Phil Collins Album by Album thread

Discussion in 'Music Corner' started by mark winstanley, Jun 9, 2019.

  1. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Due to popular demand we are going to run through Phil Collins solo career. For those unaware, I go song by song, because that is how I listen to an album. Feel free to join in however is best for you. Post about the albums, and leave it at that, or join us to run through the songs that make up the albums.
    Please stay where we are on the albums and songs. I am not militant about it, but it just makes it easier for folks to know where we are at. Certainly if you see a reference to something that comes later feel free to make that reference but try and stay where we are on topic.

    If you are one of the folks that really doesn't like Phil, or just tired of his eighties overexposure, I have no problem with you participating, but please don't just waste all our time by hating on Phil, for being Phil.

    So who is this guy -

    Philip David Charles Collins LVO (born 30 January 1951)[8][9] is an English drummer, singer, songwriter, multi-instrumentalist, record producer, and actor. He was the drummer and later became singer of the rock band Genesis, and is also a solo artist. Between 1982 and 1989, Collins scored three UK and seven US number-one singles in his solo career. When his work with Genesis, his work with other artists, as well as his solo career is totalled, he had more US Top 40 singles than any other artist during the 1980s.[10] His most successful singles from the period include "In the Air Tonight", "Against All Odds (Take a Look at Me Now)", "One More Night", "Sussudio", "Two Hearts" and "Another Day in Paradise".

    Born and raised in west London, Collins played drums from the age of five and completed drama school training, which secured him various roles as a child actor. He then pursued a music career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 following the departure of Peter Gabriel. Collins began a solo career in the 1980s, initially inspired by his marital breakdown and love of soul music, releasing a series of successful albums, including Face Value (1981), No Jacket Required (1985), and ...But Seriously (1989). Collins became "one of the most successful pop and adult contemporary singers of the '80s and beyond".[1] He also became known for a distinctive gated reverb drum sound on many of his recordings.[11] In 1996, Collins left Genesis to focus on solo work; this included writing songs for Disney’s Tarzan (1999) for which he received an Oscar for Best Original Song for “You'll Be in My Heart”. He rejoined Genesis for their Turn It On Again Tour in 2007. Following a five-year retirement to focus on his family life,[12][13] Collins released an autobiography and began his Not Dead Yet Tour, which runs from June 2017 until October 2019.

    Collins's discography includes eight studio albums that have sold 33.5 million certified units in the US and an estimated 150 million worldwide, making him one of the world's best-selling artists.[14] He is one of only three recording artists, along with Paul McCartney and Michael Jackson, who have sold over 100 million records worldwide both as solo artists and separately as principal members of a band.[15][16] He has won eight Grammy Awards, six Brit Awards (winning Best British Male three times), two Golden Globe Awards, one Academy Award, and a Disney Legend Award.[17] He has received six Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors, including the International Achievement Award. He received a star on the Hollywood Walk of Fame in 1999, and was inducted into the Songwriters Hall of Fame in 2003, the Rock and Roll Hall of Fame as a member of Genesis in 2010, the Modern Drummer Hall of Fame in 2012, and the Classic Drummer Hall of Fame in 2013.[18][19][20][21]

    The beginning
    Philip David Charles Collins was born on 30 January 1951 in Chiswick, Middlesex (now part of the London Borough of Hounslow), England,[22] to Greville Philip Austin Collins (1907–1972), an insurance agent, and Winifred June Collins (née Strange, 1913–2011), a theatrical agent.[23][24] He was one of two boys, his brother being Clive Collins, who would later become a noted cartoonist.[25] He was given a toy drum kit for Christmas when he was five. Later, his uncle made him a makeshift set that he used regularly. As Collins grew older, these were followed by more complete sets bought by his parents.[26] He practiced by playing with music on the television and radio.[27] According to Barbara Speake, founder of the eponymous stage school Collins later attended, "Phil was always special; aged five he entered a Butlins talent contest singing Davy Crockett, but he stopped the orchestra halfway through to tell them they were in the wrong key."[28] His professional acting training began at the age of 14, at the Barbara Speake Stage School, a fee-paying but non-selective independent school in East Acton, west London, whose talent agency had been established by his mother.[29][30]

