Wilson Phillips Album: “Shadows & Light”

On their second and final album, the ladies from Wilson Phillips move beyond the pop perfection of their debut and embrace a much more personal style of songwriting. Although I consider this album to be on a par in terms of quality to the first one, this album was badly panned and considered the flop that preceded their breakup.

The album has a great intro that really highlights the girls voices before jumping right into some of the best songs on the album, which include the fast paced "It's Only Life", the melancholy "You Won't See Me Cry", and "Give It Up". Other strong tracks are the softer ballads such as "Goodbye Carmen", and "This Doesn't Have To Be Love". The album closes the same way it opens with "I Hear You". . . kind of. There is an additional cover of Elton John's "Daniel" right after the album 'officially' ends (unlisted on the cover) which is also very well done. Lyrically mature and sophisticated, "Shadows and Light" is an extremely underrated album by three terrifically talented young women. If given a few spins fans of their debut will find lots here to reward them.

I can't help feeling that while Wilson Phillips did make a brief blip with their two albums, their timing was bad, especially with their second album, Shadows And Light. Alternative and grunge were on the rise, as was hip-hop, and with Mariah Carey holding the larger shares in soaring love ballads, WP seemed an anomaly in this newly flowered field. For those expecting more catchy songs ready as radio fodder, such as "Hold On" and "You're In Love", the radio starved, and so did their career. Although they still sing in unison, utilizing that winning harmony sound, their individual voices come out more, but the production yielded louder brassy sounds which made the trio's harmonies more a cacophony than something sweet.

After a vocal prelude with "I Hear You," things kick into gear with "It's Only Life," a lively number with rock guitars and synths extolling the glories of an exciting life. However, the post-modernist lines about "there's no wrong, there's no right" does give one pause. Chynna is lead vocalist here.

They all sing lead vocals on "You Won't See Me Cry" a self-affirming ballad that later gets into higher gear with some string arrangements and drums. One of the better songs here.

The up-tempo "Give It Up" was a single. I like it, sure, from the brassy synth opening, the catchy drums and horns, and Wendy's Susanna Hoffs-ish voice, but sadly, market tastes had changed and this didn't do as well as their other singles.

Carnie sings on "This Doesn't Have To Be Love," and given her voice, she seems best suited to singing lead on ballads such as this. While Carnie sings, Wendy and Chyna do accompanying speeches reflecting her thoughts. Example: "Softly, love is standing here with demands" W and C chime in with "Tell me what you want from me" Why couldn't this have been a single?

"Where Are You" is another ballad, this time by Chynna, but tackles some abuse suffered when one was six. However, she merely asks of the perpetrator, "Where are you... who hurt you? and where are you now?"

Both Wilsons sing lead on "Flesh and Blood" on a familial conflict, trying to reach their father through his pain. I wonder if this was written in mind with the troubles Brian Wilson had during his check-in to the clinic, the death of Dennis Wilson, and legal troubles with Mike Love over the Beach Boys.

Wendy Wilson sings "Don't Take Me Down," which has shades of "Impulsive" and some Belinda Carlisle songs. Chynna sings the string-laden "All The Way From New York" denoting the separation between LA and NY and the reunion between two people.

The heavily produced piano ballad "Alone" sung lead by Wendy, is about a misunderstood woman who doesn't want to be alone but doesn't want to leave her home. Poses quite a problem doesn't it? The reprise for "I Hear You" is just a choral exercise that demonstrates their well-done harmonies.

The trio hooked with Glen Ballard once again, and his production, keyboards, and arrangements work to some extent, but the jarring high-volume of louder songs like "Fueled For Houston" or "It's Only Life" and the trio's harmonies correspond to that sound, resulting in something loud and brassy instead of soft and melodic.

One wonders what a third album would've been like, but alas, that never happened, as the Wilsons and Chynna Phillips did their own thing in years to come.

I first bought this CD when I was 8 because I loved their debut. I searched all around and I finally found it. When I got home and listened to it I hated it. It was at a time when if it wasn't fast and bouncy I didn't like it. Then 5 years later I thought you, know I would like it. So I went and I bought another one (I had sold my first copy) and I knew it was a gamble. I bought it and eagerly listened to it and I was blown away!!!! I couldn't believe I ever disliked this! Here's a rundown of the songs.

