture
The music has been catagorized as folk world fusion and island soul music and I am reminded of Jamaica listening to the swaying reggae beat of Sweet Ocean and Cool Clouds. But Shane Philip is a Canadian boy and a British Columbia native sending his positive vibrations from this, his fourth release direct from the island of Quadra
Secret Garden is the song that stands out for me with a softer sound than the other 11 tracks, a Zeppelin-esque quality catches my ear. Shane Philip, a former high school social studies teacher creates thought provoking dialogue with his listeners
in a song asking..."what if we decide to stop using Plastic Bags every time we shop? Such a simple step to take and oh what a serious change it could make to the world
Know we've got to change in this world, Can't stay the same in this world"
Having never seen Shane Philip perform live I still think it's safe for me to say this musician would be popular in the jam band community especially in an outdoor environment where fans can spin around grooving with the music while leaving only footprints on grass and festival mud all over the country
Philip has been a non-stop touring musician since 2005
For more information on this artist and to see his full calendar
Shane Philip can be found in cyberspace
At either one of these two websites...
www.shanephilip.com
www.myspace.com/shanephilip
Lisa McDonald
January 2009
Red Deer Express – Red Deer Alberta
CITY PULSE
What's new in CDs
Shane Philip continues to expand his creative horizons with Live at Baker Studios.
The opening cut Breakdown kicks things off with a lively, promising start built on a seamless foundation of rhythm and acoustic guitars. Philip sounds terrific, his breathy, expressive voice a perfect match for the masterfully-crafted tunes.
Stranded follows with a dreamy, other-worldly sensibility and then listeners are plunged into a rich, textured, exotic world via his exquisite skills on the didgeridoo in Insomnia.
The didgeridoo takes centre stage on Tripleshot, again showcasing Philip’s triumphant uniqueness as an artist.
Appropriately, Sweet Ocean is infused with tinges of reggae as it winds its delightfully, relaxed course.
Enhancing the charms of the project is likely the way it was recorded – ‘live off the floor’ and in jig time. It took only three hours to set up, nine hours of recording and another 12 to mix the CD.
There really isn’t a tune not to like on this project – Philip continues to craft music that is absolutely unlike what we typically hear these days, yet is utterly and comfortably accessible.
Rating: 4 out of 5
- Mark Weber
CITY PULSE
What's new in CDs
Shane Philip continues to expand his creative horizons with Live at Baker Studios.
The opening cut Breakdown kicks things off with a lively, promising start built on a seamless foundation of rhythm and acoustic guitars. Philip sounds terrific, his breathy, expressive voice a perfect match for the masterfully-crafted tunes.
Stranded follows with a dreamy, other-worldly sensibility and then listeners are plunged into a rich, textured, exotic world via his exquisite skills on the didgeridoo in Insomnia.
The didgeridoo takes centre stage on Tripleshot, again showcasing Philip’s triumphant uniqueness as an artist.
Appropriately, Sweet Ocean is infused with tinges of reggae as it winds its delightfully, relaxed course.
Enhancing the charms of the project is likely the way it was recorded – ‘live off the floor’ and in jig time. It took only three hours to set up, nine hours of recording and another 12 to mix the CD.
There really isn’t a tune not to like on this project – Philip continues to craft music that is absolutely unlike what we typically hear these days, yet is utterly and comfortably accessible.
Rating: 4 out of 5
- Mark Weber
Didgeridoo, Kona lap-slide guitar, Djembe drums...this master of unique instrumentation brings strange sounds together to form a seamless music mosaic. Different.
Music for your consideration
Multi-instrumentalist Shane Philip’s one-man show is captured on energetic live-off-the-floor recording, Live at Baker Studio. This is music at its most organic. The singer/songwriter from British Columbia has mastered the dexterity to sing and play the guitar and didgeridoo, an Australian aboriginal wind instrument, like someone would play the harp, all while providing percussion with a kick pedal and djembe. I would call his music folk with a rock edge, but with innovative influences that make this folk/rock not your mamma’s folk/rock. He is very interesting. I recommend you check him out online.
Multi-instrumentalist Shane Philip’s one-man show is captured on energetic live-off-the-floor recording, Live at Baker Studio. This is music at its most organic. The singer/songwriter from British Columbia has mastered the dexterity to sing and play the guitar and didgeridoo, an Australian aboriginal wind instrument, like someone would play the harp, all while providing percussion with a kick pedal and djembe. I would call his music folk with a rock edge, but with innovative influences that make this folk/rock not your mamma’s folk/rock. He is very interesting. I recommend you check him out online.
Shelley Gummeson is a host on Kamloops's CFBX 92.5FM and writes for Earshot Magazine.
The past couple of weeks seem to have been quite busy. So this past weekend I took a little getaway to Sun Peaks and went to see Shane Philip who was performing there.