    Collins studied drum rudiments as a teenager, first learning basic rudiments under Lloyd Ryan and later studying further under Frank King. Collins recalled: "Rudiments I found very, very helpful – much more helpful than anything else because they're used all the time. In any kind of funk or jazz drumming, the rudiments are always there."[31] He never learned to read and write conventional musical notationand instead used a system he devised himself.[27] He later regretted this, saying: "I never really came to grips with the music. I should have stuck with it. I've always felt that if I could hum it, I could play it. For me, that was good enough, but that attitude is bad."[31]

    The Beatles were a major early influence on Collins, including their drummer Ringo Starr.[32][33][34] He also followed the lesser-known London band the Action, whose drummer he would copy and whose work introduced him to the soul music of Motown and Stax Records.[32] Collins was also influenced by the jazz and big band drummer Buddy Rich,[35] whose opinion on the importance of the hi-hatprompted him to stop using two bass drums and start using the hi-hat.[31] While attending Chiswick County School for Boys, Collins formed a band called the Real Thing, and later joined the Freehold, with whom he wrote his first song, "Lying Crying Dying".[36]

    1963 - 1970
    Collins began a career as a child actor while at the Barbara Speake Stage School and won his first major role as the Artful Dodger in the London stage production of Oliver!, the musical adaptation of the Charles Dickens novel Oliver Twist.[37] He was an extra in the Beatles' film A Hard Day's Night (1964) among the screaming teenagers during the television concert sequence which was filmed at Scala Theatre in central London.[38] This was followed by a role in Calamity the Cow (1967), produced by the Children's Film Foundation; he was to appear in Chitty Chitty Bang Bang (1968) as one of the children who storm the castle, but the scene was cut.[39] Collins auditioned for the role of Romeo in Romeo and Juliet (1968)[40] but the role went to Leonard Whiting.[41]

    Despite the beginnings of an acting career, Collins gravitated towards music. His first record deal came as the drummer for Hickory, with guitarists Ronnie Caryl and Gordon Smith, and keyboardist Brian Chatton. After changing their name to Flaming Youth they recorded an album, Ark 2, released in October 1969 on Uni Records, which premiered with a performance at the London Planetarium.[42] A concept album inspired by the media attention surrounding the 1969 moon landing, Ark 2 featured each member sharing lead vocals. Though a commercial failure, it received some positive reviews; Melody Makernamed it "Pop Album of the Month", describing it as "adult music beautifully played with nice tight harmonies".[43] After a year of touring, the group disbanded in 1970. Collins went on to play percussion on "Art of Dying" by Beatles guitarist George Harrison for his album All Things Must Pass. Harrison acknowledged Collins's contribution in the remastered edition released in 2000.[32]

    Obviously Collins moved on to Genesis and you can follow Genesis' career here - Genesis - The Album by Album Thread

    For My part, up until last year the only Collins albums I had owned were No Jacket Required and Hello, i Must Be Going. I was inspired to have a listen to the others from our conversations on the Genesis thread, and although I am still getting acquainted with the albums, i know we have many folks on here that can fill in any blanks, and correct any errors that I may make.

    I always liked Collins, because he obviously loved what he was doing. In my youth, a lot of his solo work didn't appeal to me, due to him being very fond of ballads. As I have grown older and more mellow, that more gentle side is much more appealing than it used to be. Some people make the mistake of thinking that ballads were all Phil did, it certainly wasn't and here we will explore what it was that he actually did do.

    I saw Phil in concert on the No Jacket Required tour and he was quite brilliant. His singing and drum work both excellent. I personally liked his stage presentation also. He seems like a laid back affable fellow, and although he took his music seriously, he didn't seem to take much else too seriously.
    I ended up buying his autobiography, but unfortunately I haven't had a chance to read it. I was hoping to at least get a start on it before we started this thread, but unfortunately time is rarely my ally. So if you have read this book "Not Dead Yet", please feel free to add anything that you think will add to the thread and the information we put together here.

    The drummer that I was best mates with all through my music life, in all the bands I was in, was a big Phil Collins and Genesis fan, but I think he dropped off the trail around the same time I did, for the same reasons I did.

    All in all Phil has had a remarkable career that covered so many bases it is astonishing. obviously the childhood acting and Genesis, an amazingly successful solo career, but don't forget Brand X, his work with George Harrison, Brian Eno, Anthony Phillips, Robert Plant, Eric Clapton etc etc his production and so much more it really does astonish me.
    To me one of the great things was his work with Peter Gabriel. He and Gabriel worked together so well, that it was also incredible to me. Their work together on PG III was groundbreaking and set a tone for much of the eighties, that some love and some hate. Also bear in mind that as much as the fandom like to pit Collins and Gabriel against each other, they were always best mates, and Collins was even best man at Peter's wedding.

