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[MUSIC - PHIL COLLINS, "IN THE AIR TONIGHT"]
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PHIL COLLINS: This
record definitely
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is autobiographical, but notjust focusing on the sadness.
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That's the thing that isa misconception, I think.
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It's triggered by an event.
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It chronicles, you
know, a life in motion.
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[SINGING] I can feel itcoming in the air tonight.
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Oh Lord.
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And I've been waiting forthis moment for all my life.
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Oh, Lord.
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I wasn't even intending onwriting a song, you know.
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I want to sit down
and write a song.
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I just was fooling around.
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And I got these chords thatare liked, and the sound.
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The chords went with the sound.
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It all was-- you couldn'thave played faster or slower
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than the sound allowed you to.
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So it sort of created itself.
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So I turned the microphoneon, and I saw the meter move.
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That was a good sign.
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And then I started singing.
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And the lyrics
you hear were what
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I wrote spontaneously withthe feeling of that music
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at that time.
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[SINGING] Well if you toldme you you were drowning,
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I would not lend a hand.
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I seen your face
before, my friend,
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but I don't know if
you know who I am.
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This frightens me a
bit, because there's
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obviously something going on inthere that I don't know about.
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But I'm quite proud ofthe fact that I sang 99.9%
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of those lyrics spontaneously.
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And when someone
says now tell me,
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Phil, what is it really about?
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I say I don't know.
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I've no idea, because I justmade it up as I went along.
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[SINGING] But I was there,and I saw what you did.
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I saw it with my own two eyes.
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So you can wipe off that grin.
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I know where you've been.
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It's all been a pack of lies.
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I lived outside Guilford, in avillage called Shalford Common.
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And I was just a relativelywell-known pop star.
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You know, I mean I had Ihad a wife and two children,
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and two dogs.
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And then the next day
I didn't have anything.
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So I actually had a lot
of time on my hands.
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So I don't know.
That's sounds terrible.
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I don't want to make itsound like the carpet was
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ripped out from underneath me.
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I played my part in
this mistake, too.
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So a lot of these songs werewritten because at the time
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I was you going through
this emotional changes.
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But to me it was just thesound of the words, you know.
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I didn't know what
I was singing about.
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I mean obviously when you'regoing through a divorce
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all kinds of things
run through your mind.
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There's anger, there'sbitterness, there's hurt,
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you know.
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And all that stuff is
in "In the Air Tonight."
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Menace.
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Finally losing your
temper at the end,
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when the drums come in.
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[drums]
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[SINGING] Coming in the
air tonight, oh Lord.
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I've been waiting
for this moment
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for all my life, oh Lord.
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I can feel it in the
air tonight, oh Lord.
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I remember when I was
at the demo stage.
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You hear clicks when thefridge was going on and off,
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and then the phone wouldring, and I wouldn't hear it,
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and I listened back to itlater and there'd be a phone
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ringing in the background.
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And I didn't really mind.
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At the time, to
be honest, I never
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knew that was going to bean outlet for these tapes.
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This was just me expressingmyself, and learning
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how to operate the equipment.
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[music playing]
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The whole thing was
set up by this, really.
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The mood of this drum machine.
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For me.
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When you hear that,
you couldn't possibly
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replace that with real drums.
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People say why do you use drummachines when you're a drummer.
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And it's just that
sometimes drum
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machines give you things that--
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it's the atmosphere.
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It's relentless.
Doesn't move.
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A drummer would get boredplaying anything like this.
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Dumb It would ruin the sortof relentlessness of it.
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[chords playing]
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And then this would
have been the first two
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things I'd put down.
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Couple of nice chords, D minor.
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The saddest cord of all.
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C. B flat.
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Back to C. Piece
of cake, really.
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[SINGING] Well I remember.
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I remember, don't worry.
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How could I ever forget?
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It's the first time, the
last time we ever met.
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I hadn't really set
out to be famous.
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I hadn't really set out tomake a record of any type.
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You know.
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I'd just done a few
things in my room.
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I painted a few
pictures in my room,
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and someone wanted
to look at them.