Musician, Shane Philip has a unique ability to bring people together, then build and drive a powerful, positive vibe J with his music. When you hear the thunderous beat of the electronic kick, the rhythms of jembe and other percussion instruments, a pulsating didgeridoo, guitars, electric and acoustic, you could be in a dance club anywhere. Everyone is on their feet, everyone is dancing. Yes, I said didgeridoo. But the didge is only one of the tasty features, a big one for sure, but not the whole enchilada. Shane is a multi-instrumentalist, who plays these things at the same time and sings, but he is also multi-dimensional in his music.
The show was both a visceral and visual experience. Also on tour with Shane Philip and appearing at this show was artist Dave Oram. While Philip takes the stage and starts building a groove, Dave Oram, is painting a mural on a large 4 X 8 board. It’s live art and is driven by the synergy of music and art, musician and artist. Now add to the mix, the energy of the crowd. I was willingly captured in the vortex of this synergy. What I really liked was seeing the creative process unfolding right before my eyes and ears.
If the first set was building the groove, the second set was the musician, artist and crowd in the groove together. One big sweaty groove. It seemed to me the only way to slake the thirst from constant movement was with cold beer. .
The mural was finished by evenings end and was then raffled off. I didn’t win it, though I bought a number of tickets.
The morning after the show I had the pleasure of talking with both Shane Philip about his newest album “Live at Baker Studios” and to artist Dave Oram,. I’m very excited to be bringing some of that to Jazz On The Rocks. I’ll let you know when. In the meantime check out both artists. www.myspace.com/shanephilip or www.shanephilip.com and Dave Oram at www.veniceissinking.com just follow the flicker stream link at the bottom of the page to see his art work.
The past couple of weeks seem to have been quite busy. So this past weekend I took a little getaway to Sun Peaks and went to see Shane Philip who was performing there.
Musician, Shane Philip has a unique ability to bring people together, then build and drive a powerful, positive vibe J with his music. When you hear the thunderous beat of the electronic kick, the rhythms of jembe and other percussion instruments, a pulsating didgeridoo, guitars, electric and acoustic, you could be in a dance club anywhere. Everyone is on their feet, everyone is dancing. Yes, I said didgeridoo. But the didge is only one of the tasty features, a big one for sure, but not the whole enchilada. Shane is a multi-instrumentalist, who plays these things at the same time and sings, but he is also multi-dimensional in his music.
The show was both a visceral and visual experience. Also on tour with Shane Philip and appearing at this show was artist Dave Oram. While Philip takes the stage and starts building a groove, Dave Oram, is painting a mural on a large 4 X 8 board. It’s live art and is driven by the synergy of music and art, musician and artist. Now add to the mix, the energy of the crowd. I was willingly captured in the vortex of this synergy. What I really liked was seeing the creative process unfolding right before my eyes and ears.
If the first set was building the groove, the second set was the musician, artist and crowd in the groove together. One big sweaty groove. It seemed to me the only way to slake the thirst from constant movement was with cold beer. .
The mural was finished by evenings end and was then raffled off. I didn’t win it, though I bought a number of tickets.
The morning after the show I had the pleasure of talking with both Shane Philip about his newest album “Live at Baker Studios” and to artist Dave Oram,. I’m very excited to be bringing some of that to Jazz On The Rocks. I’ll let you know when. In the meantime check out both artists. www.myspace.com/shanephilip or www.shanephilip.com and Dave Oram at www.veniceissinking.com just follow the flicker stream link at the bottom of the page to see his art work.
Check out the following link to watch this news piece on Shane while out and about in London Ontario.
A Channel Interview, London ON
A Channel Interview, London ON
ALBUM GROOVE WITH FRASER
Shane opens with a bluesy feel and cohesiveness not found in the last disc, In The Moment , but as always with Mr. Philip you won’t get too much of that as he’s gonna shift gears and go way back to roots foundations. Primal percussion playfully pounding pleasant rhythm into your tympanic cavity. Also of note is the presence of a darkness on track ten, “Web of Fear”. I like this road taken. Mix in the usual suspects of ska, funk, reggae and a hint of in your face pure fun and you get a feel for another eclectic CD from Canadian Shane Philip. Still, I guess there is a bluesy thread running through most of the different styles so maybe more deep and cohesive than I first picked up on. This album was recorded at Baker Studios, natch, LIVE off the floor with no overdubs or looping to achieve that LIVE show feel. You do get the sense of holding a cool one in hand, watching one man on a stool on a stage, entertaining you. Oh, did I forget to mention the didgeridoo, yeah, that’s in there too.