    So we have an awful lot of stuff to go through, and I will start with his debut solo album, as a lot of the projects he was involved in will get a look in via the Plays Well With Others set.

    Last edited: Jun 9, 2019
  2. mx20

    mx20 Enthusiast

    Raleigh, NC
    Love Face Value & "Take Me Home." And that's about it! I'll be checking in periodically to read what other forum members have to say, but, for me, I lose interest in Phil's solo career pretty much where I part with Genesis: the early 80s. Good luck with the thread, Mark!
    deredordica and mark winstanley like this.
  3. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Cheers mate
    Lance LaSalle likes this.
  4. Jimbino

    Jimbino Goad Kicker, Music Lover

    San Jose, CA, USA
    Looking forward to another of your docent tours, Mark!
  5. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Cheers mate ... I had to look up what Docent meant lol ... Honoured that you would think I am anywhere near that category :righton:
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  6. tug_of_war

    tug_of_war Sassafras & Moonshine

    Great. Uncle Phil deserves his own album by albun thread.
    I hope to see lots of love for Both Sides.
  7. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Just for the record. After Phil's name you will see the title LVO, it does link to a wiki definition, and I didn't know what it was.
    For those not inclined to follow links

    The Royal Victorian Order (French: Ordre royal de Victoria)[n 1] is a dynastic order of knighthood established in 1896 by Queen Victoria. It recognises distinguished personal service to the monarch of the Commonwealth realms,[1] members of the monarch's family, or to any viceroy or senior representative of the monarch.[2][3] The present monarch, Queen Elizabeth II, is the sovereign of the order, the order's motto is Victoria, and its official day is 20 June.[n 2] The order's chapel is the Savoy Chapel in London.

    There is no limit on the number of individuals honoured at any grade,[1] and admission remains at the sole discretion of the monarch,[1] with each of the order's five grades and one medal with three levels representing different levels of service. While all those honoured may use the prescribed styles of the order—the top two grades grant titles of knighthood, and all grades accord distinct post-nominal letters—the Royal Victorian Order's precedence amongst other honours differs from realm to realm and admission to some grades may be barred to citizens of those realms by government policy.

    Grades of the Royal Victorian Order
    Grade Knight/Dame Grand Cross Knight/Dame Commander Commander Lieutenant Member Medal
    Prefix - Sir
    Insignia [​IMG]

    So Phil is a Lieutenant of the Royal Victorian Order also
  8. Instant Dharma

    Instant Dharma It’s 2112 Somewhere

    East Bay, Ca
    I never knew he had a brother!! Ha. Big Phil fan as Genesis was most likely my intro into Prog though in 1980 I never even knew what prog was. Misunderstanding isn't prog. Ha so I am a purist, even though I think people who dismiss this era, and Phils contribution in general are operating under false pretense.

    I am with it all the way through No Jacket as I played this tape relentlessly at the time, even more than Mr Mister. My favorite one of his though is Hello, I Must Be Going.
    Jarleboy, mark winstanley and ries like this.
  9. OptimisticGoat

    OptimisticGoat Everybody's escapegoat....

    Off to sleep now. But pleased to check in tomorrow.
    mark winstanley likes this.
  10. ries

    ries Forum Resident

    wow Mark, awesome you do this.

    Im trying to remember how I get into Phil (haha, stop it). I remember picking up the single Thru this walls. So my first album was Hello, I must be going. I went back to listen to Face Value (prolly from my brother's collection) and liking it a lot more then Hello. I loved the dynamic of the production, its a very quiet album (until you come to the loud bits). Also it had more instrumentals (or songs with long instrumental bits in it), wich I think reminded me of the Genesis I knew back then. I still love the suite part on side 1 - Roof is Leaking/Droned/Hand in Hand, kinda wished he went more in that direction (its also a bit closer to stuff he did for Brand X).

    Actually to think of it, the very very first thing I bought Phil related was this

    I fricking loved it, it combined two things I liked back then, Abba's singer with Phil's drumming
    Last edited: Jun 9, 2019
  11. Talisman954

    Talisman954 Forum Resident

    Another classic thread from our Aussie Genesis fan.
    Cheers Mark.
    tug_of_war and mark winstanley like this.
  12. vzok

    vzok Forum Resident

    Why can’t this wait until morning?
  13. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

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  14. LivingForever

    LivingForever Always one more tomorrow...