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[SINGING] The hurt doesn't show.
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The songs were just songsbased on my emotion at the time
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[drums]
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[SINGING] I could waiting forthis moment for all my life,
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oh Lord, I can feel it, yeah.
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I can feel it, yeah.
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I can feel it coming
in the air tonight.
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Been waiting for this momentfor all my life, my life.
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Oh!
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I was cutting the
album in America,
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and this legendary figureof Ahmet Ertegun who started
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the company in
the Atlantic Music
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came to the cutting sessionin New York and he said--
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he literally, he just
faced it up and said,
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this sounds great, man.
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I had a cut of that,
of in the air tonight.
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And whenever anybody
brought me, that people
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would come in and bringme, as they do all the time
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demo records of a group.
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They would play me what
they thought was a hit.
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I would say listen, that soundsvery good, but listen to this.
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And I put that on,
and they would say,
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my God, what is that?
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That is fantastic.
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I said, it's got
to be close to--
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you won't get as good
as this, but you've
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got to be close to it if youwant to have a hit record.
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From my-- one of my
heroes to say that,
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gave me a lot of confidenceto what I'd been doing.
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Which I was still needing.
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And we went from there.
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All right, Phil Collins here.
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Who's that?
RADIO: Phil Collins?
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Wow.
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I just wanted to know,
we all know how you made
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your solo album and everything.
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We want to know
like what effects
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does that have on Genesis?
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PHIL COLLINS: Before Istarted singing with Genesis
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I really didn't
care about lyrics.
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It was the sound of the voice,and the melody it was singing,
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and the groove of the tune.
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And then I started to
sing and I realized
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that the voice is the
thing that actually
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communicates to people.
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[MUSIC - GENISIS, "BEHIND THE LINES"]
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[SINGING] I held the bookso tightly in my hand.
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I saw your picture,
heard you call my name.
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There was something strange--
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Pre-Genisis I felt like I wasplaying a part, sometimes,
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rather than being me.
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You know even when I
was singing my lyrics,
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I felt that it wasn't really me.
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[SINGING] You gave me no reason,and you gave me no warning,
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but I was with you
right by your side.
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He was the original
the drummer of the band,
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and that was what he originallywas chosen for an everything.
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But we always knew
he had a nice voice,
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and then obviously he tookover when Peter Gabriel
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left doing the lead vocals.
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And I think he
developed as a singer.
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And obviously I think thefact the first album came out
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so well makes you realizeyou always had in his mind
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an idea of how things should be.
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And for the first
time I could do it
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exactly how he wanted to do it.
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And it came out great, sohe's always had this sort of--
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there's always a
very good arranger,
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I think, in Phil's head.
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One day we'd finished
the backing track
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of "Behind the Lines," and wewanted to clean some tracks up,
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stuff we didn't need anymoreso we could do some vocals.
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And we ran the tape at doublespeed just to short of--
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time was money.
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And then suddenly this othersong appeared, you know,
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and sometimes-- it's likethat with the Beatles records.
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00:10:03,223 --> 00:10:05,639
Put one double speed,sometimes something else,
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00:10:05,743 --> 00:10:07,607
you hear something else.
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00:10:07,710 --> 00:10:09,954
[music going fast]
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We played it back
at a high speed,
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and it sounded very
like sort of a Michael,
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Jackson kind of funky track, andwe all kind of got off on it.
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Obviously that
stayed in his mind,
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and he sort of drew from that.
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It sounds a little
over hip, now.
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00:10:47,439 --> 00:10:51,098
But it's actually,
at the time, it was--
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[SINGING] I held the bookso tightly in my hand,
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I saw your picture,
heard you call my name.
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Basically I wanted to do
the track just for this.
201
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Just for the horns, really.
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Just those-- they
just have that.
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00:11:07,943 --> 00:11:12,672
[SINGING] You gave me no reason,and you gave me no warning,
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00:11:12,775 --> 00:11:17,607
but I was with you,
right by your side.
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00:11:17,711 --> 00:11:21,542
Just give me the strength,so I can help you.
