“Phil Collins – Album By Album” – TWR takes a long overdue look back at the Collins back catalogue.

It is no exaggeration to say I have grown up with these albums. I was eighteen when the first one was released. Hard to believe that some forty six years have elapsed since Phil first went solo in the proper sense of the word. His earlier pre – Genesis and extramural activities with Brand X etc are covered elsewhere in this edition.

It was in the latter part of 1980 that rumours began to circulate that Phil was going to follow in the footsteps of his band mates, Tony Banks and Mike Rutherford both of whom had opted to produce their own long overdue debut solo albums in an attempt to give Phil some breathing space in which to try and resolve his marital issues. Sadly, those issues remained unresolved and he and his first wife divorced leaving Phil rattling along alone in his newly acquired house. Taking the opportunity to experiment that his enforced isolation gave him, he began writing ideas and demos not really thinking that they would ever see the light of day.

As we all now know however, those demos eventually coalesced into Face Value, Phil’s first solo album. Now, if you were a Genesis fan at this time, the appearance of solo albums by the remaining members was a cause of some concern. Mike and Tony's efforts were at least, cast in the Genesis mould. Not so Face Value! It is hard to describe the shock of first hearing the first indication of Phil's new sound the awesome darkly dramatic In The Air Tonight which even now after all those years still has the power to make the hairs on the back of your neck stand up! The deceptively simple drone introduction does not give away the drama which is to come but Daryl Stuermer's vicious guitar riff gives an inkling of the explosion of suppressed rage which is to come. A long exhalation of anger finally breaks through with that now famous drum fill which has seen air drummers all over the world try to emulate it ever since! Prog it most certainly wasn't but it set Phil's stall out immediately as a horse of a different colour from Genesis.

This contrast continues with the somewhat restrained and late night bluesy This Must Be Love which features a rich warm vocal from Phil, a million miles away from what had preceded it. It hardly seems like the same person could have written both songs they are so different.

Speaking of differences, what follows probably made the Prog purists (those who even bothered to listen to the album in the first place) throw up their hands in despair – a discofied Behind The Lines … and the most shocking thing is... it works and works brilliantly showcasing the inventiveness of Phil in the arrangement and the strength of the song itself.

A personal favourite next, the criminally underrated The Roof Is Leaking, bastard cousin to Ballad Of Big another song with its story taken from the American mid-west. Simple but evocative with another emotional vocal from Phil and some fine banjo plucking from Daryl all too rarely performed which is a pity as it was a great track in the live context. This leads us into …. Droned. This one surely has its “Genesis” in Brand X as it has all their hallmarks written all over it. A delightful percussive instrumental romp which begins quietly enough but soon builds to a truly hypnotic rhythm pattern and I defy anyone to sit still whilst listening to it.

The pace slows down dramatically for Hand In Hand another wonderful instrumental driven by marimbas and synths before Phil kicks in with some well-paced percussion and the whole thing is fleshed out by choral singing and the fiery horns of what were soon to become the Vine Street Horns on Phil's subsequent tour a year later. This one is pure Motown and I love it!

Another reflection on his (then) current relationship status follows with the acerbic I Missed Again, not one to mince his words Phil lays his emotions before us for all to see but couches it in a punchy and up beat song with some of his best playing and singing - an instant favourite – the sax solo alone is worth the entry price, smooth, sexy and glorious!

You Know What I Mean is a plaintive plea to the person who broke your heart. Delicate and yet fiery, this one shows the two sides of Phil's character in one beautifully evocative song which leads us to the funky Thunder And Lightning, an upbeat turn of the corner sort of song and then we get the defiant I'm Not Moving with its deceptively jaunty rhythm and statement of intent before we get to what I am sure for many (me included) has become a truly timeless and emotional song. Phil really bares his soul in If Leaving Me Is Easy, I am sure this has become the theme song for so many people as it really says what needs saying in such a situation but where most of us can't summon the words a song with emotional drama and a deep resonance.

Then we come to the album closer and it is here where Phil for the only time on this album puts his foot wrong. Why he decided to cover the Lennon song Tomorrow Never Knows is beyond me. I am sure Phil had his reasons but this one has never sat well with me – I didn't particularly like the original either for that matter and its presence here spoils what otherwise would have been a pretty damn near perfect debut. Oh well, can't please everyone eh? But looking back with the benefit of forty six years of hindsight, this one still packs the emotional punch which made it so impressive all those years ago.