    It’s the name of a Phil Collins song :D
  15. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Ahhhh. See i said I'm still learning the stuff :)
    Lance LaSalle likes this.
  16. Denim Chicken

    Denim Chicken Forum Resident

    Bakersfield, CA
    Love all of Phil’s solo work from 80s and beyond. So much great stuff.
    mark winstanley and tug_of_war like this.
  17. Blame The Machines

    Blame The Machines Forum Resident

    We Wait and We Wonder, is The Least You Can Do to see what new track appears Everyday.
  18. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Face Value

    Studio album by
    Phil Collins
    9 February 1981
    Recorded June 1980–January 1981
    Studio The Town House (London, England), Old Croft (Shalford, Surrey), The Village Recorder (Los Angeles, California)
    Genre Pop rock [1], R&B [2], art rock [3]
    Length 47:49
    Label Virgin (UK), Atlantic (INT)
    Producer Phil Collins, Hugh Padgham

    Face Value is the debut solo studio album by English drummer and singer-songwriter Phil Collins. It was released on 9 February 1981 on Virgin Recordsinternationally and on Atlantic Records in North America. After his first wife filed for divorce in 1979, Collins began to write songs during a break in activity from his band Genesis with much of the material concerning his personal life. The album was recorded from mid-1980 to early-1981 with Collins and Hugh Padghamas producers. Additional musicians include the Phenix Horns, Alphonso Johnson and Eric Clapton.

    Face Value was an instant commercial success and reached No. 1 on the UK Albums Chart for three weeks and No. 7 on the US Billboard 200. It has since sold over 5 million copies in the US and over 1.5 million in the UK. The album received widespread praise from critics. Its lead single "In the Air Tonight", released in January 1981, reached No. 2 on the UK Singles Chart and became known for its drum arrangement and use of gated reverb. In January 2016, Face Value was reissued with bonus tracks and new photography in the style of the original but featuring a present-day Collins.[4]

    By 1978, Phil Collins had been a member of English progressive rock band Genesis for almost eight years. After spending the first five as their drummer, he reluctantly accepted the role of frontman of the group in 1975 following the departure of the band's original singer, Peter Gabriel. Genesis' nine-month world tour to promote ...And Then There Were Three... (1978)[5] became problematic for Collins's wife Andrea who complained that he was not at home enough and that should he commit to the full tour, she would not be there when he returns.[6] Collins, however, maintained that the band were on the cusp of international breakthrough and the tour would pay dividends for the future.[7] However, at the end of the tour, Andrea decided to take their two children to her parents in Vancouver, Canada. In an attempt to save his marriage, Collins moved to Vancouver, but it failed and returned to England in April 1979 with Andrea having agreed to return with the children.[5][8]

    With Genesis members Tony Banks and Mike Rutherford working on their solo albums through 1979, Collins used some of his spare time to write songs. He told Modern Drummer early that year:

    One ambition is to do my own album which will have a lot of variety. I write songy [sic] stuff, as well as some from the Brand X area. I'm also hip to what [Brian] Eno does - those kind of soundtracks which I've always been interested in - two or three minutes of just mood. The album, when it does come out, will have a lot of different styles on it.[9]

    In his home in Shalford, Surrey, named Old Croft, Collins set up a synthesiser, piano, Roland CR-78 drum machine, and an 8-track tape machine in his bedroom, and recorded a collection of demos with backing tracks and early lyrics.[10] He was not concerned with the quality of the recordings as what may have lacked in the recordings would have been salvaged with the emotion in the songs. There were numerous times where Collins stopped recording earlier than planned as the ideas were not working in the studio, leaving him to resume the following day.[11] Collins based the majority of Face Value on the divorce he had endured, and used a solo album as an outlet for his feelings.[11]

    During the conception of the album, Collins had forged a close friendship with John Martyn and contributed towards Grace and Danger (1980), which contained a similar narrative relating to divorce and relationship breakdown. Some of Collins' material that he had written was performed by Genesis on Duke (1980), including "Misunderstanding", the arrangement of which remained unchanged.[11] He had played "In the Air Tonight" and "If Leaving Me is Easy" to the group, but they were left out as Collins said they were "too simple for the band".[11]

    Early album titles included Interiors and Exposure.[11] To release the album, Collins signed a solo contract with Virgin Records for UK distribution.[10] He did so to "leave the nest" and to ensure he could maintain full creative control over the music. Collins also felt that releasing the album on Charisma Records, the same label as Genesis, would have harmed its success due to the preconceived notions people have about bands and labels.[10] Collins thought a new label would benefit the casual listener and appeal to a wider audience.[11]