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00:11:21,646 --> 00:11:25,926
And I can be stronger if
you don't frighten me.
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00:11:29,516 --> 00:11:33,313
[inaudible] not
something I felt before,
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00:11:33,416 --> 00:11:38,283
but I [inaudible] I wonder why.
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HUGH PEDGHAM: People didn'thave black horn sections
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on their songs in those days.
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00:11:44,324 --> 00:11:49,605
It sounds crazy to say thatnow, but American radio wouldn't
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00:11:49,709 --> 00:11:51,572
play some of Phil's
songs to start with,
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00:11:51,676 --> 00:11:56,094
because the white guywith a black horn section,
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00:11:56,198 --> 00:11:58,131
that's not right, you know.
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00:11:58,234 --> 00:11:59,546
That should be R&B music.
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00:11:59,649 --> 00:12:00,616
Everybody should black.
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00:12:00,720 --> 00:12:02,169
You know, everybody
should be white.
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00:12:02,273 --> 00:12:05,103
And it's amazing that only20 years ago attitudes
219
00:12:05,207 --> 00:12:09,004
like that still existed.
220
00:12:09,107 --> 00:12:11,834
We didn't know who PhilCollins was as far as the horn
221
00:12:11,938 --> 00:12:14,319
section was concerned, at all.
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00:12:14,423 --> 00:12:15,976
There was some
inference that he played
223
00:12:16,080 --> 00:12:18,358
with a group called
Genesis, which didn't
224
00:12:18,461 --> 00:12:19,808
mean anything to us, neither.
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00:12:19,911 --> 00:12:21,188
We didn't know.
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00:12:21,292 --> 00:12:25,089
We didn't know anything abouthim at that particular time.
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00:12:25,192 --> 00:12:28,886
He wanted a certain sound, hewanted that particular sound,
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00:12:28,989 --> 00:12:31,336
and he would get those players.
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00:12:31,440 --> 00:12:33,442
And that's how we
evolved around it.
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00:12:33,545 --> 00:12:36,928
And so Phil would always give ussome challenging things to do,
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00:12:37,032 --> 00:12:39,897
and he would leave
me the ability
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00:12:40,000 --> 00:12:43,107
to write at my own
discretion, and there
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00:12:43,210 --> 00:12:45,143
were certain things
that he favored
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00:12:45,247 --> 00:12:46,627
that he would like to hear.
235
00:12:46,731 --> 00:12:50,839
So he has an ear, also, forwhat thing you should do.
236
00:12:50,942 --> 00:12:52,772
[horn playing]
237
00:12:52,875 --> 00:12:57,190
Trumpets are cool,
and the high bit, right?
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00:12:57,293 --> 00:12:59,606
They turned it around,but it just sounded good.
239
00:12:59,709 --> 00:13:01,953
So as long as it
takes, it'll work.
240
00:13:02,057 --> 00:13:04,059
You know [inaudible].
241
00:13:04,162 --> 00:13:06,337
51 again.
242
00:13:06,440 --> 00:13:09,098
Tom Tom would
just say, bar 49.
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00:13:09,202 --> 00:13:11,066
Bar 49.
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00:13:11,169 --> 00:13:12,999
And then he just go like this.
245
00:13:13,102 --> 00:13:16,071
It was a very
democratic society
246
00:13:16,174 --> 00:13:20,040
in the recording sessions,whether he liked it or not.
247
00:13:20,144 --> 00:13:23,492
And it was like you'd
be living on glass.
248
00:13:23,595 --> 00:13:27,220
Especially when you weren'tquite ready to record.
249
00:13:27,323 --> 00:13:30,671
What's happening is our
punches are very tight.
250
00:13:30,775 --> 00:13:33,571
The machine is not fast as me.
251
00:13:33,674 --> 00:13:35,228
And neither is you.
252
00:13:35,331 --> 00:13:37,057
Hey.