1) I Hear You (prelude)-The harmony here kills me though I like the reprise because it's longer. 3.5/5

2) It's Only Life-I like how the song changes the tempo and that harmony part is amazing. 4/5

3) You Won't See Me Cry-If you like Release Me You'll Like This, I love the sax. 4/5

4) Give It Up-This is a fun bouncy song :) 4.5/5

5) This Doesn't Have To Be Love-Simply beautiful. 4/5

6) Where Are You-Meaningful song all over but sometimes listening to it will give me some chills but it is good. 3/5

7) Flesh and Blood-Good meaningful song that I never chills to, so beautiful. 4.5/5

8) Don't Take Me Down-My fave, I really love it. 5/5

9) All The Way From New York-Another one with a lot of meaning, the better song of Chynna's troubles. 4.5/5

10) Fueled For Houston-Very fun song. 4/5

11) Goodbye Carmen-Good but it get's bogged down bye the long repeat of good bye 3.5/5

12) Alone-Again, good but gets bogged down by repeats 3.5/5

13) I Haer You (reprise)-Beautiful harmony, I just love it 4/5

So, yes this a worthy album, you should check it out.

Wilson Phillips were one of the few pop groups who evidently listened to the critics who accused them of being lightweight barbie dolls with nothing of relevance to say, because on this sophomore album they addressed much deeper issues than on their enjoyably lightweight, multiplatinum debut. Unfortunately, the new sound was lost on many of their young fans, and music tastes had in any case moved away from their brand of music, and the trio found themselves struggling to even reach the top twenty, where previously they had topped the charts with ease three times in twelve months. This is a shame, because "Shadows And Light" is in fact a far stronger album than its still impressive preddecessor. Vastly underrated lead single "You Won't See Me Cry" is the best thing they ever did, a soaring ballad with the strongest harmonic vocals of their career. Its maturity is reflected throughout the album, which is largely concerned with the troubled upbringing the girls experienced around their famous fathers. This is best addressed in Carnie Wilsons beautiful, consumately honest "Flesh & Blood", which addresses both her anger and her sympathy towards her estranged and fragile father. Her vocals are flat out beautiful, and the lyrics are the best she or any of the group wrote. Unfortunately, the deeply personal song did not work as a commercial single, and its failure to chart ended the girls career for the time. Chynna Phillips addresses her father on "Where Are You" and "All The Way From New York", which complement each other. The former is written about Chynna's confused, painful childhood, and her inability at the time to understand her fathers behavior. The latter is a warm song of forgiveness, written shortly after she finally regained contact with him. The album is not always so serious though. "It's Only Life" is a brilliant, boisterous song which was bizarrely never a single, despite being the most obvious hit on the record. Underrated hit "Give It Up" is reminiscent of Earth, Wind and Fire with its flambouyant brass sections and infectious chorus. Carnie's chocolate vocals give "This Doesn't Have To Be Love" an earthy soulfulness which should have made it a slow dance perrenial, while her lead on "Fuelled For Houston" is perfect silly fun, and a stunning vocal. Although this album is sadly out of print for the time being, I highly reccomend purchasing a second-hand copy, or otherwise getting hold of it. It takes longer to grab you than their debut, but it is ultimately their finest achievement and a sadly overlooked glimpse at three extraordinary lives.

I won't hide the fact that Wilson Phillips is my favorite band, but still, I am not biased in my ratings. These three girls have strong voices and the courage to use them. Combine this with great lyrics and beautiful music, and you have songs that capture life. If you've never heard them, you're missing something. If you don't have their CDs, you need them. If you love this one, you'll like the other one too. Although Shadows & Light is seriously different from Wilson Phillips, they're both better music than most of the junk floating around nowadays. My personal favorites include It's Only Life, this Doesn't Have to be Love, Don't Take me Down With You, and All the Way from NEw York. You go girls! Hey, if anyone else thinks like me, send them some fan letters begging for a come-back!