    Recording sessions for Face Value took place at the Town House in London between late winter of 1979 and early January 1981. The demos recorded onto 8-track were transferred onto 24-track. According to Classic Albums, in what was then considered a controversial move at the time, Collins, who grew up listening to American R&B as a child in Chiswick, decided to incorporate an R&B horn section, hiring the Phenix Horns, who played backup for Earth, Wind & Fire. Collins had asked a contact who knew the group if they were interested in playing, and upon their agreement their leader Tom Tom met with Collins who asked him to sing the sections where the horns were to be placed into a tape recorder. The group recorded their parts the following day.[10]

    Collins produced the album himself with assistance from Hugh Padgham. Initially he considered George Clinton, Maurice White, or Phil Ramone until he realised that he merely wanted someone to endorse his own ideas.[11] Assistant recording engineer Nick Launay was hired after Collins was impressed with his work with Public Image Limited.[12] Collins was dissatisfied with initial test cuts of the album, describing them like a Queen album, "big, British and upfront".[11] He then listened to several black albums including ones by The Jacksons and a collection of soul artists in his own collection, and noticed a common link with technician Mike Reece who worked at a Los Angeles mastering lab. Reece prepared a cut which Collins was satisfied with.[11]

    Commercial Performance
    Released on 13 February 1981,[13] Face Value became an immediate success, reaching No. 1 in the UK, Canada, and other European countries, while peaking in the top ten in the U.S. "In the Air Tonight" became the album's biggest hit, reaching No. 2 in the UK, No. 1 in three other countries, and becoming a top twenty hit in the U.S. Other songs such as "I Missed Again" found modest success reaching No. 14 in the UK and No. 19 in the U.S., while the third single, "If Leaving Me Is Easy", reached No. 17 in the UK but was not released in America. Sales of the album reached five million in the U.S. and went five-times platinum in the UK and ten-times platinum in Canada. No solo tour was produced from this album.

    • Phil Collins – vocals, drums (1, 3, 6, 7, 9–12), Roland VP-330 vocoder (1, 6, 10), CR-78 drum machine (1, 6, 12), Prophet-5 synthesizer (1, 2, 5–7, 10–12), Fender Rhodes (1, 2, 9, 11), percussion (2, 10), piano (4–8, 10), handclaps (5, 9), congas (5), marimba (6), acoustic guitar (13)
    • Daryl Stuermer – guitars (1, 2, 3, 6, 7, 9, 11, 12), banjo (4), 12-string guitar (5)
    • John Giblin – bass guitar (1, 9, 10, 12)
    • L. Shankar – violin (1, 5, 7, 12), tamboura (5), "voice drums" (5)
    • Alphonso Johnson – bass (2, 3, 6, 7, 11)
    • J. Peter RobinsonProphet-5 (3)
    • Joe Partridge – slide guitar (4)
    • Stephen Bishop – background vocals (2)
    • Eric Clapton – guitar (4, 11)
    • Arif Mardin – string arrangements (8, 11)
    • EWF Horns – horns
    • Music preparation – Maurice Spears
    • Other background vocals on tracks 6 and 12 by several children’s choirs in Los Angeles
    • Strings on tracks 8 and 11 conducted by Martyn Ford
    • Violins – Gavyn Wright (leader), Bill Benhem, Bruce Dukov, David Woodcock, Liz Edwards, Irvine Arditti, Ken Sillitoe, Peter Oxen and Richard Studt
    • Viola – Roger Best, Brian Hawkins and Simon Whistler
    • Cello – Tony Pleeth, Clive Anstee and Nigel Warren-Green
    • Double bass – Chris Lawrence

    • Phil Collins – producer
    • Hugh Padgham – assistant producer. engineer
    • Nick Launay – assistant engineer (London)
    • Karen Siegel – assistant engineer (Los Angeles)
    • Trevor Key – photography
    All songs written by Collins except where noted
    Side one
    1. "In the Air Tonight" 5:34
    2. "This Must Be Love" 3:55
    3. "Behind the Lines" lyrics by Mike Rutherford; music by Tony Banks, Collins and Rutherford 3:53
    4. "The Roof Is Leaking" 3:16
    5. "Droned" 2:49
    6. "Hand in Hand" 5:20