253
00:13:37,161 --> 00:13:38,334
PRODUCER: And then
you'd say something
254
00:13:38,438 --> 00:13:40,371
like, well, I'm not
really ready yet,
255
00:13:40,474 --> 00:13:42,891
and he'd go into this
sort of long thing.
256
00:13:42,994 --> 00:13:48,620
Now you tell me why you werenot able to record or something,
257
00:13:48,724 --> 00:13:49,863
you know.
258
00:13:49,967 --> 00:13:52,832
And then go off about buyingsugar in the supermarket
259
00:13:52,935 --> 00:13:54,143
or something.
260
00:13:54,247 --> 00:13:55,351
It was like, where?
261
00:13:55,455 --> 00:13:58,768
You didn't know what was his--
262
00:13:58,872 --> 00:13:59,700
Say Don!
263
00:14:05,499 --> 00:14:08,330
AHMET ERTEGUN: Face
value is a record which
264
00:14:08,433 --> 00:14:11,712
has a lot of black influence.
265
00:14:11,816 --> 00:14:13,611
And that's also one
of the things that
266
00:14:13,714 --> 00:14:17,477
made it an international hit.
267
00:14:17,580 --> 00:14:21,791
His feelings and his
soul are expressed
268
00:14:21,895 --> 00:14:26,935
in terms very much influencedby black American music.
269
00:14:27,038 --> 00:14:29,834
[SINGING] It was strange,I could not look away.
270
00:14:29,938 --> 00:14:34,666
I wanted to be there,
I wanted to go.
271
00:14:34,770 --> 00:14:39,016
You gave me no reason, andyou gave me no warning.
272
00:14:39,119 --> 00:14:43,572
TONY SMITH: For the firsttime he was making the record
273
00:14:43,675 --> 00:14:45,332
that he wanted to
make, and no one
274
00:14:45,436 --> 00:14:47,990
else had any influence on it.
275
00:14:48,094 --> 00:14:50,579
And for him it was avery exciting experience.
276
00:14:50,682 --> 00:14:54,031
Suddenly he had all
these toys to play with.
277
00:14:54,134 --> 00:14:57,137
Bringing the Phoenix
Horns and suddenly
278
00:14:57,241 --> 00:15:00,485
he could he could think in termsof, let's have a horn section.
279
00:15:00,589 --> 00:15:01,762
Which had always been
an area that he'd
280
00:15:01,866 --> 00:15:03,247
been cut off to before.
281
00:15:07,389 --> 00:15:12,256
Na na na na na na na na na.
282
00:15:12,359 --> 00:15:15,224
Na na na la la la la, hey!
283
00:15:15,328 --> 00:15:23,543
[inaudible]
284
00:15:23,646 --> 00:15:24,716
PHIL COLLINS: The
most personal song
285
00:15:24,820 --> 00:15:27,167
of all from this
whole batch of songs,
286
00:15:27,271 --> 00:15:30,308
really the most personalsong was "Please Don't Ask."
287
00:15:30,412 --> 00:15:34,278
Which was literally allabout, bar mentioning names,
288
00:15:34,381 --> 00:15:35,210
it was about kids.
289
00:15:35,313 --> 00:15:37,177
It was about what was happening.
290
00:15:37,281 --> 00:15:42,079
It was about my
problems, my situation.
291
00:15:42,182 --> 00:15:44,598
I mean I've never really writtenanything like that since.
292
00:15:44,702 --> 00:15:46,531
[MUSIC - PHIL COLLINS, "PLEASE DON'T ASK"]
293
00:15:46,635 --> 00:15:54,436
[SINGING] I can remember whenit was easy to say I love you.
294
00:15:57,473 --> 00:16:00,304
But things have
changed since then.
295
00:16:00,407 --> 00:16:04,998
Now I really can't
say if I still do.
296
00:16:08,553 --> 00:16:11,936
Oh, but I can try.
297
00:16:12,040 --> 00:16:16,354
'Cos I know that
the kids are well,
298
00:16:16,458 --> 00:16:25,191
'cos you're a mother to theworld, but I miss my boy.
299
00:16:28,297 --> 00:16:31,645
I hope he's good as gold.