Shane opens with a bluesy feel and cohesiveness not found in the last disc, In The Moment , but as always with Mr. Philip you won’t get too much of that as he’s gonna shift gears and go way back to roots foundations. Primal percussion playfully pounding pleasant rhythm into your tympanic cavity. Also of note is the presence of a darkness on track ten, “Web of Fear”. I like this road taken. Mix in the usual suspects of ska, funk, reggae and a hint of in your face pure fun and you get a feel for another eclectic CD from Canadian Shane Philip. Still, I guess there is a bluesy thread running through most of the different styles so maybe more deep and cohesive than I first picked up on. This album was recorded at Baker Studios, natch, LIVE off the floor with no overdubs or looping to achieve that LIVE show feel. You do get the sense of holding a cool one in hand, watching one man on a stool on a stage, entertaining you. Oh, did I forget to mention the didgeridoo, yeah, that’s in there too.
Philip's one-man show goes live
Shane Philip is proof that there is still a place for one-man bands to make a living in this country.
He finished his fourth CD earlier this year while playing eight instruments and singing all of the vocals on his Live at Baker Studios release. Philip produced the album with Joby Baker. He has a music following that appreciates his use of all his vocal chords as well as anything he can play a tune on.
Shane Philip is proof that there is still a place for one-man bands to make a living in this country.
He finished his fourth CD earlier this year while playing eight instruments and singing all of the vocals on his Live at Baker Studios release. Philip produced the album with Joby Baker. He has a music following that appreciates his use of all his vocal chords as well as anything he can play a tune on.
Shane Philip might be the picture perfect college bar band-- except he does it all on his own.
His acoustic meshing of classic- and blues-rock is solid and he's also got the foreboding rocker voice down pat. Initial impressions will have you thinking about Tom Cochrane and his theory that life is a highway, but whatever dirt roads Philip has travelled, he's actually picked up some essential items on the way.
Figuring prominently on some of his tunes is the didgeridoo. That's the wind instrument from Australia (yes, the one from season two of Survivor) that's capable of providing eerie undertones.
Yet on the track How Could You Know, those menacing warbles are employed to almost symphonic effect, but still reminding you this ain't no pristine concert hall.
Supporting his tribal urges are the aslatua (a set of African twin rattles) and a djembe (the African hand drum). Still there's room for straightforward acoustic guitar coffeehouse jams like Sweet Ocean, where reggae rhythms stimulate those reefer reflexes; after all, Philip is based in Vancouver Island.
It's a far cry from his stint as a high school social studies teacher, but he's coming back to school: Philip plays the Outback Shack at Fanshawe on Friday night at 10 p.m.
His acoustic meshing of classic- and blues-rock is solid and he's also got the foreboding rocker voice down pat. Initial impressions will have you thinking about Tom Cochrane and his theory that life is a highway, but whatever dirt roads Philip has travelled, he's actually picked up some essential items on the way.
Figuring prominently on some of his tunes is the didgeridoo. That's the wind instrument from Australia (yes, the one from season two of Survivor) that's capable of providing eerie undertones.
Yet on the track How Could You Know, those menacing warbles are employed to almost symphonic effect, but still reminding you this ain't no pristine concert hall.
Supporting his tribal urges are the aslatua (a set of African twin rattles) and a djembe (the African hand drum). Still there's room for straightforward acoustic guitar coffeehouse jams like Sweet Ocean, where reggae rhythms stimulate those reefer reflexes; after all, Philip is based in Vancouver Island.
It's a far cry from his stint as a high school social studies teacher, but he's coming back to school: Philip plays the Outback Shack at Fanshawe on Friday night at 10 p.m.
Ok, how is this possible? How can one dude lay down tracks for nine hours, mix for twelve (with no dubs or loops) and produce a complex album of reggae, rock and tribal folk, on which he is the only player? Impossible. Then again one look at the dude (that would be Shane) and it may not seem so ludicrous. The record is a lush, sweeping opus that touches on many genres, showcasing Philip's obvious musical muscle. Anyone honking away on a didgeridoo, then sliding all over a guitar, then wailing on djembe drums, deserves respect. And hey, the tunes ain't that bad either. Especially the thumping How Could You Know. It's sick (as in good - you know, the way kids talk).
Check out Live At Baker Studios
Had enough of music that’s over-produced, over-processed and overboard? Looking for something a little closer to the ground?
If the answer to both questions is yes, it could be worth your while to check out the music of Shane Philip, specifically his latest project, Live at Baker Studios.
Philip, who’s based in B.C., serves up a raw, almost primal brand of acoustic music here that draws together elements of the blues, folk music, reggae and the traditional music of Africa and Australia.
He creates his music utilizing a small arsenal of instruments that includes both Weissenborn and Kona lap steel guitars as well as djembe drums, didgeridoo, kick drum, shakers, regular acoustic guitars and his own highly expressive voice, which falls somewhere between that of John Cougar and John Hiatt.
Philip’s music has an earthiness and a gritty quality that I find hard to resist. Some have described it as organic dance music. That’s a fairly apt descriptor.
So, too, is diverse. One minute he’s chillin’ like Jack Johnson with a laidback reggae tune, the next he’s engrossed in a sea of swirling sounds that’s one step removed from frenzy.
