The 25 Best Phil Collins and Genesis Songs – Rolling Stone

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The 25 best songs by Phil Collins and Genesis. Selected by Sassan Niasseri and Arne Willander.

Phil Collins in Australia in 1985
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Redferns.
Bob King.
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25. Thunder and Lightning A piece from “Face Value” that sounds a lot like Genesis in the signs and instruments, and also like the complex jazz music of Brand X: Phil on drums and Fender Rhodes, with Daryl Stuermer’s guitar and copper – interesting but full (from “Face Value, 1981). AW

24. Invisible Touch Genesis’ first single and the title track of their most controversial album. The song is said to have evolved from a jam, which is hard to imagine given the architectural design. Interestingly, the song was replaced in the top position in the US charts in 1986 by “Sledgehammer” – a song by the former Genesis singer Peter Gabriel (from “Invisible Touch”, 1986). SN

23. Land of Confusion The power of the protest piece is countered by a portrait video of aging people featuring the likes of Gorbachev, Khomeini, Gaddafi and, er, Prince. The song is about the Cold War and is directed against Reagan’s nuclear policy. Various metal bands understood the military intensity of the piece and covered it (from “Invisible Touch”, 1986). SN

22. It’s Gonna Be Better The last song from “Genesis”, which sounds like a mix of the Moody Blues, Chicago and the Bee Gees with falsetto vocals: “Cos I know everybody can feel it/ And I know everybody will see it…” the world-beating classic of British Grummler (from “Genesis”, 1983). AW

21. Inside Out From Collins’s most successful solo album, this song was not released as a single. An intense yet sassy song about sexual fulfillment – within your own four walls. from “No Jacket Needed,” 1985). SN

20. Why Can’t It Wait Until Morning? The seemingly almost ecstatic conclusion of “Hello, I Must Go!”: piano, strings and flute tighten into a serenade. But Collins’ revenge album ends on an ambiguous, and possibly toxic, note: “You’re not going anywhere without me/ So close your eyes/ I’ll make a love song so good for you.” (from “Hey, I Gotta Go!”, 1982). AW

19. Behind the Swinging Lines, inspired by the Phenix Horns (then EWF Horns), is a reworked version of the song “Duke” from 1980 (from “Face Value”, 1981) by the members of Genesis themselves. SN

18. That’s All From the “Beginning” record and it’s just as amazing as “Mother”: a pop song of the simplest, best kind, a little piano, a single. Not that critics liked Genesis – but “That’s All” was something of a riot in rock land – and a minor hit (from “Genesis, 1983”). AW

17. So Deep “Scream so loud / and no one’s listening” – Collins manages to scream without screaming on this ballad. According to the arrangement, his last song Genesis (from “Invisible Touch”, 1986). SN

16. Easy Lover (feat. Philip Bailey) Foreigner’s worst single “I Wanna Know What Love Is” unfortunately kept this banger, one of the best duets of all time, away from the top spot on the US charts. Phil’s dance intro is, as you’d expect, a spectacle. I’m curious, maybe even hateful: that two singers are texting each other about a woman neither of them can hold. (Single, 1985). SN

15. Against All Odds (Take A Look At Me Now) When Phil Collins took over the world: He wrote this song for Taylor Hackford’s melodrama (with Jeff Bridges), which was on every radio station for at least a year. the world was heard. The drummer has now become a nuisance at the piano, singing one great emotion. (Single, 1982). AW

14. It Doesn’t Matter To Me One of the many (nine) break-up and revenge songs from “Hello, I Must Be Going!”: a tribute to Collins’ beloved Philly soulful brass and fake English, well-arranged and. close to the grain of humor. Bad mood, excited (from “Hello, I May Be Going!”, 1982). AW

13. Follow You, Follow Me Tony Banks says it was the only song the band had written together in the studio so far. Either way, it marks a turning point in their particular pop phase, and the keyboard solo is their best yet. from …And Then There Were Three…, 1978). SN

12. Mama Big Hit and the first song from the album “Beginning”: The band suddenly seemed modern, they had also made a crazy video, and the noise of the beaters promised “80s!” Collins had heard the roaring, dirty laugh in the film and recreated it for “Mama”. The song is very silly, but also very good (from “Genesis,” 1983). AW

11. I’ve Missed You Again Collins’ famous breakup song, he never sounded more angry: “You can feel it around you, but it’s something you can’t touch / And I feel it coming to me”. Delayed drums, a C section and a soaring saxophone solo: all in perfect order. (from “Face Value,” 1981). SN

10. I Don’t Care Anymore The brutal opening song “Hey, I Must Be Going!”, almost only drums and singing voices: It happened, there is blood everywhere – but the singer now responds with childish contempt: “You can tell everyone that I have disgrace/ Drag my name everywhere/ I don’t care anymore.” And they don’t care anymore! Breakup song and angry outburst (from “Hello, I Must Be Going!”, 1982) AW

7. If Leaving Me Is Easy The saddest piece on Collins’ debut album: there’s something quiet about sadness and self-pity in the peaceful, flowing movement of this almost-whispering ballad. The singer also turns the other cheek, so to speak – but of course he hopes that this gesture will seriously hurt infidelity (from “Face Value, 1981). AW

6. In The Air Tonight Collins’ most popular song and now synonymous with the 80s – at the same time, “In The Air Tonight” was also his first solo single, a mediocre song. And the long story of a car ride into the night in “Miami Vice”, where Don Johnson stops at a phone booth to call his ex-wife, the piece of the puzzle is revealed – Collins swears that he knows what it means (obviously revenge) . not clear (from “Face Value”, 1981). AW

5. Tonight, Tonight, Tonight “I’m Coming Down like A Monkey” – Genesis’ best single might be about drugs, but the eight-minute long piece was somehow enhanced wonderful using the “Magnum” series (almost completely!) shown. Programming a drum machine is a work of genius (from “Invisible Touch,” 1986). SN

4. Don’t Let Him Steal Your Heart A great rendition of “Hello, I Must Be Going!”: This song anticipated hits like “Against All Odds” and even surpassed them with Martyn Ford’s string arrangement and irresistible emotion. pathological romantic. The Heart Is Bleeding (from “Hello, I Must Be Going!”, 1982). AW

3. I Can’t Believe It’s Real Wing of Glass pop with brass parts from the Phenix Horns, spontaneous choir singing and high-quality beats. Pure lyrical luxury and relatable to Steely Dan – but without irony in the lyrics about deep fear and wounded vanity: “Oh I gave you all / Now I’m living on borrowed time / But it’s mine, you hear me .” (from “Hey, I Gotta Go!”, 1982). AW

2. Through These Walls A sad piece about loneliness, isolation and the noise of life behind the walls in “Hello, I Must Be Going!”, reminiscent of Leonard Cohen’s suffering in “Paper Thin Hotel.” Performed by Daryl Stuermer and Phil (on keyboards and xylophone) as a buttery ballad – and one of Collins’ most amazing vocal performances (from “Hello, I Must Be Going!”, 1982). AW

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The 25 best songs by Phil Collins and Genesis. Selected by Sassan Niasseri and Arne Willander.

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