300
00:16:35,235 --> 00:16:38,273
But enough of me.
301
00:16:38,376 --> 00:16:40,275
How are you?
302
00:16:40,378 --> 00:16:41,724
You look good.
303
00:16:44,865 --> 00:16:50,561
Oh, you lost some weight,and see your hair looks nice.
304
00:16:50,664 --> 00:16:53,874
You look good.
305
00:16:53,978 --> 00:16:54,772
Ooh.
306
00:16:58,155 --> 00:17:00,019
Maybe we should try.
307
00:17:03,022 --> 00:17:08,544
Don't say it, I know why.
308
00:17:08,648 --> 00:17:16,311
Oh I can remember when itwas easy to say I love you.
309
00:17:20,832 --> 00:17:22,317
So on.
310
00:17:22,420 --> 00:17:24,215
Actually it's the
kind of song you could
311
00:17:24,319 --> 00:17:26,010
do differently, now that--
312
00:17:26,114 --> 00:17:27,667
you could do it
as a ballad, now,
313
00:17:27,770 --> 00:17:30,394
as opposed to something else.
314
00:17:33,293 --> 00:17:36,641
But that's that stuff I don'tsay, I know why, you know?
315
00:17:36,745 --> 00:17:37,539
Those lyrics.
316
00:17:37,642 --> 00:17:39,127
I forgot about bit.
317
00:17:39,230 --> 00:17:40,818
But maybe we should try.
318
00:17:40,921 --> 00:17:42,440
Don't t tell me, I know why.
319
00:17:42,544 --> 00:17:44,891
It is a conversation, really.
320
00:17:44,994 --> 00:17:46,582
But that's the way a lot ofthese songs were written,
321
00:17:46,686 --> 00:17:47,997
you know.
322
00:17:48,101 --> 00:17:53,693
They were written because thecommunication was at a low.
323
00:17:53,796 --> 00:17:58,698
So they were written
as letters, messages,
324
00:17:58,801 --> 00:18:00,976
phone calls that had
the phone not going down
325
00:18:01,080 --> 00:18:02,702
might have occurred,
and things like that.
326
00:18:05,325 --> 00:18:06,085
Those were the days.
327
00:18:09,674 --> 00:18:12,021
[MUSIC - PHIL COLLINS, "I MISSED AGAIN"]
328
00:18:18,545 --> 00:18:25,173
[SINGING] So you finally cameright out and said it, girl.
329
00:18:25,276 --> 00:18:29,625
What took you so long?
330
00:18:29,729 --> 00:18:37,357
It was in your eyes, that look'sbeen there for far too long.
331
00:18:37,461 --> 00:18:40,843
I haven't got a band.You see, I didn't have a band.
332
00:18:40,947 --> 00:18:41,741
So we could do a video.
333
00:18:41,844 --> 00:18:43,432
OK, well, I'll play everything.
334
00:18:43,536 --> 00:18:44,744
I'll pretend to play everything.
335
00:18:44,847 --> 00:18:47,229
So then you get into
the guitar, saxophone.
336
00:18:47,333 --> 00:18:48,575
I mean it was great fun to do.
337
00:18:48,679 --> 00:18:49,887
Every character had
a different look.
338
00:18:49,990 --> 00:18:53,925
And you get kind
of the mannerisms
339
00:18:54,029 --> 00:18:56,549
of saxophone players,
and the trumpet players.
340
00:18:56,652 --> 00:19:01,105
The look, you know the shadesin the hat of a trumpet player.
341
00:19:01,209 --> 00:19:02,313
You just had fun with it.
342
00:19:02,417 --> 00:19:04,867
You know I mean, that'sthe most important thing.
343
00:19:04,971 --> 00:19:13,082
[SINGING] I try to forget, andyet still run to the telephone.
344
00:19:13,186 --> 00:19:23,023
[DISTORTED] I'm on theline, would you [inaudible]
345
00:19:23,127 --> 00:19:24,508
I missed you babe.
346
00:19:24,611 --> 00:19:25,543
I really do.