Choice cuts on this set include Breakdown, Skydance, Plastic Bags, Cool Clouds and Web of Fear.
Had enough of music that’s over-produced, over-processed and overboard? Looking for something a little closer to the ground?
If the answer to both questions is yes, it could be worth your while to check out the music of Shane Philip, specifically his latest project, Live at Baker Studios.
Philip, who’s based in B.C., serves up a raw, almost primal brand of acoustic music here that draws together elements of the blues, folk music, reggae and the traditional music of Africa and Australia.
He creates his music utilizing a small arsenal of instruments that includes both Weissenborn and Kona lap steel guitars as well as djembe drums, didgeridoo, kick drum, shakers, regular acoustic guitars and his own highly expressive voice, which falls somewhere between that of John Cougar and John Hiatt.
Philip’s music has an earthiness and a gritty quality that I find hard to resist. Some have described it as organic dance music. That’s a fairly apt descriptor.
So, too, is diverse. One minute he’s chillin’ like Jack Johnson with a laidback reggae tune, the next he’s engrossed in a sea of swirling sounds that’s one step removed from frenzy.
Choice cuts on this set include Breakdown, Skydance, Plastic Bags, Cool Clouds and Web of Fear.
Music in the Eye of the Beholder
When music and paint collide, the result is a synergistic feast that titillates the ears and eyes.
Shane Philip, BC’s multi- instrumental, touring minstrel is at it again, crisscrossing Canada in support of his newest release Live at Baker Studios. He is conjuring up his brand of musical magic that encircles the listening audience, causing all manner of gyrations.
A one-time teacher, Shane was just too cool for school. He nurtured his musical ability and interest while teaching, in part, by setting the curriculum to music. Eventually he gave up teaching and followed his musical passion. The rest, as they say, is history.
Philip is known for his energetic and dynamic live performances. His latest project Live at Baker Studios is a reflection of this. “It was so exciting doing that album”, says Shane. “We recorded it in two days”.
Live at Baker Studios was recorded in Victoria, with producer/engineer and studio owner, Joby Baker (Alex Cuba, Rachel Van Zandt, The Bills just to name a few). It was all live, off the floor. “He [Joby Baker] had microphones everywhere. All the effects on the album were done by turning on and off microphones in the mix and it was very natural. I had to play everything at once and sing on key and that was my take. It was just like a live show.
That was the goal, to capture a live show. All the time when I play, people say to me, ‘I love all your albums but I want something like you did just now’”.
Live at Baker Studios is Shane’s answer to that.
If you think you know the Shane Philip sound, think again. He has added another dimension to his multiple music personality. There is of course some didgeridoo, and the rhythm of his drums, but there are electric elements as well, that give a decidedly edgy, rock sound. Shane explains the new sound. “I am fortunate enough to be surrounded by incredibly talented people. One of them is Richard Pielou, who has a company called Rich Guitars. This is the second guitar he’s made me. It’s an electric version of the Weissenborn Hawaiian lap slide guitar. I can distort it a bit more, turn it up a little louder, it’s a bit grungier, and it’s got that edge to it. With the style of my music, I really enjoy that. That’s a side of me that is coming out more and more now. Not always though, I still do the acoustic things and love it as much.” Whether in a club, in a park, or at a festival, Shane’s music gathers people together, and then turns loose the energy.
Shane’s current shows are further enhanced by the collaborations of a new band member, Dave Oram, whose instrument is a paintbrush. Shane quips, “It’s so good, because he doesn’t play any wrong notes.” Dave Oram is an artist from Quadra Island and is the creator of the album art on Live at Baker Studios. When asked how the two got together he says, “Shane approached me about doing the art work and I pointed out that it’s going to be completely different from anything before. We talked of something to do with the live album that would be a visual departure as well as a conceptual departure. I had drawn the image that’s on the album and I knew it was good. I just had it in my sketch book. I drew that and another mockup for the art work. I showed Shane the second one first, the one I didn’t like as much. He said ‘Ah, I don’t know about that’. Then I showed him the first one. He just said ‘Oh’; we had an instant connection around that image and then added the octopus tentacles in that.” What started as a business connection became a personal friendship. Both men are artists in their own right, but in a different medium.
These days a Shane Philip show is both an aural and visual experience. While Shane takes to the stage, which is essentially his canvas, Dave is in front of his own canvas with paintbrush in hand. He paints hard and fast, with the people dancing around him, the rhythm and the energy swirling. Dave says there is a synergy between his visual artwork and Shane’s music. The mural is completed by the end of the evening, and if you’re really lucky you may get to take it home.