Barely a year later and Phil was back again with his second album, the punningly titled Hello, I Must Be Going itself an homage to the Marx Brothers. If In The Air Tonight was a statement of intent then this album's opener is even more so. I Don't Care Anymore opens with a ferocious drum pattern over a relatively simple synth line before Phil unleashes another fiery vocal – he's not holding back and we are left in no doubt that Phil is over his divorce issues! This remains one of Phil's most impressive songs and a live favourite. That said, there are evidently still open wounds as I Cannot Believe It's True is equally as vehement. Phil, don't be fooled by the upbeat percussion and horn section, there is anger and sadness here but the light is shining at the end of tunnel.

Like China is somewhat of a curiosity. The tale of a teenage relationship and the feelings of the male protagonist as he tries his best to convince the family that he's not, as Phil puts it; 'some limp wristed wimp from the other side of town” . The song itself is relatively straight forward but what grates on my nerves is the affected “mockney” accent in which Phil delivers it. If it was meant as a joke it really falls flat.

We are back in familiar territory next however with Do You Know, Do You Care, the clanking dungeon unleashes a raw cry of pain and anger in what is without doubt one of Phil's most dramatic songs. The pain is almost tangible here an exercise in primal scream therapy which obviously worked because next we get...

You Can't Hurry Love. What can I say about this that hasn't already been said? A truly remarkable reworking of the Supremes' classic. Upbeat, happy and utterly enjoyable and which gave Phil his first number one. A favourite then, and still a favourite now – bringing back so many memories of singing along at Phil's gigs – nowt wrong with that now, is there?!

It Don't Matter To Me although couched in the same subject matter as some of the other material on this album has an altogether lighter feel to it. A superbly feisty musical performance featuring some fine work by the Vine St Horns and Chester Thompson on drums, this one is a turning point kind of song and another favourite.

Thru These Walls... hmmm... To this day I am still not entirely sure what possessed Phil to write this one. Ostensibly the fevered imaginings of an incarcerated sex offender this one could be said to be Phil's very own Intruder. It is every bit as dramatic as the Gabriel classic and every bit as creepy but totally out of context on this album.

Don't Let Him Steal Your Heart Away, a deliciously simple plaintive love letter to the one who got away. Phil at his emotional and lyrical best here.

The album's only instrumental is next, The West Side – up beat, and sassy another classic and always a firm favourite when played in the live set.

The album concludes with the rather morose Why Can't It Wait Til Morning. The anger is all played out and what's left is quiet resignation and a desire to simply get on with life.

Somehow Phil managed to keep the standard of songwriting up to an incredibly high level on this one, especially when you consider it was written barely a year after his solo debut. It's a worthy successor to Face Value and contains some songs which have remained bona fide fan favourites ever since.

We had to wait a bit longer for Phil's next album... not Peter Gabriel LONGER, but two years was quite a lengthy Phil-less period for fans. Mind you, he wasn't exactly idle in the intervening years as we all know! Anyway, in the spring of 1985 Phil returned with his third album – No Jacket Required, the title apparently inspired by an incident where Phil was turned away from a rather swish restaurant for not having a tie! The album gets under way with the irritatingly catchy Sussudio – Prince rip off? Who cares, this is a brilliant slice of Collins at his toe tapping best, a bona fide classic from the get go and a firm favourite with fans ever since.

Only You And I Know keeps the pace up at frenetic with another of those instantly catchy songs that only Phil seems capable of. Another relationship song but without any of the rancour, anger and bitterness associated with so many of those on the albums which have preceded it. Sadly it was only destined to be performed on the 85 tour but what a belter it proved to be both on record and live.

Slowing things down next we get the plaintive Long, Long Way To Go, a brilliant picture of the turmoil the world finds itself in due to differences in religion, politics or whatever and the consequences of those disagreements. Sadly, it is every bit as valid today as it was in 1985 with the added vocals of Sting bringing an extra level of poignancy to the table – proving that Phil was quite prepared to comment on issues that concerned him and in a fashion which challenged his audience.

The abrupt ending of the previous track doesn't prepare us for the explosion of emotion that is I Don't Wanna Know. We are back on familiar territory here but this is a declaration of emancipation from Phil. He's moved on in no uncertain terms and no doubt this one sums up what many in failing or failed relationships would want to say but couldn't find the words. Upbeat, sassy with a marvellous horn section and guitar solo from Daryl Stuermer - this is classic Collins.

The delicate side of Phil is thrown into sharp relief next with One More Night, that plaintive plea for a chance to restore a failing situation. Late night blues with a deliciously emotional vocal another classic slice of Collins.

