All language subtitles for Phil Collins： Drummer First WdGmydR715Q.en.vtt

you're asking me things I haven't
thought about for a long time is

this the first time you've talked
this in detail about your drumming

yeah you know, I wouldn't 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 conversation
but never as in detail as 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 [Music] 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 [Music] 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 [Music] 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 [Music]

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
[Music] 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 [Music] 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 [Music]