Dave Oram has his own style that has evolved since touring. When asked if he works with a preconceived idea for the murals he paints during the shows, this was his reply, “Um, I’ve thought a lot about that actually. I have like a lexicon of images that I work from. They are images that over the time of painting them constantly, I’ve made my own. Like the cabins. I paint costal cabins with the swayback roofs. People go; oh I’ve lived in that cabin. People can connect with that. Also there are my faces. The faces are almost costal native in a way, and can get into tribal, which in turn gets back to Shane and his didgeridoo, which is an instrument from the aborigines of Australia. It’s all connected. For me I don’t have an idea, ever. For me it’s just like being a conduit, and opening yourself up. If I were to have a preconceived notion, I could do that and very much enjoy that, but it wouldn’t be the same. It loses the true part.”
The murals are big. Dave says, “I paint big. The 4’x8’ size of murals that I do is the average size. Some nights I’ll paint four paintings and they’re all bangers, they’re great. It’s not an ego thing; it’s that I’m in touch with my process. I paint fast and what it is about, for me, not unlike Shane recording live, is I make art for just about being human. It’s about the good and the bad, it’s not a perfect process, but alive.”
Shane Philip and Dave Oram, musical and visual artists, have banded together in a collision of music and paint creating a unique, must see and hear experience - for us and them.
When music and paint collide, the result is a synergistic feast that titillates the ears and eyes.
Shane Philip, BC’s multi- instrumental, touring minstrel is at it again, crisscrossing Canada in support of his newest release Live at Baker Studios. He is conjuring up his brand of musical magic that encircles the listening audience, causing all manner of gyrations.
A one-time teacher, Shane was just too cool for school. He nurtured his musical ability and interest while teaching, in part, by setting the curriculum to music. Eventually he gave up teaching and followed his musical passion. The rest, as they say, is history.
Philip is known for his energetic and dynamic live performances. His latest project Live at Baker Studios is a reflection of this. “It was so exciting doing that album”, says Shane. “We recorded it in two days”.
Live at Baker Studios was recorded in Victoria, with producer/engineer and studio owner, Joby Baker (Alex Cuba, Rachel Van Zandt, The Bills just to name a few). It was all live, off the floor. “He [Joby Baker] had microphones everywhere. All the effects on the album were done by turning on and off microphones in the mix and it was very natural. I had to play everything at once and sing on key and that was my take. It was just like a live show.
That was the goal, to capture a live show. All the time when I play, people say to me, ‘I love all your albums but I want something like you did just now’”.
Live at Baker Studios is Shane’s answer to that.
If you think you know the Shane Philip sound, think again. He has added another dimension to his multiple music personality. There is of course some didgeridoo, and the rhythm of his drums, but there are electric elements as well, that give a decidedly edgy, rock sound. Shane explains the new sound. “I am fortunate enough to be surrounded by incredibly talented people. One of them is Richard Pielou, who has a company called Rich Guitars. This is the second guitar he’s made me. It’s an electric version of the Weissenborn Hawaiian lap slide guitar. I can distort it a bit more, turn it up a little louder, it’s a bit grungier, and it’s got that edge to it. With the style of my music, I really enjoy that. That’s a side of me that is coming out more and more now. Not always though, I still do the acoustic things and love it as much.” Whether in a club, in a park, or at a festival, Shane’s music gathers people together, and then turns loose the energy.
Shane’s current shows are further enhanced by the collaborations of a new band member, Dave Oram, whose instrument is a paintbrush. Shane quips, “It’s so good, because he doesn’t play any wrong notes.” Dave Oram is an artist from Quadra Island and is the creator of the album art on Live at Baker Studios. When asked how the two got together he says, “Shane approached me about doing the art work and I pointed out that it’s going to be completely different from anything before. We talked of something to do with the live album that would be a visual departure as well as a conceptual departure. I had drawn the image that’s on the album and I knew it was good. I just had it in my sketch book. I drew that and another mockup for the art work. I showed Shane the second one first, the one I didn’t like as much. He said ‘Ah, I don’t know about that’. Then I showed him the first one. He just said ‘Oh’; we had an instant connection around that image and then added the octopus tentacles in that.” What started as a business connection became a personal friendship. Both men are artists in their own right, but in a different medium.
These days a Shane Philip show is both an aural and visual experience. While Shane takes to the stage, which is essentially his canvas, Dave is in front of his own canvas with paintbrush in hand. He paints hard and fast, with the people dancing around him, the rhythm and the energy swirling. Dave says there is a synergy between his visual artwork and Shane’s music. The mural is completed by the end of the evening, and if you’re really lucky you may get to take it home.
Dave Oram has his own style that has evolved since touring. When asked if he works with a preconceived idea for the murals he paints during the shows, this was his reply, “Um, I’ve thought a lot about that actually. I have like a lexicon of images that I work from. They are images that over the time of painting them constantly, I’ve made my own. Like the cabins. I paint costal cabins with the swayback roofs. People go; oh I’ve lived in that cabin. People can connect with that. Also there are my faces. The faces are almost costal native in a way, and can get into tribal, which in turn gets back to Shane and his didgeridoo, which is an instrument from the aborigines of Australia. It’s all connected. For me I don’t have an idea, ever. For me it’s just like being a conduit, and opening yourself up. If I were to have a preconceived notion, I could do that and very much enjoy that, but it wouldn’t be the same. It loses the true part.”