Don't Lose My Number, a tale about a fugitive from justice told in a suitably frantic paced number with some astonishing guitar work from Daryl Stuermer who shines throughout this album another live favourite with the pace hotting up Who Said I Would doesn't give us a moment's peace with its incessant beat and frantic rhythms – this one clears the clouds away.

The melancholy atmosphere returns for the pairing of Doesn't Anybody Stay Together Anymore and Inside Out, yet more evocations of relationships gone wrong . The former is driven along by some impressive percussion from Chester Thompson who, like Daryl is the backbone of Phil's studio and live bands at this time.

Take Me Home... what can you say about this one? After the agony, angst and anger here we have the perfect antidote, warm, and refreshing and accompanied by what is probably one of the cleverest and funniest promotional videos ever made. The perfect album closer. Or is it...? If you bought the original vinyl release then yes, it is but by now those pesky Compact Discs were making their presence known and so the last track on that version of the album is the somewhat austere We Said Hello, Goodbye – relationship ended, new one begun a suitably emphatic way to end another classic Phil Collins album.

Once again as we all know Phil was quite busy during the period between this album and his next one. Almost two years recording and touring with Genesis for their most successful album, 1986's Invisible Touch and then Phil got to scratch his acting itch again with Buster all of which is a subject for another time and another edition of TWR. He finally gave us his next solo album in the autumn of 1989 and this was the one which was to propel him into the musical stratosphere – But Seriously...

We get off to a flying start with Hang In Long Enough, a romping barnstormer of track, big, bold and sassy everything you expect from Phil. Gone are the anger and disappointment of previous albums, here Phil has found his mojo and it is most definitely working! Most noticeable is the fantastic brassy sound of the newly re-named Phoenix Horns which bring the spirit of Motown to the proceedings, whilst Daryl Stuermer's blade like guitar riffs cut through everything. That's Just the Way It Is however is a far more restrained and reflective song a brilliant evocation of the human spirit and the struggles that some people have to make merely to survive and how we take those struggles for granted. Featuring just Phil Leland Sklar and Daryl Stuermer but accompanied by the marvellous vocals of David Crosby, this one will resonate with many people a deeply thought provoking effort. Of a similar vein, Do You Remember? Brings us back to the subject of Phil's previous failed relationship but gone is the anger which has been replaced by regret and an acknowledgement that the past is gone. Melancholy without becoming mawkish this one sounds like a page from Phil's diary.

Something Happened On The Way To Heaven however, is a horse of an entirely different colour. This one races out of the starting blocks at breakneck speed and doesn't let up. A triumphant shout of liberation from what's gone before this in turn gives way to one of the most powerful statements that Phil has committed to record - Colours I hate to draw the comparisons to Peter Gabriel's Biko but the subject matter is the same – injustice. Divided into two sections the second of which features some impressive African styled rhythms on drums and marimba before the cry of freedom rocks out in a triumphant conclusion. The message remains the same and sadly, it is still as valid today as it was when it was written.

Personal regret and the realisation of wrongs done are the subject matter of I Wish It Would Rain Down. Daryl Stuermer's wailing guitar is like a soul in torment piercing the gloom but there is an element of hope here too.

Without doubt, after In The Air Tonight, the next track on this album did more than any other to cement Phil's position in the superstar firmament; Another Day in Paradise, the unsparing and unremittingly bleak excoriation of how the homeless are ignored by society is probably one of the greatest social commentary songs ever written. Brilliantly observed with truly biting lyrics and an understated musical accompaniment in which Daryl’s Stuermer's acoustic guitar takes a central role this one is a masterpiece pure and simple.

Heat On The Street owes everything to the glory days of Motown, this one is big, brash and sassy and I love it! Never fails to get me dancing (not an image for the squeamish but there ya go!).

All Of My Life and One More Night are cut from the same cloth, late night bluesy songs in which thinking of chances missed, loves lost are the main subject. Phil knows how to write a lyric which will tug at your heart strings and resonate deeply, this is one such song.

Saturday Night And Sunday Morning sounds like a jam you would hear on the streets of Harlem, bold, big, sassy and a whole heap of fun.

The album closes with two reflective songs, Father To Son, and Find A Way To My Heart. The former is a brilliant depiction of a father's feelings for his growing child and the advice which he perhaps should have had from his own father... whilst Find A Way To My Heart manages to combine bathos with a scintillating and uplifting rhythm that leaves us hopeful.

The album is a series of contrasts, Phil laid his stall out on this one like none that had gone before it and as far as I am concerned he reached perfection here, every track is a winner.

