Private Parts & Pieces II: Back to the Pavillion

Album Review

The strongest of Phillips' vault raidings, made up of pieces cut during 1976 and 1977, is, at times, his most Genesis-like release in mood and texture. The centerpiece is the "Scottish Suite," an ambitious, genuinely impressive instrumental piece (adapted from Scottish and Paraguayan folk material) that, as Phillips' own notes concede, is closely related to "Henry" from The Geese and the Ghost. Phillips' work is weighted a little more toward his keyboard playing than some other releases, but he also plays plenty of electric guitar very aggressively, and with some beautiful melodies as source material, the result is an eminently listenable, surprisingly lithe and unpretentious progressive rock album. Michael Rutherford shows up on bass, and King Crimson alumnus Mel Collins plays flute on one track (Crimson alumnus Andy McCulloch is also present on drums for two tracks). The musical content does vary, from Expressionist, almost Satie-like miniatures to bold, multi-layered suites, but as they are all interesting and none are mutually exclusive in terms of style, this could be Phillips' most accessible solo release.