All language subtitles for Phil Collins; Drummer First (inglés_ASR)

you're asking me things I hav't thought

about for a long time is this the first

time you've talked this in detail about

your

drumming

yeah you I would think to spend a couple

of days doing it normally yeah

yeah have you ever had a chance to talk

in depth with your dad just about drums

like on a project like this sometimes

like with with conversation but never as

in detail is is going through pretty

much everything like looking at all of

his kits like there's always questions

of like hey what were you using then or

how did you get started playing drums

and what made you want to pick up the

sticks in the first

place Phil Collins his drumming has such

a unique sound and style that you know

immediately when you hear it that's that

guy this is this is how I want my Stu to

sound man what an incredible voice I

mean he can get out there and sing like

he has like so many multifaceted careers

why just do this why why not expand your

horizons so I jumped to it I think the

general public know Phil Collins from

like his solo work very popular and very

good as a

singer right when you first realized

that you couldn't play drums the way you

used to oh um what were the thoughts

going through your mind

well

uh just feels so strange to hold a

p I'm Phil

Collins and I'm a

drummer who is Phil Collins that's a

good question that is the question I'm

not very good listening to myself sing

really prefer to listen to myself from

good morning morning how's it going man

you doing pretty good

morning we'll take you upstairs and uh

sure hello yeah all right and we're just

in here this is where we'll be

okay all right

so this is where we're

filming interview room the spot man I'm

really excited to learn about the

creative process not only with his

writing but just like the in in the kind

of earlier years and then the bestro

cases it's about when I was

three I got for

Christmas I got a a drum you know

plastic

drum I have very Vivid memories of of

sitting and playing with this

drum uh and I took to

it instinctively I think did he use

these recently or are these I mean I

don't know if they're repurposed I'm

assuming I mean if we open them I don't

know what they look like well let's uh

let's open them up yeah I'll let you do

the honors I don't know I'm going to

over the big one and then when I was

about four or five they made me a little

drum kit with uh

crosswood with poles sticking out uh and

on the you know there was a triangle and

it was a a symbol and you know like a

small drum

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oh high hat sand yeah I'm guessing

there's Let's Do It Let's uh we can put

it all on the floor it was something I

could sit at and uh and I thrashed along

to the television and it got louder and

louder until I was banished to the

bedroom sticks maybe there's some yeah

what does he have I don't know if

there's going to be some original like

maybe there's some beat up uh sticks

from the last tour

hey guys it's Nick here hope you're

enjoying the video so far we had a great

time shooting it in Switzerland just

wanted to let you guys know that we've

actually put together a free ebook for

you guys it includes some behind the

scenes photos some information about the

music and some sheet music for all the

drummers out there as well it'll help

you get more out of the video and it's

completely free for you guys so check it

out at the link in the

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description there was a guy across the

road that had a snare drum and a bass

drum

so uh my Mom or Dad or Mom and Dad they

bought that for me and then I started to

slowly expand on that and play along to

records do you know what these

are I don't I mean I'm guessing they

look like they look like a a throne

because I think the way it is two

legs a here you see here's the good

stuff n

what is that

drum drums for Nicholas yes that's thank

cute daddy you said that when you were

17 you gave up acting and you told your

parents that you wanted to be a drummer

was that a major turning point for

you so I'm not going to go through 50

years of this don't worry uh my dad

particularly was very proud of me being

in the West End you know in Oliver which

was a huge show and I I was The Artful

Dodger you know so he had bragging

rights on that suddenly I was going to

join a pop band you know how you like go

up to your parents and you share this

idea with them of you know wanting to

maybe become a drummer and they might be

skeptical about it but then you can come

back to them and be like hey but you

guys do know Phil Collins right you know

I I just I decided that's what I wanted

to

do and I I became a Prof professional

auditioner that just answered the back

pages of Melody

Maker and uh went went for auditions you

know the the auditions were good but I

never seemed to get

anything then know why but I went to the

Genesis audition with a friend of mine

Genesis required drummer sensitive to

acoustic

music and it was just a job as far as I

was concerned but I do remember that I I

was very aware of what Genesis were

becoming you know I mean they were

always in the back pages of Melody Maker

doing gigs and that's what I wanted to

do I wanted to work you know but I you

know there there was one

band that

were on the south coast of England I

rang him up you know and I said well

where where do you want me to go to to

audition and they said well you want to

come down here to Bournemouth which was

this place on the south

coast and I I said I'll call you back so

I called them back and I I said uh my

mom doesn't really like me to

travel I'm joining a band right he's a

phenomenal every everybody knows him

like I do from Genesis the manand

Genesis he's really criminally

underrated as a a Prague icon I mean

Peter Gabriel said as soon as he saw me

sit down on a drum stool he knew that I

was a drummer and uh I got a called to

say I got the job but uh and we went

slowly downhill from

there Genesis my gosh we would listen to

it and we would study it if you don't go

back and listen to Brand X or listen to

the early Peter Gabriel era Genesis you

won't even get that side of

him I joined in

1970 and uh we borrowed a place called

The molting which was where I don't know

what they used to do it but it was full

of pigeons and pigeon crap and you know

but we got it for nothing and we just

started throwing some my de together you

know there was just four of us Peter

Mike Tony and

me the musical box it it drums don't

come in to like almost four minutes in

the song but he's shreding almost like

on the verge of metal shredding it is

comical to think how much metal he

[Music]

inspired and it became big stage song

which kind of shrunk as the years went

by to it was just the end

section the bassom doubles it's like oh

yeah he's got a wicked right foot so

you're all doing like these doubles on

the kick yeah do you remember like what

inspired you to do that or like if you'd

heard that before cuz that's pretty you

know pretty novel at the time I

mean yeah

uh I don't even know how I'm going to

set this up I don't know how this works

I mean I was

19 when we did this mhm track but uh

I moved my foot back so that there was

it was my foot doing it as well as the

tension it's not even like a modern one

no yeah no I mean all of this dude is

probably the same stuff he's been using

forever you know I used to play two bass

drums oh you play double kick at one

point

but then

I I just I realized that you know I try

and do it with

one there you go my dad swears by the

the speed King I use a speed King pedal

as well and they were pretty basic um

but he I remember like I got like a new

DW like 9,000 double pedal I was so

excited about it yeah and I brought it

to my dad and he was like well it's not

speed King is it you know I mean like I

mean it was you and botom and like all

those guys swore by it Nick are you a

fan of the speed King from the times

I've used it not really look I mean it

just it's already fallen apart and I

could tell if it was an old one or a new

one you know because it gets played in

you know and uh no I I love them at that

time years ago the gear wasn't that

great you were always generally

uncomfortable per forming at that level

your crash just symol and it fell over

your drums are falling

apart dude it it just annoys me how

every time I pick it up it falls apart

like it's like this Throne oh yeah what

I mean you know we're talking about the

Dark

Ages the pedals wore down fast enough so

you were sometimes fighting the movement

of the pedal the gear nowaday is like a

hot knife through warm butter it's you

just sit down it it almost plays you

and look how small the throne is it

seems like the most uncomfortable thing

to play for like 3 hours a night the

thing which I didn't think about for

this was uh you know the conversation

with two stools cuz I used to send my

drum Tech out to buy stools you

know he got so pissed

off we go to sound check and I'd stand

in

play on one of the stools he'

bought and I'd asked the sound man what

it sounded like he said I I I think I

think number two sounds

better and then we started doing all the

the dancing mhm not much you know that's

not comfortable to sit on for the whole

set you know what I mean I've got a

picture here of the drum kit you were

playing on the nursery crime tour you

tell us a little bit about what you have

on your kid

yeah I went to a drama school the son of

one of the

teachers uh played with Joe

Cocker he had this drum kit this scratch

drum kit that he um was you know asked

if I'd be interested in buying and it

was white

pearl beautiful drum kit I mean you know

but I took all the plastic off the white

pearl put it back together again you

know and that was my basic kit with

Genesis would you ever find yourself

wearing a Genesis shirt these

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days and uh so that's the same kit you