The murals are big. Dave says, “I paint big. The 4’x8’ size of murals that I do is the average size. Some nights I’ll paint four paintings and they’re all bangers, they’re great. It’s not an ego thing; it’s that I’m in touch with my process. I paint fast and what it is about, for me, not unlike Shane recording live, is I make art for just about being human. It’s about the good and the bad, it’s not a perfect process, but alive.”
Shane Philip and Dave Oram, musical and visual artists, have banded together in a collision of music and paint creating a unique, must see and hear experience - for us and them.
“It’s bluesy. It’s growling. It piques the interest immediately.”
Shane Philip’s new album, Live at Baker Studios, showcases the noted one-man band’s aptitude for performance in high-pressure situations. With numerous musical instruments at hands reach, including didgeridoo, drums, guitars and a Weissenborn, Philip’s exuberant excellence beats out even the most zealous of multi-taskers. A mythological deity in the eyes of single-instrument musicians, Philip keeps his cool and busts out Jack Johnson-ish riffs before building up to a climactic cacophony question period—where you are left scratching your head and wondering just who is playing all those instruments.
—Darshan Stevens
—Darshan Stevens
I’m going to try and sell you something. No, it’s not a reverse-mortgage or a vacuum cleaner. I’m going to sell you a dream. A dream about a man and a guitar. And a didgeridoo. And a kick drum.
A one man band.
Now, I know what you’re thinking to yourself. You’re thinking, I didn’t buy this paper to be sold something, and even if I did ... A one man band. Come on. But you’re forgetting two things: first, this paper is fifty per cent advertising; and second, this isn’t just any one man band.
This is Shane Philip.
“Folk, reggae, blues and tribal sounds mix inside his brain, then flow into his vocal chords and fingertips before exploding into the ether,” his press release tells me. And a listen to cuts from his album, Live at Baker Studios, confirms that there is a lot of ‘mixing’, ‘flowing’, and ‘exploding’ going on.
“It touches on many different genres ... I call it ‘island soul music’, a category I invented,” said Shane Philip in a phone interview with the Times Review. “It’s not really rock, it’s not reggae. It’s got elements of rock, elements of reggae. Somebody described it as Jack White meets Jack Johnson.”
Maybe the comparison with the two Jacks isn’t apt, but as for the Shane’s music, it’s surprisingly good. Especially given the fact that Shane played every instrument on the album, and that it contains, Shane says, no dubs or loops. A little rough in a few places and very ‘live’, it may be, but the man from Quadra Island seems to know how to lay down a groove. A Revelstoke crowd, he tells me, knows how to react.
“Regardless of my style, people always get up and dance,” said Shane. “The last time I was in Revelstoke, it was a crazy dance-fest. Really.”
“People dance because they really can feel it,” said Shane, promising: “People can expect to be moved. If they’re not going to be dancing outright, up and dancing, then they’ll be dancing in their seats.”
Now, how would you like to pay for your dream? Cash or credit? ...
By Brandon Adams
A one man band.
Now, I know what you’re thinking to yourself. You’re thinking, I didn’t buy this paper to be sold something, and even if I did ... A one man band. Come on. But you’re forgetting two things: first, this paper is fifty per cent advertising; and second, this isn’t just any one man band.
This is Shane Philip.
“Folk, reggae, blues and tribal sounds mix inside his brain, then flow into his vocal chords and fingertips before exploding into the ether,” his press release tells me. And a listen to cuts from his album, Live at Baker Studios, confirms that there is a lot of ‘mixing’, ‘flowing’, and ‘exploding’ going on.
“It touches on many different genres ... I call it ‘island soul music’, a category I invented,” said Shane Philip in a phone interview with the Times Review. “It’s not really rock, it’s not reggae. It’s got elements of rock, elements of reggae. Somebody described it as Jack White meets Jack Johnson.”
Maybe the comparison with the two Jacks isn’t apt, but as for the Shane’s music, it’s surprisingly good. Especially given the fact that Shane played every instrument on the album, and that it contains, Shane says, no dubs or loops. A little rough in a few places and very ‘live’, it may be, but the man from Quadra Island seems to know how to lay down a groove. A Revelstoke crowd, he tells me, knows how to react.
“Regardless of my style, people always get up and dance,” said Shane. “The last time I was in Revelstoke, it was a crazy dance-fest. Really.”
“People dance because they really can feel it,” said Shane, promising: “People can expect to be moved. If they’re not going to be dancing outright, up and dancing, then they’ll be dancing in their seats.”
Now, how would you like to pay for your dream? Cash or credit? ...