Phil's next album was that difficult fifth album. By the time Phil got to the writing and recording of this one his personal life was in a mess again. A particularly messy and antagonistic divorce fuelled by salacious (and completely false newspaper reports) led to his decision to leave the UK. The result was Both Sides (Of The Story) which as its title suggests, took the opportunity to clear the air from Phil's side of things. He also took the decision to make this a truly solo album by playing virtually all the instruments on it.

The album kicks off with the title track; Both Sides Of The Story, a worthy follow up to Another Day In Paradise, as it tells the story from the viewpoint of the disenfranchised, and disillusioned members of society, angry and evocative this one is a superb piece of storytelling and social commentary and to my mind one of Phil's finest songs. Wistful regret is the subject of Can't Turn Back The Years, Phil really hits his stride lyrically on this album and I love the line “I won't serenade the truth” in this one. Simple, but effective the only thing that spoils the effect is the use of drum machine which has not really aged well but that’s a minor quibble really. Everyday driven along by a simple piano refrain which has echoes of We Said Hello Goodbye a song of unrequited love and regret, the pangs of what if are beautifully etched in this delicate classic Collins song.

Prefaced in the lyric sheet by the words of the Hoagy Carmichael classic...”I get along without you very well” this one shows that at long last, Phil has finally moved on...the love, the anger and the regret have been replaced by a quiet resignation of the need to move on.

We're Sons Of Our Fathers, now I really can't get behind the cod Country and Western feel of this one... It's a poor man's Me & Virgil really – not my cup of tea Phil, sorry, although the message of changing social values definitely resonates in these crazy days we currently live in!

Can't Find My Way features a rippling, rolling drum patter and simple keyboards, it sounds like a demo which has been left alone and is surprisingly effective another rather melancholy effort.

Survivors meanwhile is an altogether more upbeat effort, an infectious drum pattern gets things under way before we are taken on a soaring emphatic song full of hope and courage – we do whatever is necessary to survive.

We Fly So Close, and its acoustic guitar make this something of a rarity … the underlying drum pattern sounds like a recycled bit of In The Air Tonight but there is none of the anger of that here. Quiet, reflective and utterly absorbing, and yes, we all do unwittingly dance around disaster every day with our eyes ...and ears closed.

There's A Place For Us is the kind of love song only Phil Collins can write; simple, expressive and totally mesmerising one of the highlights of the album for me.

We Wait And We Wonder gets under way with bagpipes and drums, a suitably strange opening but a powerful one. Despite the military air generated by the music this is a powerful anti-war song, with the slant firmly placed on the terrorist activities both in the UK and increasingly elsewhere for what reason? Brilliantly expressed by Phil in words and music another highlight.

The album ends with Please Come Out Tonight, another quiet and reflective song, summed up in the one sentence introduction in the lyric sheet...”When all is said and done, there's just you and me..”

This one is probably one of the most difficult albums by Phil. The subject matter remains as varied as ever and the lyrics are as expressive as always but there is something missing and the album sounds surprisingly flat. Maybe this is down to Phil's decision to play everything himself so his usual musical cohorts don't get to inject any extramural character into it which means the end result is still somewhat unsatisfying.

Three years later and it was an entirely different Phil Collins who brought us Dance Into The Light. As its title would suggest, Phil was now in an altogether better place emotionally and physically and it shows in the music. Dance Into The Light opens the album and it is a shout of joy and liberation, one of Phil's most upbeat and uplifting songs and a firm favourite. It also helped that on this album Phil returned to working with other musicians not least his old stalwarts Daryl Stuermer and the Vine St Horns and their presence makes a big difference to the overall feel of the album. That's What You Said takes us to familiar Collins territory, the story of a relationship that has soured although it does not bear the hallmarks of anger that many of its predecessors do, this one is more inclined towards forgiveness and reconciliation.

Lorenzo was inspired by the true story of the search for a cure for a debilitating disease which had been made into the film Lorenzo's Oil, replete with African rhythms, with Phil at his percussive best, this one really sticks out, not only for its serious subject matter but for its length which is far longer than your usual Collins fare. Thought provoking and emotional this one is a high spot on the album.

Just Another Story is a morality tale, which for me simply doesn't hit the mark. The funkified shuffle style of the music leaves me cold and Phil's attempt to get down with the “Kids” really isn't convincing on any meaningful level.

Love Police too is just that little bit too sickly sweet, a nice rhythm but little substance to it.

Then we come to Wear My Hat... Phil's somewhat cynical look at the motivations of those anonymous people who will ask him “can you sign this...” Now, as one of those people myself, I could be quite insulted by this one however, I totally understand where Phil is coming from and he has managed to set the scene brilliantly in words and music which became another live favourite.