know I put

silver it's just so funny like how

different the setups are over the years

was I used to do so many different

things I'd think about what the music

was going to be like and bring that

whatever drums I

felt were

appropriate he always

played what was right for the music and

that's the sign to me of of a real like

musician that knows how to play for the

song what what what the right thing is

it's always super musical there always

like shape and Dynamics and breath and

how to play what's best for the song his

drumming is definitely it's a clinic in

that it's the song you're playing for

you don't play a song and try to put

your chops in if it's not helping the

song it was never this ego-driven

drumming thing it was always the

drumming in the context of songs never

mind his off the charts technical

abilities which you can hear

Incorporated within how can you do those

things and in a musical way too at the

same time but extremely technical you

want to be able to use your imagination

and have that imagination be unique and

I think that that's what he

has there's one part I wanted to ask you

about and I don't know if you maybe

don't remember that you did this but

there's a fill that you do here and I

wanted to know if you recognized

it was that something in your locker

before before you used it for real

H where is this second out yeah

77 I don't no boot force and ignorance I

guess I don't even know how to set this

up a sweat

towel that was that was puds as he was

putting all his back in before we got

the drums PUD uh your dad's drum tech

for how many

years I'm not that great at math but it

was since 1975 with Brandon X oh God

where's P maybe May Phil will get mad at

us for setting it up oh there you see I

think it was like that 75 so yeah long

time so he helped ship all these drums

here and he sent us this email of like

detailed instructions like don't touch

the memory locks do this put this Tom

here he told that on the phone he goes

don't touch him okay so I think this is

the one we have we were talking about

and I think this is the kit that we have

out it's got the same Badges and it's

black and I think this is kind of what

he used onwards this photograph is sent

to me by Roger Powell who was the

drummer with the action and he said do

you really need all

that and uh I must

admit his kit set up often he plays a

very large kit but he never looks like

it's cumbersome or anything he whizzes

around the kit very effortlessly I

wouldn't be surprised if the memory

locks are still the same from with the

red sharpie yeah so I'm assuming the red

mark is at the top

I mean that's very satisfying when when

there's a memory lock that works so

we're going to see if we can follow his

instructions and see if Phil is happy

with the way we set it up see what I

mean all the worn out cases yeah you

know with the 20-in bace room right 10

12 15 right 16 18 how many drumers does

it take to set up a kid want to freaking

set up a speed King just ah that sound

no one came close to that man you want

to have a seat did we pass the

test

yeah so a good start didn't it it again

my good friend Taylor Hawkins would

always come to me and he was always like

Chad you got lamb lights down on

Broadway man I mean I have my my

Japanese copy right here so start to

finish that's just one big beautiful

piece of music I remember my older

brother Joel coming home home with

seconds out and I saw the album cover

with all the Boeing 747 lights shining

down on the stage and I was like what's

that and back then you'd sit with

headphones and you'd look at the album

art and you'd read the lyrics you'd read

every where was it recorded that really

tethers itself into you for life people

would ask me like you know well how long

do you guys rehearse for the tour in

generally we rehearse about a month he

really embraced every aspect of the live

performances and uh and I would always

commend him because there's nothing

better than preparation what would you

say was the most difficult part of

playing in Genesis was it the music was

it the Personalities in the band Genesis

yeah no we

always got on great I mean there was

never any backstage fights or anything

like that he would do this thing where

like they'd play a show and he'd get the

board audio from that show go back to

the hotel listen to the whole show and

then make notes and put them under the

band members doors for what they could

do better almost to a fault he's the

most Hands-On guy I ever worked with I

mean you know one tended to walk away

cuz you could see it coming you know

yeah he stopped doing

it he realized that like hey that was a

total dick move and be that like you

know that was like psych psycho Behavior

right there yeah

you know no it was it was most of the

time a happy band you go man take it

easy are you going to STP yourself into

a you know a stroke here with this we

did a a lot of laughing actually talking

about Genesis did you have any

pre-show rituals or routines that you

would go through before you would play

in front of an audience I think they

were touring like Russia or something

like that and the traffic was so bad

that we missed it and I was living I I I

missed the

Huddle oh yeah they left late and got

stuck in traffic

and Nick rushed backstage to do the

Huddle I said we we've missed the Huddle

now we got to go on stage I missed the

Huddle I got I walked into the arena

crying I'm like you got to do a huddle

they did like a mini one with like six

band members anyway so we did a little

private huddle just for you

do you remember who came up with

that was that you or was it Mike on the

bass or like you know how because that's

I mean pretty much the whole song for

the most part relates around that I I

don't remember who came up with it

probably

me might as well take the credit for it

his ability to camouflage something

that's it's hard to play it's a

challenge but also people could dance to

it

what yeah you know no I mean the the the

the fills like you know the you

know you knew where to put the drum fill

it wasn't always in the obvious place

the fills are coming when you you don't

expect it

like did that come from anywhere or do

you just you know you just did it that

was just inspired

genius he just had that magic moment

during that take and that it if you if

you ask him to repeat what he just did

he going to say I don't know I just I

just played you know and this is the

magic uh I don't remember you know you

make it up as you go along one of my

favorite things I is Apocalypse in 98

you know where it all

just fitted together I was off one day I

don't know where I was and I came back

the next day

and the

guys had written this guitar and

bass so I came back the next day you

know and we were talking about what

they'd done the day before and I just

played along

with whatever I felt like that became

one of my favorite pieces to play and

that happened just by luck really and

not knowing what you were doing some of

the

time if someone thinks all Phil Collins

was was' 8s pop radio hits I recommend

checking out selling England by the

pound from 1973 we'll listen to that

record from beginning to end if you

don't think Phil colins is a genius just

from those 45 minutes I can't help you

sing by the I think I think is their

best album I think like there's too many

great songs on this Selling England by

the pound the lamb and fox Tru those

albums ended up being huge huge

influences for me dancing with moonlet

night know what I like fth of fifth

Cinema show like just to name a few off

of it they're all I mean they're all

great but those specifically they're

such Classics you know uh yeah it was

kind

of my Billy Cobin period cuz Cobin with

myish Drew me way you know Wonderful

record that is they paid him a lot of

money to say

that to me it was the English sound it

was the British you know it

was little over complicated now probably

it's quite a reference for young people

who who go who's who's Phil

cones the generation of drummers who

were coming up in the 70s I think they

were well aware of of him but you know

when I grew up more in the in the late

'70s 80s you know everyone knew his pop

stuff you know I don't think there was

an appreciation even amongst drummers of

what he could do I think he is the most

underrated of all the Prague drummers

everybody talks about Neil everybody

talks about bruford but I think Phil's

influence and importance in in that you

know 70s 80s Prague era is just as

important as those

guys a photo of your kit from this tour

and this is the first kit that actually

looks like like a Genesis kit yeah the

rack added rack added floor T SE glitch

Boy again these drums sounded great you

know so different to what the concert

Toms were concert

Toms so now you've I mean you've

transitioned to concert Toms what made

you kind of start doing that as opposed

to like the double-headed kits that

you'd been playing until well they were

easier to tune was one thing but my dad

hated changing heads that's part of the

sound is when they were played in that

sound that when it's a new head it's a

bit too clean break I guess

yeah that sounds like the like they're

supposed to Brad Marsh the our drum Tech

he would dude he would sit there before

he would show up for sound check like

stepping on them hitting them for like

two hours to make sure they were like

played in enough I hear a lot of attack

I hear a really great attack I hear a

lot of the top skin it's just so

confident and so groovy and Power F and

I love it I love

[Music]

it so these I'm assuming these are the

four I guess four rack Toms concert Toms

he has top 10 12 15 that's the kit I

used on face

value as

well so that's the in the air sound if

you like the top two concert Toms were

Pearl I remember but the rest were

preier open bottom single-headed at

Tom's like what a great thing what a

great move and he always used a small

like a 20-in bass drum which has an

incredible

sound what a great kick

sound right

there floor toms nice yeah just 1618 the

floor toms for how I would think most

drummers want their floor toms to sound

like the concert Tom makes a lot of

sense there not much resonance is you

can get a lot more kind of thud yeah you

know out of it I mean I remember you

tell me you you didn't you didn't have

to tune him you just hit him harder was

that was that the truth yeah you beat

them into submission yeah I'm not sure

if it was all Rim shots but I know he's

like hitting the hell out of the drums I

could be wrong but something about if

the drums didn't sound good to him he

just hit him harder I thought he's doing

this because he's looking to present his

personality through a drum set yeah no

problem with that it worked it worked

some of the fills and some of the parts

that have been in my dad's discography

whether it's Genesis or him like there

so signature to that drum set and you

can't really replicate it without having

that kind of

[Music]