By Brandon Adams
"Live at Baker Studio's" is getting rave reviews from many sources. Shane Philip delights audiences, a multi-instrumentalist amazing artist, easy to listen to with positive outpourings of emotion, make didgeridoos blend into what should become pop music-his rich sonic palette is dynamic and compelling for listeners; these are some of the many reviews from music critics about Shane and his music.
Atlantic Seabreeze gives this CD high ratings on its rating list. To purchase this album and others by Shane, refer to the above posted addresses.
By John Gavin
Atlantic Seabreeze gives this CD high ratings on its rating list. To purchase this album and others by Shane, refer to the above posted addresses.
By John Gavin
Shane Philip is proof that there is still a place for one-man bands to make a living in this country.
He finished his fourth CD earlier this year, while playing eight instruments and singing all of the vocals on his Live at Baker Studios release. Philip produced the album with Joby Baker. He has a music following that appreciates his use of all his vocal chords, as well as anything he can play a tune on. Give him a glass bottle, sidewalk block, or a tin can and he creates music.
Add instruments like the Didgeridoo, lap-slide guitars and various drums and Philip puts on a show that people don’t forget. He balances rhythms with his aslatua, beats on his djembe drum and adds the Weissenborn- style guitar, while his foot uses electronic kicks to generate sounds that have inspired audiences from coast to coast.
Word has it that it took Philip three hours to set up, nine hours to record and 12 hours to mix Live at Baker Studios. It’s that kind of focus and dedication that have driven him over the years.
Philip started out as a folk singer, but he has emerged as an all-round artist. He mixes every type of music class into one to create his own sound.
Relaxing Tunes
Philip’s music is both relaxing and bold when he uses elements such as wind instruments or anything else at hand. It is a pleasure to listen to his range. He even makes some worthy statements with his “Plastic Bags” song.
Three songs that have generated a lot of interest are “Breakdown,” “How Could You Know” and “Sweet Ocean.”
He finished his fourth CD earlier this year, while playing eight instruments and singing all of the vocals on his Live at Baker Studios release. Philip produced the album with Joby Baker. He has a music following that appreciates his use of all his vocal chords, as well as anything he can play a tune on. Give him a glass bottle, sidewalk block, or a tin can and he creates music.
Add instruments like the Didgeridoo, lap-slide guitars and various drums and Philip puts on a show that people don’t forget. He balances rhythms with his aslatua, beats on his djembe drum and adds the Weissenborn- style guitar, while his foot uses electronic kicks to generate sounds that have inspired audiences from coast to coast.
Word has it that it took Philip three hours to set up, nine hours to record and 12 hours to mix Live at Baker Studios. It’s that kind of focus and dedication that have driven him over the years.
Philip started out as a folk singer, but he has emerged as an all-round artist. He mixes every type of music class into one to create his own sound.
Relaxing Tunes
Philip’s music is both relaxing and bold when he uses elements such as wind instruments or anything else at hand. It is a pleasure to listen to his range. He even makes some worthy statements with his “Plastic Bags” song.
Three songs that have generated a lot of interest are “Breakdown,” “How Could You Know” and “Sweet Ocean.”
Be prepared to enter a world of music that is unique, compelling, infectious and just plain good when you pop Live At Baker Studios into the player.
Shane Philip hails from B.C., but uses Australian instrumentation to create this outstanding album. He combines guitar, Weissenborn lap-slide, djembe and didgeridoo into unique combinations that offer the listener something quite fresh in terms of music.
Insomnia is a beautiful song powered by the didgeridoo, and Philips smooth vocals.
Triple Shot is an instrumental effort where Philip turns to the djembe drum, and it is simply a wonderful upbeat piece.
There are times the mood softens here, such as Sweet Ocean, a piece that lacks some of the unique taste of the best songs here, yet it works as a change of pace.
The CD overall is a combination of folk-heart, with overlying pop sensibilities, which culminate in the absolutely excellent Skydance, a song opened with more didgeridoo, and then turning to an upbeat pop anthem. The blend works perfectly here.
This CD would be worth a listen if just for the unique blending of little-heard instruments, used in a compelling new fashion. That he does it all himself just adds to the satisfaction of being along to listen.
However, there is far more here. The quality of the material Philip has created takes this CD far above just being a novelty, to one that will get repeated plays because it is just so darned good.
A talented songwriter and musician emerges from this CD, be there for the event.
-- CALVIN DANIELS
Shane Philip hails from B.C., but uses Australian instrumentation to create this outstanding album. He combines guitar, Weissenborn lap-slide, djembe and didgeridoo into unique combinations that offer the listener something quite fresh in terms of music.
Insomnia is a beautiful song powered by the didgeridoo, and Philips smooth vocals.
Triple Shot is an instrumental effort where Philip turns to the djembe drum, and it is simply a wonderful upbeat piece.
There are times the mood softens here, such as Sweet Ocean, a piece that lacks some of the unique taste of the best songs here, yet it works as a change of pace.
