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Certainly one of the rarer Tiger Lily tax scam label releases - I've only seen two copies of "Fields & Shipley" in all the years I've been collecting albums and in typical Tiger Lily fashion, there isn't a lot of information to be gleaned from the liner notes. Accordingly, most of these comments are pure speculation on my part.

I'm guessing that Steve Fields was the same individual as the well known studio musician/keyboardist/writer, while Shipley was singer/songwriter Ellen Shipley (probably best known for a couple of solo albums and collaborations with Belinda Carlisle and Kim WIlde). If I had to guess about the history behind these ten tracks, I'd suggest they were a series of mid-1970s Fields songwriting demos with Shipley handling most of the vocals. Fields was credited with penning eight of the ten tracks - the exceptions being a cover of Sam Cooke's 'Shake' and 'Message Songs' written by someone by the name of Claude Cybulska. Musically the set was all over the map with a couple of songs ('All I Wanted' and 'Closer To Heaven') sounding like raw demos. Other selections like 'Hello Darkness' and 'Sunshine Song' had a fuller, more polished sound and feel. As mentioned, Shipley handled most of the vocals, though Fields was featured on a couple of selections - he sounded a bit like a lightweight Meatloaf on the power ballad 'Close To Heaven' and the cover of Sam Cooke's 'Shake'. Again, its all speculation on my part. Maybe they were a true duo, a-la Buckingham-Nicks ... Someone out there will know and set me straight. And that's exactly what happened in August 2010 (see below). I won't tell you this is a lost classic, 'cause it isn't, but for anyone who's heard Shipley's '70s and '80s catalog, it may be of modest interest.

For completists, the back panel track listing doesn't match up to the actual song listing. 'The Migrant Song' actually ended side one, rather than starting side two.

A mid-tempo, keyboard-powered rocker with a slightly Broadway-ish feel, 'Hello Darkness' found the pair sharing lead vocals (Shipley all but buried Fields). Complete with a likeable, slightly folky melody, gurgling mini-Moog, and tasteful orchestration, the song was quite good.

A stark power ballad, 'All I Wanted' sounded like one of those '60s Brill Building compositions. Shipley's vibrato was featured on most of the song, but towards the end, the pair showcased some nice vocal interaction. This one really did sound like a raw demo.

'Sunshine Song' was a bouncy, slightly Gospel influenced pop tune with considerable commercial potential. It also underscored what may have been the pair's fundamental weakness - they both had very sharp, occasionally almost shrill voices and when they tried to 'power' their way through a song, those features came to the front. Still, this one had a distinctive 'hum' factor.

'Closer To Heaven' was another power ballad with the pair sharing lead vocals. As mentioned, on this one Fields sounded a bit like Meatloaf - same strained vibrato. The song sounded like something written for a Broadway show. Interesting the title didn't seem to match the song.

'The Migrant Song' had a pleasant melody and the activist lyrics were certainly admirable. Other than that, the song just kind of disappeared in the mix.

One of two covers, Sam Cooke's 'Shake' was given a mildly Latin treatment, with some tasty slide guitar. Another one where Shields sounded like Meatloaf.

Carole King meets Linda Ronstadt ... 'Starting Today' was a sappy and forgettable ballad with some of the lamest couplets you've heard in a long time ("you are the air I'm breathing, you are the summer season, you are the only reason ..". Foley actually sounded a bit like Linda Ronstadt on this one.

The second cover, 'Message Songs' aptly displayed Shipley's powerhouse voice (and it didn't even sound like she was really trying. Fields simply didn't have a chance when it came time for him to handle a verse. Another up tempo, keyboard-powered rocker, this one could have been very good with a fuller band arrangement.

A stripped down, acoustic ballad, 'When You Go' didn't sound much like the rest of the album. Shipley's performance was notable for her relatively laid back delivery (think about Merrilee Rush's 'Angel In the Morning'). The track also featured an unexpected horn arrangement.

Complete with ocean sound effects, 'Winds and Wails' was another unexpected change of direction - a Fairport Convention-styled slice of English folk music. The double tracked vocal was pretty enough, but to my ears it sounded like something you might hear on a Saturday night at your local Irish pub. I like Irish music so I'll give it an extra star.

Ellen Shipley

For what it was worth, I did respond to Ms. Shipley telling her a little bit about Tiger Lily and suggesting there wasn't much of a point in pursuing the matter in litigation. Never heard back from her ...

For anyone interested, Fields has a small website, largely devoted to helping his eldest daughter overcome a debilitating disease at: http://helpbrittbeatrsd.org./index.html

eptable.".

And lo and behold - courtesy of the internet, here's a short note from Steve Fields.

Hi ...I am Steve Fields formerly of Fields and Shipley a duo act that performed in Greenwich Village in the early 70's. I read the background re Tiger Lily Records and Morris Levy and I understand what his intention was ... water under the bridge. The discography is incorrect. I did write "The Message Song" and seven others on the album. I don't know who Claude is [I was just reporting what the label credits said - I don't know who she is either.]. Don't know how this was recorded unless it was done at one of our live performances at a Greenwich Village club.

A little bit about me: My musicsite is www.jango.com/music/steve+fields. There are currently 6400 fans and 1000 fan comments. My bio and song catalogue are on the site. After a long absence I am in rehearsal to perform live in Philadelphia New Jersey and N.Y.C. I am a B.M.I. affiliated writer with one international hit recorded by Maxine Nightingale called "Will You Be My Lover"...also the opening song for Samantha Sang's live shows. I started on street corners singing a capella ... mainly in Flatbush Brooklyn. My first recording was with The Random Blues. It was 'Winchester Cathedral" for Florence Greenber of Scepter Records and Tony Ponte of Decca Records. I sang lead and played the organ on the track. I also began recording keyboard tracks for many recordings of top acts. By accident I spent one night in the Bronx singing a cappela on a street corner with Laura Nyro. She was fabulous with a huge vocal range. We sang early sixties girl group songs. I did back up many sixties girl groups at private affairs at The Pent Top Room at The Hilton in N.Y.C. I learned organ from Brian Auger. I learned to octave on the piano from the great jazz guitarist Wes Montgomery. The rest is on my bio.

Best Wishes
Steve Fields August 2013