sound so enough for

that when's the last time you sat behind

this kit

um I don't really know has your dad told

you like about his first experience like

being the singer the transition from

drummer to singer is fascinating to me

because one of the stigmas with drummers

are that we're not musicians and we

should just kind of keep our mouth shut

and sit back there and you know there's

always Closs this thing as like you're a

drummer and or a musician I it's no it's

we're musicians you know sometimes I go

back to like some of the old stuff where

he was just singing this very very

gentle like backup in the sweetest

little voice and you think oh what a

nice little voice he has you know and

then it happens that's when he did the

massive crossover and when Phil M

Collins became more than just an

incredible drum with Genesis he became

an iconic entity unto

himself that part of him that allows him

to literally go from behind the drums to

the very front of the stage it's bold

but to me that's f Collins not only did

he step up and and become the singer but

he did it beyond what people were uh

expecting from him in the cage drawing

up listening to that on repeat the live

versions with with chester playing I'm

pretty sure it's a concept album that

was way before my time but this was the

last one Peter was on I mean look they

were already successful and had a

fantastic singer Peter Gabriel and when

Peter basically left the band instead of

breaking up Phil took over the

microphone and instead of getting

moderate success they got even more

success successful than they were before

almost near the end of the tour was when

he said he was going to leave so they

were still had to play shows knowing

that so didn't know what they were going

to do after I think halfway through

America he he told our manager and

uh I think Tony Banks got wind of it

from then on we knew that Pete could

leave at any time yeah mhm uh but we had

150 show T to do you know some people

just start singing you're like dude

where'd you learn how to sing I I don't

know I just sing you know so he he had

this thing that he focused on and became

an amazing singer if I had to move from

the drums to being the lead singer I

think I would just die I don't think I

could do that at all I mean I was the

one that said when Peter left right

Let's do let's do it instrumentally you

know yeah and

uh every body

Jed and told me to shut up and get back

in my

box but um you know I can see that they

were right you got to also understand

Phil was a young

actor this is a very important part as a

young actor in in England he did a lot

of theater as a kid so maybe that could

be what like made it kind of easy for

him to just assume that kind of role the

theatrical experience definitely helped

me get up on stage and not not be

nervous you know there are stories about

after Peter Gabriel quit like they they

were having auditions and so like they

were just like oh yeah we're just

goingon to audition singers like we're

just going to get another singer you

know hire some you know well-known

British dude back back at the time but

Phil Collins was like

yo hey I got this I can do this as far

as like the audition process goes I

think he just wanted to be asked by the

guys if cuz he'd done backing vocals and

I like you know he didn't want to be

like I'll do it but he kind of wanted to

be like pH you know what do you think if

you did it it was not in my mind to

become the singer it just just uh nobody

else really wanted the job he became the

lead singer of Genesis I think that's

stunning we had a long search for a

singer that didn't amount to much I used

to sing all the songs at the auditions

to the guys that were singing you know

or coming to audition and I started to

in general sound a bit better than they

did you had a great voice great like a

killer Persona on stage as a front man

yeah it didn't bother me was it kind of

easy for you because you knew how Peter

sang and you knew the parts or did you

just kind of go about it your own way

well I kind of went about it my own way

but I was singing Melodies that I'd

grown up with tricker the tail this was

first one he sang on lots of great songs

for him to come out with this album as

the first one he sang on like with dance

on volcano being the first track I think

that was that was big the first Genesis

that I really was passionate about and

got into was the kind of the Phil

Collins era where he was singing my very

favorite Genesis album is Trick of the

tale when you listen to the confidence

and the husk of his voice from trick of

the tale and wrer Duke and ABAB he had a

thing he was just full-on musclean

vocally from the first show The loved

him because he was part of the band

already it wasn't like a new guy had to

come in and be like you know wi over the

crowd my excuse was always my voice has

been there in the

background whether it's backing vocals

or the odd lead vocal here and

there and this one this is one of my

favorite pictures it's um it was this

was at the taken at the last ever

Genesis show with him and Peter and that

was really special it was emotional to

see them together because I think that

there's just like Mison Inception that

like there's like this beef because

they're both singers but they love each

other and when Phil started to sing he

knew how to step into that role of that

song we were cheering him because we

believed in him when Peter left I didn't

know Peter left I thought it was still

him I thought it was Peter was Phil and

I went get out of here that's amazing

it's funny I was still called the new

singer I joined in 1970

74 Peter left and I've been there ever

since but I'm still the new

singer him stepping up that's saving the

day that's like Superman type stuff

right there man it just looks so dull

you know if if I was singing the whole

show from behind the drums you know I

didn't find it physically different

difficult

sorry um you know especially with the

symbols and you're putting a screen up

we didn't want to go there really he was

just a drummer um and then everything

changed when the microphone was put in

front of his mou the first K I did as a

singer was in London

Ontario and I went

on and I didn't let go of the mic

stand that became my drum

kit it's kind

of very eerie I always missed being be

in the drums you know

I thought I was better at that than I

was singing you know so I missed it I

don't even like the sound of my own

voice when I talk and I can't change

that so you're just going to think to

yourself hey command the stage you do it

behind the drums let's see if you can do

it in front did you feel vulnerable

going just by yourself oh yeah yeah I

can't imagine anything

worse and also wasn't my idea

but in terms of

clothes you know I I'd had some clothes

made at least it wasn't the costumes you

know oh that wasn't

me that was Peter you know in a

second if it's a mistake or

not was it yeah it was

awful Peter just had this Aura you know

costumes and the drama some of which he

didn't do very naturally

but he did it because there was a lot of

instrumental stuff and you know what do

you do mhm you either go off stage or

you stay there and do some the costumes

and all the things that he would do I

mean that's classic Prague what would

progressive rock be without that era

without Peter Gabriel dressing up as a

flower or a butterfly whatever the hell

he was doing yeah you know and he had

this bace drum for a long time I mean he

was a drummer as well so

when I was there on stage he'd be wild

with his bass drum and

tambourine and it gradually got filled

with carpet so you couldn't hear it you

know cuz it was there was lots

of it's the closest we ever got to uh

you know take off your clothes and live

you know

what do we got in here I'll let you rip

the

tape oh this one's new I thought this

was going to be he didn't CHS and it

would just look like a bus ran over

these like the way he was just like

smack the way he likes his heads yeah

exactly I've got a way of working with

it now where you know the audience can

laugh and I don't feel bad about

it I just want people to know that he's

a drummer ladies and gentlemen that

became a s I saw him as a drummer First

Once a drummer always a drummer and I

even think that he said somewhere that I

am not a singer that plays the drums I'm

a drummer that sings I'm not a singer

that plays a bit of

drums I'm more of a drummer that sings a

bit he is a drummer first and I think in

his head he's always been a drummer

Bill's a tap

dancer so you got to understand that

that that Buddy Rich was a tap dancer

tap gives you a a movement and style of

Rhythm and Phil car that into the drums

creating a feel that is communicating

with the audience to pull the audience

in Phil did that all the time the

Genesis stuff is a little complicated

and it's a little tricky Dicky but my

stuff is quite

simple it's his fills that are so

signature to me and here comes the Tom

[Music]

