So what's so bad about Phil Collins anyway? - Part 2 of 3
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Many people who know Phil Collins from the MTV video friendly period of the 80s, when his solo career helped Genesis to a much wider mainstream audience, might not realise what a hard working session drummer, collaborator and producer the guy was and is. Outside of Genesis, Phil seemed to have endless energy, and was involved in all manner of diverse projects. He played excellent drums on several Brian Eno albums in the 70s, including my two favourites Another Green World and Before And After Science (and the superb B side to the Kings Lead Hat single - R.A.F.). He did sessions for Thin Lizzy, Rod Argent, Tina Turner, Howard Jones, Paul McCartney, Robert Plant, Tears For Fear, Lamont Dozier and Eric Clapton or jazzy people like Tommy Bolin and Jack Lancaster (great album called Marscape). He played with John Martyn both live (they were great together) and on the beautiful and haunting albums Grace and Danger and then Glorious Fool, which he produced. He produced albums for Philip Bailey, Adam and the Ants, Frida (of Abba) and Eric Clapton, as well as his own, including some great 12 inch remixes that are still influential today. By far my favourite time watching Phil Collins was when he was playing drums with Brand X, the jazz rock fusion band that was his first real parallel life and escape from Genesis, started in the mid 70s. If you liked Mahavishnu Orchestra or Return To Forever, you would have loved Brand X, which gave a distinctly English tinge to the genre. I saw them more than half a dozen times from 76 to 80 something, and this was the place that Phil could relax, let go, and just drum. With a certain amount of irony for those Phil haters out there, I'm offering a number from this reunion gig in Tokyo in 1997… without Phil Collins! Original members John Goodsall and Percy Jones are there, but Kris Sjobring (who he?) replaces Robin Lumley on keyboards, and Pierre Moerlen (of Gong fame) does his Phil Collins impression. This number is Disco Suicide, and captures the essence of how they sounded back in the 70s. I can't find any decent footage with Phil on the skins, but this triggers enough memories of great nights down the Marquee to make my day.
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