It's In Your Eyes is another classic Collins love song - nuff said.

Oughta Know By Now has the soulful sound of a latter-day Motown classic, smokey and yet with an internal fire which is barely suppressed. Musically Nathan East's bass shuffle and Daryl Stuermer's stabbing guitar fight a constant battle throughout before Daryl finally unleashes some feisty licks.

Take Me Down picks the pace up again, sounding remarkably similar to Wear My Hat but is a totally joyful romp the kind of thing you might find at one of those evangelical revival meeting that the USA is so fond of. Has Phil found religion? Nope but he has found a new level of confidence and it shines through clearly in this one.

The Same Moon takes us once again to the kind of love song which only Phil seems capable of writing, this one is another delight.

River So Wide is all African rhythms and world music ideas - a plea for tolerance amidst the madness – a worthy successor to Colours. Catchy, infectious driven along by the kind of rolling thunder percussion which has become a Collins trademark as well as some fine guitar work from Daryl Stuermer this one has always been a favourite, it’s impossible not to get your toes tapping to it!

No Matter Who shimmers like burnished gold, a simple and yet heartfelt plea to the one you love – no one does songs like this like Phil.

And then we come to that rarity on a Collins album, a cover version and strikingly it is the Bob Dylan classic The Times They Are A-Changin' that gets the Collins treatment. An odd choice this one but it makes perfect sense in the context of the change in Phil's personal circumstances – the times they were a- changin' indeed with brighter days ahead for Phil at last!

Something of a contradiction this one. It contains some of Phil's best work and... it also has to be said... some of his worst, an album of two halves really but when it works it works incredibly well and still stands up almost thirty years (Jesus, has it really been THAT long?) later.

It was as to be almost five years before Phil returned to solo work and there had been a lot going on between his last album and this one not least several health issues which had led to him announcing his retirement from live work.

The new album was, Testify, yes the album that Phil's fans and the wider public appear to hate. It was greeted my some pretty hostile reviews at the time, none more so than the one word review which simply said...”Testicle”. Was the album REALLY that bad? As we have no doubt noticed by now, Phil like so many other artists, produces his best work when he is angry or upset. Testify coincided with one of the happier periods in Phil's life and this is reflected in the songs and music on it. Wake Up Call gets things off to an upbeat and quite pleasantly innocuous song. Scaled down to a core of three or four musicians none of whom has worked with Phil before, the effects of his work on the Tarzan soundtrack are evident here as many of the tracks feature computer programmed music. That doesn't mean that the end results aren't enjoyable but are somewhat sterile compared to what has gone before.

Come With Me is much better a delightfully simple and effective love song.

Testify comes next, and this is where the album's title makes sense. Phil is using this album to testify to the fact that he is happy and contented. Phil has always put his heart on his sleeve and none more so than here.

Don't Get Me Started should be an angry rant of a song but what we have here is a totally emasculated squeak instead. This one lyrically is quite strong but it and the lyrics are a total mismatch which leaves neither element satisfied... In The Air tonight it isn't I'm afraid.

The rest of the album is of a similar nature, the songs really lack any kind of emotional warmth. Whether this is due to the computerised nature of much of the music and the lack of character which other musicians often bring to an album. The end result is, by Phil's standards, a mediocre effort and it was with this that he effectively signed off on his career as a recording musician.

However, as we all know, things are never quite so simple with Phil, are they? He soon came out of retirement to give us the wonderful First Final Farewell Tour of 2004/05 but then he managed to take us all by surprise with one final studio flourish...

Phil's love of the Motown period of the 1960's was well known. So, it shouldn’t have been any surprise when in 2010 he produced Going Back, his homage to that era and the songs which are part of the soundtracks to our lives. What made this one special was not only the fact that Phil brought many of those classic songs back to life but he chose to mix the established classics alongside some of the lesser known staples from the Motown catalogue. The original 2010 release was subsequently edited down for the 2016 reissue which was also retitled as The Essential Going Back but that album benefited from an additional live album of tracks recorded at the shows Phil performed in 2010. The end result is, to my ears one of his most joyous and enjoyable albums. I defy anyone to listen to tracks like (Love Is Like A ) Heatwave, Ain't That Peculiar and Dancing In The Street without getting up and dancing. It's a total blast from beginning to end and a suitable way for Phil to have brought his recording career to an end...oh, and it got him another number one album in the UK charts as well!

Of course, as we all know...never say never with Phil, the old dog may just have one more surprise up his sleeves for us. In the meantime, there aren't many back catalogues that contain so much marvellous music so, dust your albums off and rediscover the magic that is Phil Collins!