Retro Reviews: Phil Collins: Hello, I Must Be Going!

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. This is part one of three.  This is a three part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention, this is part one. 

Phil Collins – Hello, I Must Be Going! (1982)

***3/4

Producers: Phil Collins, Hugh Padgham

Musicians: Phil Collins, Daryl Stuermer, John Giblin, Mo Foster, J. Peter Robinson, Don Myrick, Louis Satterfield, Rahmlee Michael Harris, Martyn Ford

Songs and music: I Don’t Care Anymore, I Cannot Believe It’s True, Like China, Do You Know Do You Care?, You Can’t Hurry Love, It Don’t Matter To Me, Thru These Walls, Don’t Let Him Steel Your Heart Away, The West Side, Why Can’t It Wait ‘Til Morning

Reviewed By Matthew Anthony Allair 

    Phil Collins second solo album has been released, and it acts as a companion to the debut, Face Value. It may not be as eclectic as the prior album, but the Production and musicianship remain consistent. Many of the same players are back, minus a few guests. Guitarist Daryl Stuermer, whom had worked with Jean Luc Ponty before Genesis nabbed him to fill in live, offers good support, session player John Giblin had cut his teeth with the fusion band Brand X, and Mo Foster has such  a long list of artists he has done sessions with, including jazz players and live performance that it is another nod to how respected Phil’s skills are that Fister would be involved. It also doesn’t hurt that the Earth, Wind and Fire horns make another more prominent appearance here. This is less rock, and more pop, lite rock and even a hint of art pop. Phil’s piano skills could never match his peer Tony Banks, but he doesn’t even to imitate him here. Phil works with what he can do as a player, and it works. Of course, Phil’s drumming, even when stripped down for the sake of a song is still impressive.

    The opener is one of the singles, “I Don’t Care Anymore” acts as a kind of sequel to “In The Air Tonight”, a moody and heavy vibe that is propelled by a live kit. Aside from Phil’s keyboards, Daryl adds some moody embellishments. “I Cannot Believe It’s True” is one of the most lively numbers on the album with the full horns. The mild rocker, “Like China” has some good guitar work, and a child like vocal from Phil as a teenage lad who pines for a girl. “Do You Know, Do You Care?” is, in fact the darkest mood piece on the album with an odd outro. The single, a cover of the Supremes “You Can’t Hurry Love”, is a faithful read with a modern sheen., all of which gives side one a certain energy.

    The second half opens up with the thrifty “It Don’t Matter To Me” with the full horn section again, and some playful interplay. The moody “Thru These Walls” acts as a companion to the prior albums “I’m Not Moving”, some marimba fills out Phil’s keys on a number about a deviant voyeur who listens to others lives. The ballad “Don’t Let Him Steal Your Heart Away” could give Elton John a run for his money, as well as some tasteful piano work from Phil. The instrumental “The West Side” gives the flavor of New York with a nice Pop jazz swing, the album closer “Why Can’t It Wait ‘Til Morning?” acts like a companion to the prior “You Know What I Mean” as a ballad. Ending on a stratifying note. This probably won’t appease old Genesis fans, but I don’t this was intended for them. For anyone looking for a pleasant pop record, this will be of interest, in spite of the use of synths and drum machine, there’s a nice balance between live musicians that helps to give this some extra humanity. 

    While not as stellar as Face Value, this is a strong effort for what it aims to do. There’s a constant debate over exceptional musicians going pop, it seems to be a cardinal sin for Progressive Rock musicians especially to go pop, since this the medium that Mr. Collins chooses to express himself with, so be it, I would ignore the naysayers.