fi that one group are just just goes dot

do and G with the symbols and the kick

and you go

wow turn it on again jack go go go get

out such a powerful feel the discipline

of knowing he has the chops to blow but

just those simple quarter notes or

eighth notes or triplet you know simple

things are usually the best it was like

a staple to do a drum duet mhm um on all

of his tours and I get a call from him

at the hotel he goes hey Lou there's

always a piece in the middle of the show

where there's a druming thing you want

to put something

together put it together let's play it

Phil what was your inspiration for the

two drummers was there a band or someone

else you would

seen um

no well there's quite a lot of stuff

that I was uh not singing on that it

seemed you know obvious to go back to

the kit was that almost like your

version of the costumes was being able

to go back to be able to play the drums

yeah but it was you know I it just I had

to become a singer if I was going to

stand there and do something yeah you

know where I could go back to the drums

and be me I'll see bands that do like

the double and even triple drummer thing

and I'm like kind of like why I love the

intricacies of two different drummers

playing at the same time but that was

always a very special kind of a moment I

think they really were able to play off

of each other it grew from me and Bill

doing like 16 bars 32 bars whatever into

Los OS and when we used to come off me

and Chester the crew would be there with

uh the score card you know tonight's

drum drum duet was 10 minutes in 44

seconds you know and they they bring it

out cuz everybody disappeared you know

they a beer or something it's such a

drummer's thing to like okay watch this

you know the drum do it was a total it

was almost like a song you know and to

have like an arena or a stadium be so

into a you know just a drum thing was

was like the coolest thing for me you

know anytime you bring the drums to the

Forefront of culture and mindset it's a

great thing so thank you

film there was a fantastic song on

Santana album and this the tune was a

promise of a

fisherman that oh blew my head

away and I said you know why can't we do

something like this yeah and that's what

Los endos turned up as they were like

breaking rules so again I said this guy

Phil this guy's a rule breaker man is I

loved it Los andos I think that's a

pretty good middle ground between

everything you've got the big kind of

Tom fils you've got a lot of that prier

stuff that was in the track when it was

recorded but I think yeah the middle

ground I think losos would be a pretty

good one Phil's just burning on it

Chester with him burning on it and they

do these drum trades and it's fabulous

and those guys play together so well to

have two amazing drumers doing that

again in that kind of Arena environment

is um pretty special and you know you

still don't see it nowadays let alone

you know back when they were doing it

did you enjoy writing that and being

able to just have that as part of the

set other than obviously the songs you

were playing oh yeah I mean that's

that's where I lived MH and I was very

pleased to go back

there few people know that he had a band

during that time or before that time

that I when I first got introduced to

Bill Collins and I heard this record

never heard about it before I bought it

and discover Phil Collins only because

it was an interesting name band Brand X

you know Phil Collins used to be at a

band Brand X right I saw his name of

drums Phil Collins oh and then when I

got home I played it on the stereo and

man it was so sensation unbelievable it

just seemed like randex was kind of the

serious version of what he was able to

do right I mean there's a lot of notes

happening it's like you hear Mavish

Orchestra and Return to Forever and Caba

you hear all that stuff in there it's

like oh my God Brand X that's a stly bad

you know didn't change the face of

fusion music in that time it's

interesting because I feel like I mean

obviously now with you know newer

generation you ask people you know who's

Phil Collins they're going to tell you

the singer but they'll tell you the guy

who wrote in the air but then then

there's the people who know that you

were the drummer of Genesis but then

there's the people who knew that you

also did brandex stuff cuz I don't you

know I think it's surprising when you

hear the drumming on this listen to

brandex and your head will blow up my

mind was was suit be blown is mad what

was the thought behind making another

mainly instrumental project well I mean

I was listening to quite a lot of fusion

stuff and one day I got a phone call

from Island Records saying did I fancy

coming down to the studios cuz uh you

know they got a good band but they need

a drama and I went down another day and

and sat in with him and just played all

afternoon you know this music wasn't

fashionable at all so we just did very

few

shows but I

did aspire to them playing in America so

we did go to America once you know

America is such a massive scope like the

states so you become

International from a you know little

island in England it's a big step we

played the

Roxy in uh in LA and had a curtain yeah

so we' run a

tape all edited together and then the

curtain would

rise then it would RAR again you know

yes it was Mayhem chaos and then one of

the guitar players got bored and the

singer got

fired so and we became the Brand X that

those people that do know about it you

know M that's the Brand X we became we

got um photo of Brand X I think this is

78 it was a genius where he's still

alive uh Percy

James John good Soul a guitar PL died

not longer but um it was never quite as

good as it could have been the guys

would never play the same thing

twice which you know can be

inspirational but it could also be

frustrating I was just finishing up a

record with Jack Bruce up at the Manor

and I got a call from Phil and the call

was would I like to come and play in

Genesis but the problem was I just

signed with Jack we we've signed a

record deal with our Robert

records I can't really do it bill

bruford was there before Chester I

almost joined Yes actually I went to see

them loads of times at the maret one

particular gig the guy I was sitting

next to said you know they're all

listening for a

drama and I said you know no but I I

love what Bill did anyway I went

backstage in the little Pokey dressing

room and John Anderson gave me his

number and said sure man call me you

know in his squeaky voice and uh and I

never

did and I often wonder what would have

happened if I had have

gone you know I mean I wouldn't be here

doing this probably um bill and I became

great friends and when I took over the

singing he was the F in fact I was

rehearsing with Brand

X and he was coming he came down to the

rehearsal and said what are you doing

and I said uh Peter's

left and uh we're going to go out on the

road so we're looking for a

drummer so that I can sing you know and

he said well why don't you ask me I said

well I didn't think you'd be interested

you know and he said uh no i' I'd love

to I'm I'm doing nothing bill was you

know obviously he was a favorite with

with the fans because of his yes

connection and but Bill constantly put

trip wires in front of

him uh you know and I tried to

convincing that sometimes it's okay to

do something that's a little predictable

so that we know where we're going you

know but he I think he felt he'd been

there with yes and he was gonna be going

to King Crimson at some point so I I

don't think that interested him that

much I thought oh my God you're going to

be playing with Genesis bill I think had

just left I think he had done the first

tour and he called Chester because when

I got up to the rehearsal room Chester

was rehearsing with Genesis when Chester

started playing live with Genesis and

was kind of the guy you know th would

kind of come out and be the front guy I

must admit I asked Chester join before I

play played with him before I'd met him

because I'd heard the Roxy and else s

with Ralph Humphrey and there was this

one song called more trouble every day

every drama love that one fil which

Ralph humph and Chester Thompson

played you know the rift that I've put

in everything

[Music]

now and remember none of none of the

guys had met him I'd only spoken to him

when I asked him to join and he came

over and the first thing I asked him to

do was to play that riff and then you

know I played it as well and um we put

it put it wherever we could my dad and

Chester I think their chemistry was like

was great and I think Chester you know

at the time he was a huge deal but I

think now people don't really put him in

the conversation when he really kind of

should be there for some of the great

drummers and I think he's super

responsible for their live success and

and continuing to be you know such a a

big live band in you know in the once my

dad became the singer onwards because

having any drummer trying to replicate

those parts you know may not have worked

out but Chester like it made it seem

like it was still a Genesis show it

didn't seem kind of weird because

somebody else was playing drums on

it you don't have the most stable Throne

so you should be careful going back yeah

the next album was wind and weaing which

I think it's kind of an underrated one

of your albums with Genesis this is your

second album as the singer what was it

like at this point writing writing and

just kind of being more comfortable with

that role in the studio as well I don't

know

1975 one that you personally wanted on

the list was what gorilla this was very

influenced by weather report and it's

one of my favorite things that that

Genesis did for what gorilla did the

drum part come first or was or was your

drum part a response to something else

no the the drum part you know it was

just one of those things that I played

to warm up mhm and uh and the guys

joined in I

guess follow you follow me off of and

then there were three so now it's just

the three of you guys just you Mike and

Tony was the dynamic different that it

was just you three now for a long time

it was Genesis wrote everything and then

when Peter left we decided to get more

specific and let people know who was

responsible for

what I'll always remember that when the

record came out Chester was still in

weather report he was playing it on the

weather report bus and Joe Z all said

who's that that's

H you know and when Chester told me that

I you know I was blown away cuz it's a

love song

on the reunion you went back on the

drums and and played it while you sang

was it like a specific kind of vibe and

and thing that you kind of just well I

think the consensus was that it felt

better when I played it there's some

things on that record

which I can't play today well I can't

play anything today was it hard to play

at the time or was it just you know over

you know no at the time it was easy mhm

I mean easier certainly than it was you

know I mean we just went for it and that

was we didn't do it many times mhm you

know

God there's one song um down and out

from and then there were three which I

know me and Nick were going to include

in the original list and he said I don't

know if my dad wants to do that one well

that that period of Genesis and then

there were three I I'm not particularly

fond

of this is just you know from personal

point of view I mean I do some fills on

down and out that I couldn't do today

well you know I did them in the

studio and and they worked great but um

that was when I was you know I only just

become the singer a couple of albums in

so I was very intent on Chops trying to

do things that I had never done

before so so down and out

is I mean I haven't heard it for ages

but I mean it's uh it's a period

piece this is the one I had as a kid so

I still have it this one the first the

first song come on you know behind the

lines and that was

it get back to there you know I mean

power stuff of Genesis and then how he

transformed it into to what it was later

than his own solo stuff the music's very

different I think he sort of modernized

Genesis these proc people that love

Genesis in the 70s were kind of like

what is this crap you know it's like

well you know it's spoke to the masses

and I love that I think that that took

balls if they would have stayed in the

old Prague rock kind of area that

wouldn't have worked today it was

honestly very difficult for me to watch

not only Genesis but some of the

transition that a lot of the Prague

bands went through when they were almost

like trying to become a little bit more

commercial you know and then some of

them really failed miserably at becoming

commercial of course Genesis was able to

on so many levels have a lot of success

with that Phil Collins was a legit

drummer but really what gets me is he

playing on the popons when Genesis were

in their in like the mid 80s or early

like well just the 80s in general I

think for them like obviously as a band

they were in their Prime and the set

list was now so like you know you had

the Prague stuff but then you also had

the newer stuff and you can tell he's

rocking That 80s haircut That ' 80s

mullet in a sold out

Wembley that's such a statement yeah

yeah and during the the 80s you can see

that they were trying a lot of

electronic stuff they were really trying

to come up with something different you

know the Gated Reverb thing with hu

padum what's more 80s defining than that

Phil Collins was pretty much the music

the pop environment oh I remember

hearing uh Phil Collins uh on the

Genesis

record and thinking like this is really

good at the Melody Maker Awards which

back in the' 70s was held every year and

all for Zeppelins and Peter Grant their

manager they turned up to collect I

can't remember what it was now but we

won International live act and I

remember them walking in it was almost

like we'd stolen a bit of their Thunder

because they were huge then I

just kick myself for

not going over and saying hello but they

had such a bad reputation you

know with with their their crew they

just you

know less said about that the better

yeah

I love that I love that Phil that is it

that is the one Phil's drumming is so

iconic that every single time I'm in a

rehearsal the MD the musical director

will say to me do the Phil Collins thing

and I know exactly what that means it's

usually

[Music]

the how can you sing gated Reverb I

guess is the question a little bit of

the Gated Reverb you know a little fuzz

this sounds like some rigle

[ __ ] what was the thought process behind

doing your first solo record after being

in a band for so long was it were you

nervous about putting it out and then

you know writing it what was it like

just doing it by yourself you know it

was if I was

honest and why start now um I remember

very

distinctly Army Eran was in London and

uh he and I always got along great so I

went up to

his uh house and we had a couple of

drinks and I said I got a cassette here

if you want to hear it he said I'd love

to hear it so I put it on and they were

just my demos you know and uh he

said whatever you do with this I want to

be

involved which gave me the kind of

confidence I needed so I went home quite

full of myself and there there was no

real drums on anything those old drum

machines

yeah we were in England and we were

rehearsing at shepperton Studios I was

going to be leaving and having a car

take me back and he said are you going

back into London I said um yeah I could

give you a ride back there I sat in the

front seat with him and he had a

cassette and he had in the air tonight

and I missed again on this as demos and

I didn't know yet what kind of writer

Phil was because he hadn't really

stepped up as a writer and what I heard

in the air tonight just a cassette and I

thought this will be great on an album I

didn't listen to that song and say it's

going to be a hit I just thought it

would be a great album track as soon as

the drums start that up you know you

could feel kind of a bolt of energy go

through an audience then drummers may be

like man that's a simple feel anybody

can do that maybe true and said but they

it's the energy that comes along you

know he that energy is inside that that

that that field so you feel it you feel

it a certain way and so when I when I

left Phil I just thought he's going to

do a solo album once he started going in

the solo world and it was very

impressive that drum sound that's the

sound you know I mean it pretty much

dictated the the rest of that decade I

just froze man I was like what is that

and you could see like physically people

would react to it and I remember

collapsing and his guy saying [ __ ]

hell what is

that so it was just a little

thing but that became the flagship that

huge sound you created I guess

accidentally just became a staple it's

become a staple it's it's it's like the

fabric of of the Universe I just want to

play

this and Phil Collins is the reason why

I own this drum machine

I actually learned about him through the

uh there was this amazing commercial in

Australia with a drumming gorilla and he

did the In the Air Tonight Phil and I

was like who the hell where did this

come from that Phil uh kind of had

another life of its own in Australia cuz

it got used in like a chocolate ad and

it was like a gorilla and it's the start

of that song and it's just fading in and

[Music]

then it really goes crazy and yeah that

it had another life of its own maybe 10

or so years

ago on the original demo in the air

you'd have to hear it to believe it but

there was no film it was just an

stranger to you and me

smoke a ball and put that thing on and

try to guess when it's

coming and you fall off the chair it was

so good I still think one of the

greatest moments on stage for me and

it's consistent every single show is in

the air tonight the anticipation that

builds up in an audience you got to wait

to get to that part it don't happen in

the beginning you know say you got to be

patient and at the last second this

other third drum kit would come up out

of the floor and he would step into it

and do the fil and the place would go

insane and I just sit there just going

genius I guess it was the

9 6 97 dancing to the light to I used to

walk around the stage and then you know

go up a few

steps and then I'd get to the drum

school just in time and I was walking

around I didn't see the

usual lights coming

up and I thought that's weird at this

point in the stage like there's only one

kit there his kit isn't there anymore

and so he's singing the song and he's

walking around and everybody's getting a

little nervous they're like there there

was no drum kit it was on a lift but it

was still on the floor

inside this hole in the middle of the

stage and I I didn't know what to do you

know Gab everyone that listens to that

song even now they're waiting for that

Phill right this tension's building so I

uh I jumped into the

hole and I course played the Phil

yeah and sang it but none of the

audience could see me at all and at the

end I came out of the hole explain to

the audience what had happened but you

can't play that song again you know with

it all happening

[Music]

