Philip Shouse is likely one of the most well-known musicians that many audiences have never heard of. Since 2019, he has served as rhythm guitarist for the famed metal outfit Accept. He has also worked with the likes of John Corabi (The Dead Daisies, ex-Motley Crue), country music star Rodney Atkins, Ace Frehley (as a member of his touring band and on Frehley’s 2020 album, Origins Vol. 2) and even Gene Simmons. In other words, Shouse has plenty of credit to his talents and career. Now this week, he has stepped out of the shadows (so to speak) with the release of his debut EP, Side 1. Released through Wild Kingdom/Sound Pollution, Side 1 is a solid outing featuring Shouse as the star instead of supporting musician. That is proven in part through its featured musical arrangements. The lyrical content, which is just as accessible and familiar as the musical arrangements, adds to that appeal in its own way. The record’s production puts the finishing touch to its presentation. Each item noted is important in its own way to the whole of Side 1. All things considered they make this record a notable entry in this year’s field of new EPs.
EPs (extended plays) do not get the attention that they deserve. Why that is, is anyone’s guess. They just do not get as much attention from the media (and even audiences) as their longer playing “cousins.” There have been so many great EPs out there over the years to prove their value, too. With his new EP, Side 1, maybe, just maybe Philip Shouse can help make the case for EPs. Regardless, the EP will definitely make the case for him as his own accomplished front man, considering his resume. This is proven in part through its featured musical arrangements. Throughout the course of the record’s roughly 16-minute run time, the musical arrangements featured herein are some welcome compositions. The pure rock and roll vibes that the arrangements are easily comparable to works from the likes of Ricky Byrd, Kurt Baker, and Joy Buzzer. One could argue, at the same time, that arrangement are (interestingly enough) similar to those of Corabi, who himself will release his own solo debut this spring. Simply put, the arrangements featured in this brief record are simple, infectious, and accessible. The result is that they are fully engaging and entertaining, making them a solid starting point for the EP.
The lyrical themes that accompany the EP’s musical arrangements add their own appeal to the presentation. Right from the outset, ‘Run Away From You,’ what audiences get is clearly a song about a man who is trying to get away from a woman who is nothing but bad news. This is inferred as he sings, “All these words/And there’s nothing to say/But you won’t ever shut your mouth today/All I wanna do/All I wanna do/You preachin’ to me/Like you’re free from sin/I seen the devil/Honey/I ain’t him/All I wanna do/Is run away from you/Ain’t no stoppin’ me/’Cause, babe I’m through/Hit the gas/Til you’re in my rearview/All I wanna do/Is keep runnin’ away from you.” This is a pretty straight forward message. It is also especially interesting, in all seriousness, because of all the songs out there that make men out to be the villains. It is possible for women to be just as toxic as men and there certainly seems to be far less songs about that matter than there are that continue to make men look bad. To that end, this song’s message is a welcome breath of fresh air in an otherwise stale lyrical environment of that nature.
‘Time Bomb,’ the record’s closer, is another example of the importance of the EP’s lyrical content. The lyrical content here is more of a story of sorts. It is a story about someone who is admitting that they are their own worst enemy. Shouse makes this clear as he sings, “I’m so sorry for the things I said/I was going right out of my head/And everything was rollin’ along/Until I lit the fuse/And it all went wrong/So it goes/When you’re a ticking time bomb.” He continues, “I’m so sorry for the person I am/Even I can’t understand/Why I destroy/What I built to be strong/And then I turn around/I keep moving on/So it goes/When you’re a ticking time bomb.” The song continues in similar fashion, with Shouse’s subject even admitting to skeletons building up, and facing his demons “until they’re all dead and gone.” This is another clearly accessible lyrical theme, further proving the importance of the record’s lyrical content.
‘It Gets Better,’ which serves as the EP’s midpoint, is yet one more example of the importance of the record’s lyrical content. The content here is more familiar 9and welcome) territory as Shouse reminds listeners…well…it’ll get better. The world needs this reminder more now than ever before, it feels like. People are living with so much doubt about the world and about their own lives. So, to have this positive message, told as Shouse’s subject runs into an old friend (or acquaintance) whose life has been rough, makes it all the more resonant and accessible. He sings ins the song’s lead verse and chorus, “Haven’t seen you in forever, my friend/Seems you haven’t changed/How ya survivin’ this weather?/All this thunder and this rain/Seasons change/And rearrange/And all the plans you made…Don’t you know it gets a little better/Every day/I’m just trying to get myself together/Before it all blows away/I’m just trying to get a little better/Better than yesterday/You keep reading me the same old story/Again and again and again.” There is one line from the lead verse that is slightly difficult to decipher sans lyrics, but the overall message is clear here in the discussion between the two subjects. There actually seems to be a back and forth between the two individuals, with each speaking to the other. It makes for an interesting presentation and definitely interesting way to approach such a message. The conversation continues in the second verse which states, “I know what it’s like/To feel this loss/To have no guiding light/Trying to hold onto anything/But it all seems outta sight/out of reach/Out of touch/Out of love/Out of time/In the moment/In your head/In your hand and your mind/’Cause you know it gets a little better every day/Just trying to keep yourself together/Before it all goes away/I’m just trying’ to get a little better/Better than yesterday/Keep telling me the same old story/Again and again and again.” This is that same friend trying to convince his friend whom he has not seen in ages, that while things are not great, they can and will get better. Again, it is such a reminder that the whole world needs. Given it is not an easy message to believe by any means but things do get better. We just have to remind ourselves that they will get better. Keeping all of this in mind, it is clear proof in its own right as to the importance of the EP’s lyrical content. When it and the other lyrical content examined here is considered alongside the rest of the record’s lyrical content, that whole leaves no doubt as to the noted importance thereof. When the EP’s overall lyrical content is considered alongside its musical arrangements, the whole therein makes for all the more reason for audiences to take in this EP.
Putting the final touch to the presentation of Side 1 is the EP’s production. Throughout the record’s nearly 17-minute run time, the production ensures the instrumentations are expertly balanced in each song. At no point do the instrumental and vocal performances overpower one another. For that matter, at no point do any of the instrumental performances overpower one another, either. The result is a positive aesthetic impact that gives listeners just as much to appreciate as the record’s content. All things considered Side 1proves to be a positive debut outing for Philip Shouse as a front man.
Philip Shouse’s debut EP, Side 1, his first outing as a front man instead of supporting artist, is being marketed as “the first chapter of a new era rather than a one-off side project.” If in fact that is the case, then it is a well-formed first chapter in this new story of Shouse’s career. That is proven in part through the record’s musical arrangements, which are fully accessible, engaging and entertaining works. From one song to the next, the arrangements are pure rock and roll compositions, quite opposite of the songs he has taken part in as a member of Accept. The lyrical content that accompanies the record’s musical content makes for its own appeal because of its own familiarity and accessibility. The record’s production puts the final touch to the whole with its aesthetic appeal. Each item examined is important in its own way to the whole of the record. All things considered they make Side 1 a strong offering from Philip Shouse that also continues to prove EPs deserve as much respect and attention as LPs.
Side 1 is available now. More information on the record is available along with all of Philip Shouse’s latest news at his Facebook page. Record or CD available HERE.
Photo Credit: Photo of Philip Shouse by Libby Danforth courtesy of Wild Kingdom Records Sweden for promotional use only – Photos of Philip Shouse Side 1 LP also for promotional use only