347
00:19:25,647 --> 00:19:27,269
Oh, OK.
348
00:19:27,373 --> 00:19:31,239
So the working-- this was Imiss you, babe, I really do.
349
00:19:31,342 --> 00:19:33,620
So this was obviously
an early vocals.
350
00:19:33,724 --> 00:19:34,518
Early, early lyrics.
351
00:19:37,969 --> 00:19:43,112
It's funny seeing half yourlife go before your eyes.
352
00:19:43,216 --> 00:19:46,461
But, yeah.
353
00:19:46,564 --> 00:19:51,086
Obviously sort of
change from being--
354
00:19:51,190 --> 00:19:53,744
of course you can sing
I'll miss you, babe.
355
00:19:53,847 --> 00:19:56,125
Better than it sounds,
I miss you, babe.
356
00:19:56,229 --> 00:19:57,541
It doesn't sound very
nice when it's said.
357
00:19:57,644 --> 00:20:00,923
But I mean it went from thatkind of quite a sad lyric,
358
00:20:01,027 --> 00:20:03,098
I suppose, to sort
of much more ironic,
359
00:20:03,202 --> 00:20:05,238
which was I missed again.
360
00:20:05,342 --> 00:20:06,308
It was like I missed again.
361
00:20:06,412 --> 00:20:07,206
Yeah.
362
00:20:07,309 --> 00:20:10,036
Which is funnier.
363
00:20:10,139 --> 00:20:12,141
I felt more comfortable
with that, obviously.
364
00:20:12,245 --> 00:20:14,799
But the tempo is obviouslythe main thing that changed.
365
00:20:14,903 --> 00:20:22,842
It became this Motown, theclassic Motown drum fill.
366
00:20:22,945 --> 00:20:25,293
[drums]
367
00:20:32,955 --> 00:20:35,786
[SINGING] Ba-dum, brum-ba-ba.
368
00:20:35,889 --> 00:20:39,686
Bap ba dap bup.
369
00:20:39,790 --> 00:20:45,934
So you finally came rightout and said it, girl.
370
00:20:46,037 --> 00:20:48,350
What took you so long?
371
00:20:48,454 --> 00:20:50,041
It's not so much hurt, now.
372
00:20:50,145 --> 00:20:55,150
It's more anger in the lyric.
373
00:20:55,254 --> 00:21:06,161
But-- Some people, like
Shankar for example,
374
00:21:06,265 --> 00:21:09,164
I didn't really know
what kind of role
375
00:21:09,268 --> 00:21:12,305
he could have in the album,I just liked what he did.
376
00:21:12,409 --> 00:21:14,894
I liked him as a person andjust wanted him on the record.
377
00:21:14,997 --> 00:21:17,206
I just wanted him to be
part of this experience.
378
00:21:17,310 --> 00:21:19,933
When he came up at
his first solo record,
379
00:21:20,037 --> 00:21:22,902
people weren't sure what kindof record it was going to be.
380
00:21:23,005 --> 00:21:24,904
At that time they weren't sure.
381
00:21:25,007 --> 00:21:28,079
They thought maybe it isgoing to be like a fusion
382
00:21:28,183 --> 00:21:29,978
record, jazz rockrecord, instrumental kind
383
00:21:30,081 --> 00:21:31,186
of record or something else.
384
00:21:31,290 --> 00:21:33,292
And in a way it's kind
of good, because it
385
00:21:33,395 --> 00:21:35,604
gives him more freedom.
386
00:21:35,708 --> 00:21:38,952
He's an Indian
musician, obviously
387
00:21:39,056 --> 00:21:45,200
can play in that world asone of the finest violinists.
388
00:21:45,304 --> 00:21:49,446
And here I was giving hima four chord song to play.
389
00:21:49,549 --> 00:21:52,034
Dink dink dink dink dink
dink dink dink dink.
390
00:21:52,138 --> 00:21:53,657
You know it's
underplaying the guy,
391
00:21:53,760 --> 00:21:57,281
but he wanted to be part ofthis experience, too, so.