[Laughter]

got to be a little more creative with it

I want to uh settle the debate on the uh

on the fil the in the Airfield we don't

know necess I mean I know how I played

it but I don't know if that's correct of

if there's a kick between the floor TOS

so if it's you

[Music]

know or if

[Music]

it's s nothing in between so I played it

wrong for a whole tour we're both

wrong there's no kick in between yeah

well I mean the fallacy about the in the

airfill is that it was all carefully

thought out you know that's the feel

that I did that particular take on that

particular day he changed the world of

of drumming the sound everybody had to

get a Noise Gate after that come on we

went into the townhous house which had

this live room I'd done three or four

tracks with Peter and if you were to sit

in there and and clap or you know play

the

drums you really didn't think it was

that live it was

Stone but it wasn't really that that

live but if you know i' worked with

Peter Gabriel in there and realized that

if you put the microphones in the

corners and uh compressed them it

sounded fantastic you

know and he said uh what is

that I said nothing I'm just playing

with the sound I'm hearing he said well

give me that for 10 minutes so

I I played

that no deviations no feels for 10

minutes and I went into the control room

I said what what are you going to do

with that and he said I don't know

yet but I'm going to use it on something

well that became the

Intruder and I said to him can I have a

copy of that drum Loop he wasn't too

happy about it I just wanted to remember

the sound Peter Gabriel solo record that

he played on with Intruder the bir birth

of a gated Reverb hearing Intruder for

the first time and I had to find out who

is this playing drums you know and it's

Phil Collins I'm like oh my God so by

the time me and Hugh padum had gone in

to do my tracks in the air came up on

the list there was still no drum fil and

from what I've learned about that he

just played it off the cuff didn't think

much about it I mean I must have done

four or five different fills well

Hugh did his finessing and that was that

you know and I I went in to listen to it

we all agreed we didn't have to do it

again most any musicians I know they

record something in two days later that

we should have recorded a different way

I can't imagine Phil Collins ever

feeling like that and arm it was very

hip you know when we we we CAU the

record and he

said where's the downbeat

I said it's there he said you know that

I know that but the kids won't know that

so you're going to have to put some

extra drums on and we just spent months

finishing this

record so I went to Studio that was run

by 10cc and I set a drum kit up in the

hallway and played along to the mix

that's what came out as a

single but on the the album it was there

was no drums apart from drums sh yeah

changed my life coming in the air T

night

night hey thank

you you know you never think it's going

to happen to you I mean I never had any

doubt in my ability but that doesn't

necessarily mean that it's going to

happen you know the fact that we're

living in the time of Phil Collins is

almost equal to what it was like when

people were living in the time of Mozart

the greatness of this artistic being and

all the influence I'm so happy that I

grew up in that time where this is what

great pop music was it's Timeless what

he's done is timeless he got Classics

wow Phil KH this name is everywhere this

guy is doing everything an amazingly

accomplished drummer who also went on to

be one of the most successful solo

artists of all time do people realize

that they're living in the time of

someone like Phil Collins of greatness

that will be around 1002 200

years I remember specifically my mom

brought this record home with this

dude's face as big as the record like

you know cuz this is vinyl days and his

face was like bam here I am well you

know trying to find a cover for a record

is like giving a baby a name you know

it's not the easiest

unless you put your face on the cover of

course you know when that's easier it's

probably my favorite one of his solo

albums I think it's like the most

expressive work that he's done you know

he was great at everything and when he'd

sit at the piano he was great when he's

singing he's great now we're starting to

understand that his musicianship is

bigger than just the drums for me it was

kind of inspiring to see drummers

becoming really hit makers and and

producers and I think this was like a

big moment for him just be able to do it

himself it's a lot of what wasn't used

on Duke ended up kind of coming on here

but actually behind the lines which was

on Duke but changed it I mean I'm sure

we'll talk about it with him but they

they're rewinding and it was faster and

he's like that's kind of cool that

sounds like a sounds like a fun song and

he asked like can I use that on like my

solo record before we go into face value

we wanted to bring up your behind the

lines version that's on face value how

did that how did that I mean cuz it's

the same track but obviously a

completely different concept how did you

come up with that we were AB studio in

Stockholm and we were recording Duke and

you

know an easy way of erasing things if

you wanted to clean up a track was by

recording it you know putting it in

record at Double

speed and so uh instead

of it came out was

and we all looked at each other and said

hey Jackson Five you know and then Mike

and Tony cuz I had kind

of you know this thing with horns they

said you should do

it so uh I think I got a a copy of it

sped

up and uh it became one of the songs on

Facebook mhm with the horns so Phil

Collins played with Genesis at the Nita

ZX stadion which holds about 60,000

people right they sold that out I think

twice okay and then Phil came back with

his new solo album literally I think

half a year later or a year later and

sold it out three times that's absurd

that's like obscene success that's

unbelievable back with your solo stuff

and take me home from no jacket required

do you remember much about writing that

I mean to me like the in a way the drums

they're placed as almost like overdubs

cuz the main thing is the drum machine

yeah the idea was to I did all the drum

machine parts on real

drums throughout the song and then we

faded the drums in so that slowly the

machine became real drums playing with

the drum machine if if you've got a band

and you've been rehearsing it is is is

okay but concept from monserat you know

the studio in monserat and George Martin

it had very very bad storm or the

volcano I don't know the volcano was

later it kind of erupted and that was

the end of that so all the people that

had been to monserat and recorded in his

Studio we were asked to put together a

concert at the AL but I just decided to

ditch the drum machine and I started it

on Congers and it worked really well

actually and I think that's that's where

it it started to stray away yeah um from

the original version what made you start

using drum machines well we we uh in 77

we went to Japan and Roland offered to

give us three of the new drum machines

they just kind of finished and of course

I had yet to do any of

this and I said I don't want to Dr sh

that and I can do without

that so I uh came home I called up P

who's been with me all his

life I said uh where's um that drum

machine that I didn't want

and so he said uh oh it's in the barn I

think I said well get it out will you

cuz I might find a use for it I mean I

used it on everything to be honest and

then if I didn't need it I'd took it out

mhm but this I love the all the Simmons

pads on the side and how you started

integrating them you know there's that

drum solo where he starts playing the

Simmons as well as the as the real thing

yeah you remember the first time you

played as Simmons and how that kind of

started back in those days uh like four

Micah heads and they were supposed to be

you know like very bad fists and

everything now I think I'm probably

paying the price dude I they're so hard

and they just they're too hard to play

they hurt it was famica like your

kitchen counter and that from was a

completely different feel than what the

drum was like so I believe the same

thing happened with a lot of the Simmons

players

they played it the way you hit a drum

and you can't because now what happens

is you accept the shock trigger finger

carpal title tennis elbow I mean on the

album we just used the Simmons and then

eventually we got into the Triggers on

stage so you'd have a mixture of live

drums and and Simmons I mean there was

so many tracks that just the character

came from whatever was happening on the

drums you know

invisible touch so some more Simmons do

you remember so when when you came up

with that was that just revolved around

that kind of fi of or was that kind of

placed in after that you know the guitar

and keyboards and it was based on a

guitar riff of

mics I programmed something so I could

sing and uh I just started singing she

seems to have that invisible touch yeah

she seems to

have and that ended up being one of my

favorite Genesis Tunes I still have

Genesis uh cassettes I I I think I can

find in the garage right now invisible

touch I remember that as a kid every

time I'd come home you know just like

you know whether it was I was seven

whether I was 12 no matter what you know

complaining about a girl or something

you're like hey that's what invisible

touch is about man you know what I mean

I have that vivid memory in my head from

you know me being a kid the Simmons

drums were not my favorite phase of

drumming in general I know there's the

little trigger um sensors in there too

cuz you know he was using a Simmons kit

back in the 80s but then he started like

you know they had the module and they

just you know plugged it in to the to

the actual drum so it was I didn't know

he actually triggered them off his uh

his acoustic hit back then but what was

cool is is like you know you could hear

that there was they were blending the

real drums with the triggers which like

to me made that they made the live

version sound bit more normal cuz like

home by thec on the record is straight

Simmons which is you know when you're in

the studio it sounds but like live

having the kind of the beef of the real

drums yeah it helped a

lot is that second bit of home by the SE

where the Simmons come in is that all

kind of just you playing around with

what you were hearing or was that kind

of a Groove that had been sitting around

for a

bit you know I'd gone through some of

the the presets and I never really got

too much into it you know inside the

thing but that was definitely John

[Music]

