Phil Collins: "I have trouble playing. But my health is fine" - Rolling Stone

“I took my time coming back,” the former Genesis drummer says of his recent “Not Dead Yet” tour. "I didn't know if my audience was still there." Our interview with Phil Collins:

In the 1980s, there was no harder-working rock star than Phil Collins. His solo career exploded in January 1981, with the release of his first single "In the Air Tonight", the launch of a long series of hits that would span the decade. At the time, he continued to record and tour with his band, the aptly named Genesis, and even began an acting career, landing the lead role in the 1988 film Buster. he also made himself available as a producer and drummer for Robert Plant, Eric Clapton, Paul McCartney, Adam Ant and many others.

Two years after having reissued all of his solo repertoire with various special editions, he is now turning to an upcoming four-disc collaborative box set, dubbed "Plays Well With Others", which hits stores on September 28. For the occasion, Collins spoke with Rolling Stone US about this new collection, his world tour "Not Dead Yet", his health of course, and finally the possibility of recording his first album since "Testify". , released in 2002.

Who had the idea for “Plays Well With Others”?

Phil Collins: I don't remember. It's been in the cards for a few years. I think at the time of my reissues, someone had this bright idea. It's a bit complicated with all these licensing rights. I came up with the songs I wanted to have on the record and left everything to the lawyers.

Are there any songs you couldn't get because the rights were frozen?

PC: Not that I know of. A title that I absolutely wanted to have, was signed Steve Winwood, but he told me that he was going to make a live album and that he preferred to keep it. It was just a matter of reviewing everything I've collected over the years. Most of the pieces, I believe, have been accepted.

It's interesting to know that this compilation starts with your pop group Flaming Youth, way before Genesis. Few people have listened to this music...

PC: Good luck to them *laughs*. I remember a lot of things from the 70s. For me, CDs 2, 3 and 4 are doing better than the first CD. Even if everything is there. If you don't like it, skip it.

There are many songs with Brian Eno. Did you first meet him during the “Lamb Lies Down on Broadway” sessions?

PC: Yes. He was composing “Taking Tiger Mountain” and we were doing “The Lamb” downstairs. Peter [Gabriel, editor's note] and other guys were big fans of Roxy [Music]. For my part, I did not count myself in the camp of Roxy (…) but I suppose that from that moment on, we got along well, since afterwards, he called me to help him on “Another Green World”, “Before and After Science” and “Music for Films”. These sessions were very informative, a new and different way of working. It was a far cry from Genesis.

How did you end up on “Pablo Picasso” by John Cale?

PC: Again, I don't remember how these things happened. I remember the studio. I remember the day. It was me and guitarist Chris Spedding, and maybe Brian Rogers was on bass, I don't really remember. But I was called to play on this album. It was interesting because he was one of those artists who worked the vocals at the same time as the instrumental. I haven't seen him since. It was the only time I worked with him.

How do you remember the drum sound design on Peter Gabriel's "Intruder"?

PC: Like it was yesterday. It was at a time when Peter didn't really have a band. I was in a delicate situation and I was going through a divorce. I did most of the demos for the “Face Value” record and said to him, “If you need a drummer, man, I'm here. I'm free. He called me and I went to his house in Bath, accompanied by two other musicians: John Giblin and Jo Partridge. We lived there for a month, I played every day, we helped him prepare some songs that were going to be on the third album.

As soon as I arrived, Peter said, "Take the cymbals out." I don't want any metal on the disc. I thought that was a bit stubborn of him, but after all, it was his album. We started with the producer Hugh Padgham to put tom-toms where there were the cymbals and I tried to play, to feel comfortable. I asked Hugh for feedback on what I was playing. Peter said, “What are you playing? I said, "I play with sound." He replied, “I like it. Give me that for 10 minutes. »

That's what I did. At the end of the session, I said, “What are you going to do with it? He said, "I don't know yet." So I asked, "Can I have a copy?" because I kind of felt like I owned it. I received a copy and continued: "Can I have a credit, at least?" If I can't use it, I would like to have a credit. He accepted and I began to form strong ties with Hugh Padgham, who also helped me on several Genesis records.

It's amazing that you found time in the 80s to do all these sessions, as you went back and forth between Genesis and your solo career, doing countless gigs as well.

PC: I don't know. I had a patient wife, I suppose. I saw myself a bit like Mr. Incredible on the way to his wedding, suddenly work calls me and I say to myself: “I can do this. I have the time. Obviously, there are only 24 hours in a day. But anything is possible.

Even though you got cut from George Harrison's "All Things Must Pass," Paul called you to play on "Press to Play." You were finally on a Beatles record!

PC: Hugh Padgham was the engineer on this record. I got the call, got my drums and went to the studio. It certainly wasn't one of his best songs, but Townshend was there to play guitar. It was awesome because when Pete Townshend smiles while he plays, you know you're doing something cool. Wix Wickens, who is now part of Paul's band as a keyboard player, was also present. It was an interesting day. Linda McCartney was there – she took a picture. I received a very beautiful album from her.

How is the tour going? You were in South America a few months ago.

PC: We surveyed Europe last year, then South America. We're going back to America in October, just a few weeks. We're supposed to do Australia early next year, too. It's a lot of fun, I must say. I didn't think I would ever repeat it. My son [Nicholas, editor's note] plays the drums. He was totally accepted by this group of tough guys. They were all very proud and supportive. Everything went as planned. As long as we find a place to go and have a few breaks, we will continue with the concerts.

Were you afraid that singing while seated would change the dynamics of the concert?

PC: Yes. I used to run around like crazy. I was afraid that people would ask for more. But one day, an English critic pointed out that there was a graceful crescendo. I go on stage and I stay seated all evening. The group therefore redoubles its energy. It means that the public is focused on the music, and so am I. It's a little different for me, but it's physically impossible for me to stand for two hours without feeling real pain.

"Can't Turn Back the Years" looks very good on stage.

PC: It's one of my favorite songs. It's perfect for an arena. I'm very lucky that Nic plays drums. When he plays with kit drums, he looks a lot like me. He also has a lot of Chad Smith and John Bonham in him, but he also has the attitude I had back then. Everyone in the group is constantly surprised. It all helps me not to have to turn around and say, “Don't do this. Do this. “He has everything you need. He understood.

With a song like "Can't Turn Back the Years", do you ever find it hard to sing because it goes back to a painful time in your life?

PC: No. It allows you to project yourself into a place, an era. I love this song. This album ["Both Sides", editor's note] is full of my favorite songs. I don't find it difficult. I'm not one of those people who relive things. We relive it a bit, ok, but not to the point where we go home and fall asleep crying.

Are you surprised that after all these years, since your last album, you are still able to fill stadiums and arenas?

CP: Yeah. To be honest, that's one of the reasons I took my time coming back. I didn't know if there was still an audience. I think the re-releases helped prove again that I was still here… as you know, the reviews weren't always kind. But suddenly I was being re-evaluated and I think that made me feel a lot better about myself.

I remember…I was on that radio show in London when the European tour dates went on sale. The time of an ad page, everything was sold. It was 15 seconds. I was like, “Oh, my God, I better be awesome now. It was the same in America.

Do you write new songs? Thinking of recording an album?

PC: It will have to be. 16 years have passed since the release of the last album. I didn't realize it was so long. I have a small studio in my house. ! There is me, my lady, and we have an office in the same room, so the busier the office, the less likely I am to go. I'm taking notes, I have some ideas...

How's your health ? Are you getting stronger over the years since your surgeries?

Not particularly, no *laughs*. But the health is good. A back operation left me with my right foot paralyzed… I still have a little trouble playing the drums. But in general, the health is good.