    Side two

    7. "I Missed Again" 3:41
    8. "You Know What I Mean" 2:33
    9. "Thunder and Lightning" 4:12
    10. "I'm Not Moving" 2:33
    11. "If Leaving Me Is Easy" 4:54
    12. "Tomorrow Never Knows" John Lennon, Paul McCartney 4:52
    13. "Over the Rainbow" (unlisted track, except on cassette release WEA 1981) lyrics by E.Y. Harburg; music by Harold Arlen 0:31
    Total length: 47:49
    I have to be honest, when In The Air Tonight came out in 1981 I had just started getting into music as something I could actually have (it wasn't just for adults), I was 12 or 13 and it didn't really interest me. I wanted guitars and people yelling a lot :) ... that's a simplification, but somewhat true. It is a song that grew on me, as were some of the other songs I heard. I only really jumped into the Collins camp when I Don't Care Anymore was released. By that stage I had bought Nursery Cryme and And Then There Were Three (if anyone bags that album on this thread I will have a fit lol :) ... just joking..... or am I?) and they had paved the way for so much other music in my life that it was crazy. And Then There Were Three was pivotal in me accepting the synthesiser as a real musical instrument.
    My Drummer mate Dave was all over this stuff at the time, and as was often the case, he was getting into things I would get into later, and I was getting into things that he would get into later.
    When i finally got into this album I liked the fact that it had a lot of texture. I have always liked an album to cover a fair amount of territory and this album does do that. There is a leaning to slightly more quiet reserved songs, but under the circumstances, I reckon that's completely understandable.

    Prior to this album, Phil had done very little writing with Genesis, and generally seemed happy to work as the arranger of the other guys ideas, and he really did excel at that, although his penchant for Motown and sixties Soul type music wasn't really a good fit for Genesis anyway. It is that love, of those styles that one has to get their head around before diving into Collins catalog, because although he came from one of the spearheads of the progressive movement, and was an exceptional drummer in that style, and a fantastic arranger and co-writer in that style, the way the industry had moved, a lot of those styles he loved had morphed into what was fairly similar to modern pop music, and we all know that modern pop music is the sworn enemy of the progressive movement.

    I remember a quote from Phil one time that stuck with me, although not perhaps word for word, and I am sure some of our more learned friends on here can contextualise it, as to where it happened and all that. The Quote was (approximately) "Well I can't go through a divorce for every album". That always stuck with me. This was an album by a guy, who was essentially doing self therapy to deal with a situation that was out of his control. He purged himself onto paper and tape, and then via whatever reasoning and rationale folks said, "Hey, this would be a good album" and so it was.

    So for me this is becoming a great album, but it took a long time for me to get it, even though I had heard it. Like a lot of the music from the seventies and early eighties I became more acquainted with these tracks via 96fm's "Live Concert Hour" and the Droned, Roof Is Leaking, Hand In Hand trilogy was like the centrepiece of that concert.

    I'm not really sure where else to go with this, but I will add that I am somewhat still discovering this album, and look forward to diving into it a little deeper with you all.

    What are the Why, when, where and how's for you guys?
    Let us know about how you came to get this album
    What you thought about it then, and now
    and anything else that crosses your heart and mind about it, to share with us all.

    We will go through the songs one by one as I do, but for now. Give us the lowdown of what this album means to you.

  19. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

  20. Victor/Victrola

    Victor/Victrola Makng shure its write

    I was really excited when I heard Phil was releasing a solo album. I was already a big Genesis fan, and expected it to be kind of along the lines of Voyage of the Acolyte. Man, was I disappointed. I'm still not a big fan of the album, and actually hate a few of the tracks on it, but I've warmed up to it since its release. I think it's the worst of the first three he issued.
    mark winstanley likes this.
  21. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

  22. MikeManaic61

    MikeManaic61 Forum Resident

    @mark winstanley , you should get badge for starting all these great threads:righton:
    magister345, carlwm, Jarleboy and 4 others like this.
  23. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    Glad you're enjoying them mate!
  24. abzach

    abzach Forum Resident

    Face Value - very good album indeed and without any question his by far best to this date, no other album he's done even comes close, 99% of the rest he has done is anti music and absolute pure garbage of the very worst kind that pisses me of to a degree that I feel the need to throw up! :hurl:
    That's my only contribution to this thread, thank God - goodbye :)
  25. mark winstanley

    mark winstanley Pick up a fast car, burn my name in the road Thread Starter

    You crack me up dude

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