bonam I mean it can't all have been When

the Levy

Breaks I mean by this point we had moved

into the Genesis studio and that had a

live room but that live room was totally

different sound to the townhouse Li room

still Stone but different Stone you know

I used to Crank It Up through these

monitor

speakers and uh played with the

sound and then I came I came up with the

rhythm of the second part if you like

and then we kind of improvised a lot

around

it we had this the guru plan you know I

just started improvising whole home by

the

sea I don't know why I sang that but

home by the

Sea we'd always wanted a studio of our

own because we would didn't want to keep

looking at the clock you

know and it didn't matter we used to go

there for weeks and just

improvise at this point you started

doing a lot of work as producing records

you know any memories about how that was

different than doing your own thing who

mentioned what is it Freda you know what

blew me out from Phil Collins is when he

did that song for

Freda from

ABBA it's not an intricate hard Tod do

thing the groove of it is is amazing

like that was a pop hit I loved the song

he did with Freda I know something's

going on that song's badass feel Groove

production what do you say something

going on by Freda it's like that's Phil

I know it it's got to be you know then

you look it up it's like yeah Phil

Collins he actually produced The Record

with all these things that you did all

these performances was there anything

else that you wish you could have done

maybe an artist that you could have

played with or a band you could have

played with

joeo you know I just love what he does

did we played The

Syndicate North Sea jazz festival and it

was town

and Buddy Guy Joe AR came to my Caravan

you know it was indoors but it was there

was no dressing

rooms and he you know it was like it was

like meeting God you know he invited me

over to his Caravan and we had a couple

of SLI ofices we exchanged numbers and I

I stayed in touch with

him he used to send me postcards and I

would send him messages

but I I wish I'd have played with him

although I would have been scared stiff

so no I I have no feelings that I wish

I'd pursued this or hadn't done that

because you know one thing leads to

another you played on one of Robert

Plant's first solo records uh called

pictures out 11 you wouldn't know it and

he he sounds like bonum it's incredible

the drums are just jumping off the

airwaves I remember I was at home a

phone r and I picked it up and you know

this guy said hello is that Phil so I

said yeah he said it's Robert Plant

here you know and I was quite Star

Struck and he said uh defy playing drums

on my

record you doing a solo

album so went to Rockfield studio and I

kind of took over a little bit you know

sometimes you got to whip people into

shape yeah and he uh he's never

forgotten it I mean I was doing Genesis

and my thing and I mean zeepin were in

the past and uh he he read that as

encouraging him to go out and and and

start again really MH and I was very

proud to be part of that Phil being

called by the big the Robert plants and

the Eric claptons as well as Genesis

being in stadiums and then Phil's like

but I got to do a tour and I'm in

stadiums and I'm topping the charts on

my own I did two Eric Clapton albums and

one of which I was producing and the

other one that Jamie oldacre was playing

drums that was behind the sun we did one

song Together me and Jamie which is just

like a prisoner that was a magical

session I mean when people asked you to

produce their record was it kind of

expected that you were going to play

drums on I mean I know you said this one

you you had you know somebody else as

well but was that kind of the case you

think I think some people thought they

you know they get matching chy and

handkerchief you know juice it and you

play the drums and you give us an in the

air

tonight I mean I did a

track I just played on it I didn't

produce it Tears for Fears Woman in

Chains and they had the back in track

and they had even had Elita Adams vocal

and Roland said to me so the drums come

in here and we want something like an In

the Air Tonight

feel you know and you can only really do

that once in your

life and I said uh you mean you you want

a big you want me to come in with

something big and he said yeah like like

in the

a there's a bit of that baggage comes

with

you you know I always love the drumming

on uh Easy

Lover up next we've got Easy Lover which

is you and Philip Bailey such a great

tune what a Groove what a

Groove what a Groove I think it is pure

gold I mean the Chinese rule is is quite

a good album we'd gone through the whole

record and we hadn't done anything

together so the last literally last

couple of days is Philip said we should

try to do something together you know

and I we we' done most of the hard work

already so I said sure and we just you

know literally just picked a few things

out of the out of the the blue

and and then I went home that

night and uh wrote the

words it was originally called choosy

lover but doesn't have the same ring no

it's seems like the time to record it he

just play it once or twice and that was

it because it sounds So Fresh So natural

we did a version you know the first

night we wrote it just so we wouldn't

forget it and what we ended up using was

that cuz it had an

energy and uh sound and George

massenberg was fantastic engineer that's

a beauty piece of 80s pop he kind of

quotes himself uh with the drum fills on

that one

[Applause]

good album that and happy memories you

know used have cares most evening and

pint of

ler and Philip Bailey was not used to

that at

all you know but we became a thing where

we have to have our pint of logger and

lime good fun that's as far as I know is

the only song that you produced that

wasn't on your record that always was in

your live show was it just because it

was just a hit and since you had written

it you felt it was right to put it in

the the set as well yeah it was it's one

of those examples of when you you

capture something with the sound the

energy of

having writing it as you go along you

know yeah I mean it became a you know

stage favorite too through his career

he's been a Pioneer in beachs grew M

fills that are important recording

engineering production The Sounds the

Gated Reverb thing was only a thing

because he decided to do it and I think

the artistic kind of vision of just like

do what you want to do and if it's good

people are going to like it and I feel

like the 80s is very big powerful I mean

that was kind of the decade right like

that's what everybody was kind of

striving for the room recordings were so

present back then in the 80s and late

70s you know drum gods of the late '70s

and ' 80s were actually really

influenced by Phil Collins

the mine

is the influence goes into our

recordings directly pretty much

everything has a purpose everything is

musical you could almost sing all of his

fils

[Music]

back God Did It Again BBE just One More

Night the hits I mean the [ __ ]

hits out of this guy is just like

amazing suu studio and oh come on I mean

those were the hits hit maker on a lot

of his songs when we were in the studio

he was just kind of humming Melodies he

hadn't really come up with all his

lyrics yet a lot of people ask what does

cudio actually mean cudio yeah uh it was

just no nothing it was a word I made up

and I couldn't think think of anything

else better to replace it with so I just

I just kept

it I mean my oldest daughter had a horse

called CIA was that after or that was

after it went through different

incarnations as different tours went on

and finally just became this giant

showcase song say pH say pH what do you

think about

[Music]

this I don't care anymore off hello must

be going so this is your second solo

record I think this one was the year

after but I don't know how long you took

to get back into the studio straight

away yeah I don't remember now we did

that at the Genesis Farm rather than at

townhouse studios in London we were out

in Guildford or wherever very cool

Studio the hallway going into the drum

room was just lined with platinum

records and gold records and stuff and

then we'd be sitting in the studio and

I'd look out the window and like a deer

would come and look in the window and

stuff H all must be going was a little

harder cuz I didn't have so much

apart from a few

leftover you know building blocks and I

hadn't been on the road on my own until

I'd done two albums so there were some

things that were really good on that

album I mean I don't care anymore was

was quite a big song the drum partk

creates such a sort of like um menacing

type of uh Vibe you know when I was

doing that TR vocally we were sitting

down listening to it just having done

the master vocal I said to the tape

up the assistant I said that vocals

should be in by now and uh he was

recording over

it so I had to do that again the horn

players you know they I was quite tight

with them by this point but these guys

you know they couldn't drink

[Music]