392
00:21:57,385 --> 00:21:58,834
Sometimes you get people
for specific jobs,
393
00:21:58,938 --> 00:22:00,180
and other times you
just say sort of say,
394
00:22:00,284 --> 00:22:01,906
I'd like you to do something.
395
00:22:02,010 --> 00:22:04,288
Can you find a
hole for yourself?
396
00:22:04,392 --> 00:22:06,670
[bass playing]
397
00:22:12,745 --> 00:22:14,022
Alphonso Johnson.
398
00:22:14,125 --> 00:22:17,474
Alphonso Johnson was one ofmy heroes from Weather Report.
399
00:22:20,822 --> 00:22:23,687
It's almost like alittle sentence, you know?
400
00:22:23,790 --> 00:22:26,655
It like the beginning
of a sentence.
401
00:22:26,759 --> 00:22:29,417
And it's kind of like theafter thought of the reply.
402
00:22:29,520 --> 00:22:32,247
[bass playing]
403
00:22:36,493 --> 00:22:37,286
This track.
404
00:22:40,013 --> 00:22:42,913
It had that real just Earth,Wind and Fire quality to it,
405
00:22:43,016 --> 00:22:43,810
you know?
406
00:22:43,914 --> 00:22:45,087
It really did.
407
00:22:45,191 --> 00:22:49,747
But yet Phil somehow managedto kind of put his own--
408
00:22:49,851 --> 00:22:54,234
because of his vocal sound, itdefinitely had his stamp on it,
409
00:22:54,338 --> 00:22:55,374
you know.
410
00:22:55,477 --> 00:23:00,620
[SINGING] I think about
it from time to time,
411
00:23:00,724 --> 00:23:04,728
when I'm lonely, and I'm alone.
412
00:23:04,831 --> 00:23:07,075
PHIL COLLINS: I used tohave these outrageous Earth,
413
00:23:07,178 --> 00:23:08,766
Wind and Fire type suits.
414
00:23:08,870 --> 00:23:12,494
And considering I was
pretty boring to watch,
415
00:23:12,598 --> 00:23:14,669
I mean I just sort of
stood there and sung.
416
00:23:14,772 --> 00:23:18,258
I was still finding myfeet really as a performer.
417
00:23:18,362 --> 00:23:21,607
They added an amazingpresence to the stage show.
418
00:23:21,710 --> 00:23:24,057
Because it gave people
something else to watch.
419
00:23:24,161 --> 00:23:25,542
[SINGING] I missed again.
420
00:23:25,645 --> 00:23:29,960
I think I missed again, ah-ah.
421
00:23:30,063 --> 00:23:34,343
Yes, I missed again, oh, yeah.
422
00:23:34,447 --> 00:23:36,829
I think I missed again.
423
00:23:36,932 --> 00:23:39,728
It was the first sort
of proper album that
424
00:23:39,832 --> 00:23:42,041
I'd co-produced with somebody.
425
00:23:42,144 --> 00:23:43,905
So I didn't have anythingto measure it by,
426
00:23:44,008 --> 00:23:48,841
I just remember I was 26 orsomething, and going to LA,
427
00:23:48,944 --> 00:23:49,911
and--
428
00:23:50,014 --> 00:23:51,913
you don't feel at
any time that you're
429
00:23:52,016 --> 00:23:55,813
making incredible recordsthat would be remembered
430
00:23:55,917 --> 00:23:57,159
20 years later, or whatever.
431
00:23:57,263 --> 00:24:02,061
But both Phil and I had thisfeeling of loving to listen
432
00:24:02,164 --> 00:24:03,890
to music that had space in it.
433
00:24:07,584 --> 00:24:12,830
We tried very hard to notput too many instruments
434
00:24:12,934 --> 00:24:14,245
onto the record.
435
00:24:14,349 --> 00:24:16,627
[MUSIC - PHIL COLLINS, "THE ROOF IS LEAKING"]
436
00:24:16,731 --> 00:24:19,043
PHIL COLLINS: [SINGING]
The roof is leaking
437
00:24:19,147 --> 00:24:22,944
and the wind is howling.