The CD overall is a combination of folk-heart, with overlying pop sensibilities, which culminate in the absolutely excellent Skydance, a song opened with more didgeridoo, and then turning to an upbeat pop anthem. The blend works perfectly here.
This CD would be worth a listen if just for the unique blending of little-heard instruments, used in a compelling new fashion. That he does it all himself just adds to the satisfaction of being along to listen.
However, there is far more here. The quality of the material Philip has created takes this CD far above just being a novelty, to one that will get repeated plays because it is just so darned good.
A talented songwriter and musician emerges from this CD, be there for the event.
-- CALVIN DANIELS
Through a tapestry of musical athletics, Shane Philip taught a small crowd at the Ob that creativity knows no bounds.
On Oct. 6, this one-man phenomenon dropped by Algonquin to perform in his unique style, pushing the boundaries of musical genres.
Combining the sounds of a didgeridoo, djembe, and lap-slide guitar, he creates an expressive swell that compels his audience to groove along with him. He calls this mix “island soul,” referring to his home on Quadra Island, B.C.
“I got into music to touch lives,” said Philip.
Before becoming a touring musician, he started out as a high school teacher with this goal in mind.
However, the regimented schedule, and the endless workload forced him to rethink his profession and do some soul searching.
“It just took too much of my life. It was sucking my soul away,” said Philip. “If I’m going to devote my entire life to something, I’m going to try to make it my passion.
“I want to blur all the boundaries, that’s why I got out of teaching,” he added.
Since leaving the teaching world, Philip has never looked back. He is now able to touch people’s lives in a different way, without feeling like he’s trapped within a regimented system.
“No one ever applauded at the end of a class like they do at the end of a show,” said Philip.
Borrowing from reggae, folk, blues and other genres, Philip’s eclectic sound is captivating and hard to resist. Andrew Dobson, a third year architecture student and his friend Katie Stevens were on their way to paint when they were caught up in the encompassing swell of the didgeridoo.
“We were just walking by and were totally drawn in,” said Stevens, who wasn’t planning on attending the show.
Former Algonquin student, Ember Erebus also broke her plans and decided to take in the free concert.
“We were going to a movie and Katie said there’s this awesome guy playing,” said Erebus.
Philip sees his interaction with the crowd as an integral part of his performance. It’s as if he is conversing with the listeners through rhythm and sound.
“They don’t come here to hear songs,” said Philip. “They come here to experience moments.
“Were going to build a show together, me and the crowd,” he said. “I don’t believe that it’s going to be me against them. We’re in it together.”
Philip never makes a set list. He chooses his songs by reading the crowd. This interplay between audience and artist allows his music to be appreciated and loved by both the young and the old.
“People are people, straight across,” said Philip. “Music is universal. It’s ageless. It’s timeless. That’s the power of music; it can move people and can make people feel good.”
Chris Seto
On Oct. 6, this one-man phenomenon dropped by Algonquin to perform in his unique style, pushing the boundaries of musical genres.
Combining the sounds of a didgeridoo, djembe, and lap-slide guitar, he creates an expressive swell that compels his audience to groove along with him. He calls this mix “island soul,” referring to his home on Quadra Island, B.C.
“I got into music to touch lives,” said Philip.
Before becoming a touring musician, he started out as a high school teacher with this goal in mind.
However, the regimented schedule, and the endless workload forced him to rethink his profession and do some soul searching.
“It just took too much of my life. It was sucking my soul away,” said Philip. “If I’m going to devote my entire life to something, I’m going to try to make it my passion.
“I want to blur all the boundaries, that’s why I got out of teaching,” he added.
Since leaving the teaching world, Philip has never looked back. He is now able to touch people’s lives in a different way, without feeling like he’s trapped within a regimented system.
“No one ever applauded at the end of a class like they do at the end of a show,” said Philip.
Borrowing from reggae, folk, blues and other genres, Philip’s eclectic sound is captivating and hard to resist. Andrew Dobson, a third year architecture student and his friend Katie Stevens were on their way to paint when they were caught up in the encompassing swell of the didgeridoo.
“We were just walking by and were totally drawn in,” said Stevens, who wasn’t planning on attending the show.
Former Algonquin student, Ember Erebus also broke her plans and decided to take in the free concert.
“We were going to a movie and Katie said there’s this awesome guy playing,” said Erebus.
Philip sees his interaction with the crowd as an integral part of his performance. It’s as if he is conversing with the listeners through rhythm and sound.
“They don’t come here to hear songs,” said Philip. “They come here to experience moments.
“Were going to build a show together, me and the crowd,” he said. “I don’t believe that it’s going to be me against them. We’re in it together.”
Philip never makes a set list. He chooses his songs by reading the crowd. This interplay between audience and artist allows his music to be appreciated and loved by both the young and the old.
“People are people, straight across,” said Philip. “Music is universal. It’s ageless. It’s timeless. That’s the power of music; it can move people and can make people feel good.”
Chris Seto