and uh Thomas Washington who was the

arranger TomTom 84 he was on the Earth

with fire records and I I thought it was

a computer cuz their their stuff was

like you

know and uh it turned out Tom Tom 84 was

this guy it's all like that you know and

uh I think it hit the bottle early in

the

sessions because uh he had h padum

crying just wash my fingers H when I do

that you punch in he was told to start

recording by by

TomTom and uh he wasn't ready you know

he wasn't didn't have a balance really

yet it was uh not a very happy start to

that record from their point of view

there's so many cool grooves that he

does that are really just based around

the kick and the times and then maybe

the snare That's Unique man not a lot of

rock guys do that the drums on that

start with the microphones inside the

concert H and as the song progresses it

gets liver and then it goes back at the

end to it being you know wow you know

this is how Tom should sound and also I

was using a different drum machine awful

thing called the movement and the

rythmics had used it and I I I don't

know why I got old of one but the sounds

were different

so on that track you you get

this K on you know like these like

metallic sort of sounds and that I use

that on most of the record a lot of

drummers think that the groove starts

with the toms but I think Nick I was

talking to you and you said that the

group starts with the kick correct me

but the one is the

one yeah I mean it was I

mean I I saw it quite normally and

naturally but some of the other guys you

know I had to count them in because

there there was no beat where they were

used to having a beat in fact even on

the last tour Brad Co he will play you

know sometimes would be on the wrong

bait yeah take take a bit extra long to

come in with the

keyboard it's not labeled which ones are

which right no I no there's no numbers I

would assume this one's for the ride the

ride

symbol ride a great sounding ride

especially the symbols in a so high

position looked great but it's not that

good for the back I know Vinnie had the

back problem because of this because

he's sitting so l on

also don't know how that works I have no

idea what I'm supposed to do with this

at that time years ago the gear wasn't

that great the sound systems weren't

that great you didn't hear things that

well you were always generally

uncomfortable performing at that level

it almost looks like it's like um like a

soda

cap

thing you know we had symbol St you

crashed a symbol and it fell over look

at these man these are like these are

ancient I mean you start playing you're

playing and in the first tune your drums

are falling apart I'm going to put it

like this I don't know if it's ni so now

now you're not comfortable and you're

reaching you're adapting we had too many

challenges years ago that affected our

physical adaption that were working

against him was this just always the

setup or do you kind of wish that maybe

you had set it up differently to prevent

you know what maybe happened to your

back from having to be like this the

whole time or did you weren't you

thinking were you not thinking about it

at the time yeah know way it always

felt natural to me mhm I mean not

particularly like it is now mhm but when

I was playing and I

could get things in the right place

there's this movement and if you look at

the way Phil had his drums set up it it

was all up here and these Toms are all

around here and it looks like it's hard

to play because it it it is you have a

China or a crash back here that you're

trying to get the next day you're like

oh my God I feel like probably a pitcher

that just you know threw out his rotator

cup I think he spent mostly his his

hours thinking about how great of a song

to write and how you know how big of a

hook he create with the drum part and I

applaud him for that and I think that's

amazing dude half of these are like stri

this is from

1999 on the uh the big band

record the promo for that this is co I

love like the the signature Jazz thing

you know with the initials on the front

of the kick and I think not a lot of

people know that he did the big band but

I think that was I mean he grew up super

influenced by Jazz and I know that was

something he had to do and I think Buddy

Rich's band was his backing band like

the horns and some of them you know what

I mean as well as some of the guys in

his band like I think Daryl was involved

Brad Cole uh Luis Conte people go out

and they have money and they buy a yacht

he bought a big band it was a lot of fun

we did a couple tours with that I saw

him playing big band I seen him playing

drums Quincy Jones I think was directing

I just saw this guy dud just killing

what made you want to start your own big

band after all this time and I guess in

a way now you're celebrity wise or just

popularity wise you're kind of peak of

your powers and to go and do something

completely different where you're not

singing and you're not doing all the

hits you're doing and a jazz thing it

always appealed to

me the sound

of you

know but you know it was something

that that I kind of felt I had to do at

some point so to go out on tour and

exclusively just play jazz music and

just completely change gears and do that

I think was you know really ballsy and I

think it was great his superpower as a

drummer is his versatility he can do it

all I mean the original premise was that

we'd get big band

arrangers to take a pick of whatever

songs I had or Genesis had and arranged

them you know for big band we did pick

up the

pieces which uh you know was 25 minutes

long and we did two shows in a

night so by the time we got round to the

second show everyone was completely

exhausted when we were first rehearsed

first in Mantra someone come up to me

and said we're going to have a 10-minute

break I said what

for what are you your hand

you

weaklings I wonder like what like how it

was advertised when fans were showing up

is it like you know it must cuz I'm sure

like I know the kind of person he is it

would have been like by the way this is

jazz I'm not going to be singing In the

Air Tonight I'm not going to be singing

you know all this playing the shows and

maybe people being like well you know

play in the air or something like did

you you ever get that no I think it got

up people's nose that I didn't sing on

the second tour with aliter Adams they

didn't want to hear her

sing and I was offended by that and I I

said to them you know I won't be singing

tonight and even in La Quincy Jones came

on stage just before the Encore and

lectured the

audience about how they weren't going to

hear stuff like this again and I'm thing

yeah in Detroit I came off stage and

said [ __ ] them cuz usually I came back

on and sang a couple of songs not that

they would have been satisfied with that

because they were they weren't the songs

they wanted to hear you know they were

standard but this kit was the kit that

he had set up downstairs when when I was

a kid okay and so the like the first kit

when I sat on his lap and started

tapping was the big band kit I don't

know where it is now I'm sure it's

somewhere like in

storage I was asked to

to to play in a Grammy salute to Jazz

the phone call I got was like did I want

to play with Tony Williams and Buddy

Rich you

know and I said yeah sure and I went

into the rehearsal

room and there was Buddy on his kit Tony

Williams HBY Hancock Ron Carter BB King

Dizzy Gillespie stett there was all of

these

names so I sat down at my

kit and Buddy Rich

said 50 years in this [ __ ] business

and all they give me is eight bars of

[Music]

brushes and Tony Tony Williams said I'm

playing mallets what are you playing so

I said I'm playing sticks

and suddenly I had the you know best gig

and uh the guy handed out music you know

and

I I went cold you know the funny story

about this is he he doesn't know how to

read music I don't really know how to

read music either and I said what do I

do with this my dad would listen to it

and then make his own version and his

notes were like almost looked like a

comic book it was like pow bang you know

like bang on four or whatever it was

like people used to come around and look

at what my part and laugh you know it

didn't make any sense to anybody else

fortunately it made sense to

me and the arranger counted off the tune

and

[Music]

you and I said oh why don't they why

don't they write that out you know oh a

shudder when I think about

it well after about two or three run

throughs

I went up to the arranger I said I I

don't think this is for me it wasn't

always smooth you know and I kind of

grown up enough to know when to extract

myself from the

situation uh cuz there's no point in

just being there to make up the numbers

when really you shouldn't be there at

all and before I left uh buddy came up

and said so you produce records how

about producing one for me said call me

of course I'd love

to so it all came around in the end the

Tarzan

soundtrack

[Music]

[Applause]

[Music]

yeah the tribal jungle beats are so

appealing to me I think I'm at that age

where maybe the first Phil Collins music

I was aware of was the Tarzan Soundtrack

This is brilliant what he did how he he

captured the feeling of the storyline

into pop music into a Disney

movie people tend to sort of toally a

cartoon I mean I worked for 5 years on

that and then another couple of years on

the the stage musical I mean I knew that

stuff backwards and forwards I mean it's

not kid stuff you'll

be that's Phil no no matter what yeah

that one right like that's uh you be in

my heart dude dude I've listened to that

song 750 times this was a Tarzan

Premiere horrible haircut like I said

like as a childhood I just knew him as

like a solo guy and like the the singer

and so the Tarzan was kind of part of

that too and that kind of being a

soundtrack to me as like a really kind

of young kid did you start with the

drums and then move to the melody or was

it the other way yeah I mean it starts

off with the some rhythmic pulse I mean

tarz and obviously you know I mean I got

thought of for Taren presumably because

of you know the drums you know to be

involved in that you know working with

an orchestra and especially when the

musical came out you know I was I was

had to write some new songs and that was

some of the best stuff I I I I did and

it was me stretching my envelope as a

songwriter was that a tough decision to

make to end that last tour and and

officially retire or do you still miss

being on the road it's still kind of

sinking in a bit you know I'm

71 I've spent all my life playing drums

to suddenly not be able to do that is a

shock we don't really ever know when

we're going to get the last piece of

creative work from an artist if you were

walking down the street and met Phil he

had no idea who he is and you got into a

conversation and you said to him so what

do you do he would say I'm a drummer

before anything else man he is a happy

camper sitting back there and that's

also one of the real heartbreaks was the

fact that that he lost that it breaks my

heart you know because I was first a fan

of his drumming and and he you know I

was slayed by the stuff that he did

behind the instrument you know I mean

the drumming has taken its toll on my uh

my hands

legs it's terribly sad that somebody so

talented and so so good at that has had

that sort of taken away from them what

we get to see is the fruits of their

labor but we don't know exactly how

tough certain moments are for them if I

can't do what I I did as well as I did

it I'd rather relax

and and not do

anything if I wake up one day and I can

hold a pair of drumsticks and then I

will have a crack at it but just you

know I just feel like I've used up my

air miles you like the suspension on a

car you know you do put 100,000 miles on

it and the suspension is going to suffer

50,000 mil

no

oh I've been touring for only 13 years

and all my joints and everything are

feeling it already cuz you do six shows

a week and the guys through the 70s and

80s and 90s they D they went a hundred

you know that style of touring to where

it is now obviously you're seeing all of

that catch up to not only Phil but a lot

of other you know incredible iconic

musicians people in bands in general had

like this thought that like they're

invincible and I think that's why you

saw that Reckless Behavior of like you

know it was like the who or Zeppelin

back in the day I'll deal with it later

we were Invincible when we were

teenagers and young so I think that's

really what it is with my dad is just

this kind of sense of like you know

you're drummer you're Invincible you

just do what you do but you don't know

it's going to take a toll in the long

run his physicality was compromised

enough where he had to really walk away

from it I didn't know how serious it was

though I had no idea that he was having

the kind of problems and I didn't even

know that until about 2016 when we did

um a little dreams Foundation thing that

Nick was involved Nick was like what 16

and Phil said I'm Nick is going to be

playing drums I'm go what so we're

almost at the end of the video now and I

hope you guys have been enjoying it so

far just wanted to remind you guys again

that we put together a free ebook for

you guys with some behind the scenes

photos some sheet music and some more

information about the songs that my dad

has been talking about you can check it

out at the link in the description and

it's totally free and it'll help you get

more out of the

[Music]

video you could easily just go that's it

I'm done but he's trying and you got to

admire that in this way

[Music]

can you talk a bit about your dad's

injuries he's kind of had a few injuries

like throughout the years I mean I think

it all stems down to like you know

playing drums and the issues that he's

had with his back I mean he had back

problems throughout the years and I mean

that goes hand in hand with just getting

older but I think you know he had a big

surgery on his neck that stemmed from

all those years playing drums and just

bad posture and stuff which caused him

to have drop foot which basically means

that in his one of his feet he has like

no sensation which is why he can't

really play drums and why he has to like

walk with a cane because he doesn't just

have that control that he used to

anymore which sucks and I know he wishes

he could like sit behind a kit and just

play the way he could it is what it is

and what I can do with that is just like

learn and even when I set up the same

kit like the concert on kit I have to

set it up differently because I'm like I

can't go down that road no there's no

way

maybe I refuse to think it was this bad

for my dad it was more he was great up

playing drums and that worked and that

setup was great and he could do

everything he could do and I don't think

he was necessarily thinking about oh you

know this is going to take a toll on my

back in the long run like he was

fine Phil would walk out and he'd have a

king I could see that some people

thought oh my God what happened then

he'd sit down in the chair and he'd he'd

say something to the audience and he'd

just win them over me it' be like 80,000

people going crazy and you realize at

that point that they don't care what

condition he's in they want to be in the

presence of Phil but man you know having

all those issues he still went out there

on tour it's a real trooper you know all

of us in our Heart of Heart fantasies

always hope that there we'll get that

call and say let's just do one more you

know that's one more time well we are

Genesis and we are here to entertain you

tonight at that point I I was totally

understood the magnitude of Genesis

coming back and so it was also kind of a

level of nervousness like are we going

to like be able to like pull this off

those are heavy shoes to fill whether

it's your pop or not it's like the

weight of the world is is on your

shoulders that's an inspiring story

that's he's not like okay I'm retired

I'm done I can't do this anymore Nick is

kind of carrying in the torch for him

now which is really cool I'm sure Phil

must be very proud of him we were

playing I don't know what year it was

now the Alber Hall Mike and Tony were

there in the audience you know we played

there six five six nights it was

suggested that he you know because you

know they were all impressed by the fact

that how well he played it sounded like

me when I was younger with you a bit of

fire and well they both agreed that it

it could it could work you know and and

that kind of sold me on on to on do the

band thing again and I think me being

able to do it with him definitely helps

him want to get back on the road um cuz

I think at by the end he just wanted to

be with his family and and spend time

with like people that matter to him but

I think as I started playing charity

shows maybe the idea may have popped

into his head and after the US Open he

asked me he was like you know I'm

thinking of going back on tour do you

want to play drums with me I'm like

absolutely you know AI saw it as has

given Nick a taste of what life could be

like and also an opportunity if you like

it was something of his first

performances in like you know almost a

decade but the first show for his tour

which was in Liverpool it was like a

warm-up show that we did cuz we were

going to go do like five nights at the

Albert Hall in London we did that and

that was the first show I played and

that was like the most nervous I've been

and at that point now I've realized the

magnitude of it's he's coming back he's

doing shows again he gave the people

something because Phil still was on

stage doing those songs performing being

a great personality that he is and even

though he's not playing drums and just

singing he's still delivering the music

music like the young actor that's inside

of

[Music]

him Nick was like what 16 and I've known

Nick ever since he was born you know he

came out man just nailing all the parts

on it and then darl told me like when

they did the Genesis tour after that his

playing had gone up like another 50% at

that point he was that much better I had

done my homework and they knew that and

so they felt comfortable playing so I

think that was the first thing that

eased everything I was like okay so

musically we've you know we're we're

okay I never looked at Nick as like H he

got in the band because he's you know

yeah he got in the bend because he could

do it I mean I'd known Daryl my whole

life and I'd played with Daryl for a

couple of years on my dad's tour so him

being there was like a real kind of like

you know it just very reassuring the

first rehearsal

it was like what right away even stepped

up more than I even expected I forgot

about this one which was me during my

teenage years with my red and black

mapex kit in my childhood bedroom I was

getting into drums but it was you know I

was still kind of trying to find out

what I wanted and what I liked and what

I wanted to do but when I you know

started playing in bands together that's

when I was like realized that like

that's what I wanted to do in life

obviously you can tell that he's had

some influence and training from his dad

at such an early age because I mean who

can play all that stuff at 16 are you

gonna go around the world with it you

got a passport Daddy's interviewing you

have you got a

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passport uhoh uh oh did you teach Nick

how to play when he was younger no I

didn't really want to be responsible for

that

but yeah he definitely was a huge help

when I needed you know like to ask him

some questions but he also sometimes

like totally gave me pointless advice

where he'd be like like on supper's

ready I was like Dad like you know I

just can't really get this part down the

keyboard solo doesn't seem to be in 9A

but you're playing 9A but then you're

doing something else while you know

while Chester's doing something he's

like I don't know dude like he's like

like they wrote that I was away like you

know and then I came back they written

the Riff and I just kind of recorded

what was on Fox Tru and I was just like

that does not help me whatsoever ever

dude like like I'm like I need some sort

of guidance he's like just remember the

Riff no I used to just learn the Rifts

you know I mean

they but I remember you telling me when

I asked you was just stick to the Riff

and know the Riff and maybe he wanted me

to figure it out by myself but I think

like a big part of it it was you know

the way he approached it was very live

very feel- based and kind of wanted me

to kind of do the same thing with you

know you know all the songs on the set

and then this this big one was the first

one of the first like charity

performances I did with him probably

asking him for advice and him telling me

that he didn't know either you know

which is the common theme when I ask him

for advice we used to had this thing

secret number one secret number two and

I I was amazed just how there was a

Groove even when he was very very

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young my way of helping not teaching but

helping was to have these things which

we called Secrets it was either like

special secret number one or secret

number something there's a few little

tips and I guess calling it something

was a way for me to remember him and it

was like you know stuff like keeping the

high hat going while you're playing a

groove on the toms or on the symbols or

always hitting the kick on the symbol or

keeping the kick going through fills and

that kept going for quite a while

that was like the kind of easy way for

him to give me some sort of tip while

not kind of being overbearing and and

you know too much you sit down and play

the bass Dr with your foot you're using

the high hat more you're playing more

rhythms

look he'd be playing something and go

into secret number three you know it was

constantly getting better and constantly

getting

better the biggest instruction was put

your earplugs in um after all like the

ear damage he's had from over the years

of you know having wedges and you know

I'm a I'm a bit deaf in this

year on the last Domino tour you had the

chance to play with Nick on drums what

was that like for you being in the front

and being able to turn around and see

Nick on the kid yeah well made me

immensely proud there's so many times

when I've seen him play from when he sat

on my lap you know through till

yesterday when you were sitting on my

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lap um now you may have

noticed up on stage here slashing the

drums ladies and gentlemen my little boy

Mr Nicholas

Collins I mean one of the funniest

things Phil would say when he was

introducing the band on stage is he said

one of the best things about having Nick

appear as it brings down the average age

of the band

considerably it was so cool for for me

being in a band and being in bands the

Genesis thing was like you could just

tell there was 50 years worth of

friendship and love between them you

know great memories not only not only to

share with my dad on his kind of last

tour but also to share with them you

know as well it's it's strange to even

think about it I mean if you'd have told

me 17 18 years ago that he'd have been

playing in Genesis

or in my band you know come to that

but it would have uh I'd have

laughed so unlikely the

chances the worst thing that actually

happened to me wasn't drum related is I

would do this little piano bit with my

dad on his solo tour we did you know

what I mean which was like a really cute

kind of fatherson moment but I was so

terrified of playing that piano part

because like I'm a drummer I feel

comfortable behind the drums with piano

I didn't I don't have that and I think I

think something must have happened where

when they were setting up maybe

something was you know somebody pressed

a button so all of a sudden I start and

it sounds really messed up do you

remember that yeah yeah I do it's

[ __ ] broken

he I can't play dead can't play it's

broken the lower half of the piano was

the way it was supposed to be and the

other one was like an upright base that

was in normal normal tuning and I had to

tell my dad I'm like I like in the

middle of the the song I'm like I got to

stop like I I'm I can't do this yeah

well that that was one of the highlights

of the show you know and you know and

like he was like a the keyboard's messed

up and everybody's like ah you just

messed up you're blaming the keyboard

I'm like no I swear it was the keyboard

like and and that like traumatized me

like I had like the rest of the show I

was pissed I still have nightmares about

it you never gotten it every you

no hey he and here Nicholas is in New

York where he's visiting daddy with

Matthew Lindsay for the first time and

he's taken the City by storm they CR CRS

are loving his piano playing yes he does

a very good bow the worst thing about

having another

drama if it's not you is you don't want

to

be turning around all the time or

twitching because they're not doing what

you do and I found that Nick had enough

of of me doing what I would do and

bringing something new to it as well for

different songs there's definitely the

fills there's a certain Vibe and and

approach you have to take to it and just

knowing my dad as a person and as a

drummer is is he was so expressive

behind the kit he never played really

the same thing twice um it was always a

feel thing and that's probably the

biggest thing that I've taken from him

now as I've gotten older that transition

from let's figure out how to play as

much as we can around the kit to let's

just be musical or something he's passed

on to his son Nick it's all about feel

and the best drummers never kind of were

comfortable doing it they were always

trying to do something new when I went

to see Genesis and Nick was back there

he did such a great job he was playing

it all so well and I was like this is so

awesome you just feel like it's the

guy's son and he's doing it sometimes

things feel very different when you're

playing it as opposed to when you're

singing with it or when you're listening

to it

so no I mean I'm so pleased

that we did it but there were never

never any rough

moments there was never

any you know doubts it just went

ridiculously smoothly it was something

that I wouldn't have altered for the

world we all have to grow old if we're

lucky you know you got to deal with

these physical uh issues

let me all right you want to have a

seat

yeah and Phil for you what's it like to

hear all of this music we covered so

many albums to revisit all of this

music yeah I

mean I'm not genesis's biggest

fan you know um there's stuff that I

like stuff I'm proud of stuff that I'm

less less so and uh sometimes you know

it can come be like people throwing

bricks at you I mean I've enjoyed it

don't get me wrong I mean I've enjoyed

it and it's been an

interesting trip down a memory lane some

bits may be better than I

thought some bits aren't as good as I

thought you know when you been doing

something

for I know I mean I've been playing

drums since I was five you know there's

going to be dogs you

know there's going to be things that

you're going

to enjoy hearing

back and others not

so that's it that's

everything look you got to have a party

that's just so striking to me how many

different iterations of the in in the

aight Phil exist on this planet it's

kind of funny that his name is Phil

Collin because he got the the ill phills

you know what I'm saying phills with

Phil you know it's just so funny to hear

people like interpret it in different

ways but I guess for me it would be

like I will do it in my most German

voice then all

right but it's all about the room mics

in that bad

boy I think I'll keep that

yeah it's a it's a bob break for

lunch those drums tones and groups to

this day man it still hits the same way

you know it's it's Timeless I hope that

he's remembered as the great great

Prague innovator that he

was it's okay i' I've had a very good

Innings as they say and I've done it you

know most of the things I think that I I

wanted to do first he was the drummer

then he was the drummer who sang

then the singer what next Phil

Collins people have enjoyed it in the

main I've got nothing to complain about

I got five great kids I don't want for

anything so so you know I'm one of the

lucky ones really

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