438
00:24:23,047 --> 00:24:28,570
Kids are crying 'cause
the sheets are so cold.
439
00:24:28,674 --> 00:24:33,644
Woke this morning, found
my hands were frozen.
440
00:24:33,748 --> 00:24:36,095
I've tried to fix
the fire, but you
441
00:24:36,198 --> 00:24:40,340
know the dang thing's too old.
442
00:24:40,444 --> 00:24:45,311
It was always going tobe a song about the South
443
00:24:45,414 --> 00:24:49,626
and frontiersmen, and guysthat sort of out in the middle
444
00:24:49,729 --> 00:24:52,387
of nowhere, little shack.
445
00:24:52,491 --> 00:24:55,010
When winter comes you'rethere for months, you know.
446
00:24:55,114 --> 00:24:58,255
And the wife gets pregnant,and she has her own baby,
447
00:24:58,358 --> 00:25:01,327
and you give a hand, and someonefrom next door 30 miles down
448
00:25:01,430 --> 00:25:03,640
the road comes and
gives you a hand.
449
00:25:03,743 --> 00:25:09,300
[SINGING] And me, I'm gettingstronger by the minute.
450
00:25:09,404 --> 00:25:15,686
My wife's expecting, but Ihope she can wait, 'cause
451
00:25:15,790 --> 00:25:20,139
this winter looks like it'sgonna be another bad one,
452
00:25:20,242 --> 00:25:22,624
but spring will soon be here.
453
00:25:26,732 --> 00:25:29,597
God I hope it's not late.
454
00:25:38,709 --> 00:25:41,263
It kind of stuck out a
little bit on the album
455
00:25:41,367 --> 00:25:45,336
because it was a story song,because the rest were about me.
456
00:25:45,440 --> 00:25:48,857
But the sadness and maybe thesolitary feeling of the thing
457
00:25:48,961 --> 00:25:52,551
was probably something thatseeped in from the other songs.
458
00:25:56,865 --> 00:25:59,730
I guess I always
figured that with Eric--
459
00:25:59,834 --> 00:26:02,561
Clapton was going to
play slide guitar.
460
00:26:02,664 --> 00:26:05,529
So we'd just do it
as a live thing.
461
00:26:05,633 --> 00:26:07,773
And in fact we did
try with Clapton.
462
00:26:11,604 --> 00:26:15,263
You know in those days
we all enjoyed a drink.
463
00:26:15,366 --> 00:26:17,714
And we enjoyed a
drink that night.
464
00:26:17,817 --> 00:26:19,474
In fact he enjoyed a
drink before he came,
465
00:26:19,578 --> 00:26:22,097
and then he enjoyed
a drink with me.
466
00:26:22,201 --> 00:26:23,789
But I put Eric through
hell with this.
467
00:26:23,892 --> 00:26:28,207
And actually listening to it,you probably got it closer
468
00:26:28,310 --> 00:26:30,623
than I thought at the time.
469
00:26:30,727 --> 00:26:33,039
[inaudible]
470
00:26:38,976 --> 00:26:45,604
See what I was after wassomething kind of precise.
471
00:26:45,707 --> 00:26:48,020
And just listening to, this isthe first time I've heard this
472
00:26:48,123 --> 00:26:51,264
since the session 21 years ago.
473
00:26:51,368 --> 00:26:53,163
He actually was
playing what should
474
00:26:53,266 --> 00:26:54,198
have been played, really.
475
00:26:54,302 --> 00:26:55,372
I mean the sound
of the doubront,
476
00:26:55,475 --> 00:26:58,686
you know that scratch,
it's much more funky.
477
00:26:58,789 --> 00:27:04,105
[SINGING] It's been months nowsince we heard from our Mary.
478
00:27:04,208 --> 00:27:09,041
I wonder if she
ever made the coast.
479
00:27:09,144 --> 00:27:14,494
Well she and her young man,they both moved out there.
480
00:27:14,598 --> 00:27:21,881
I sure hope they write,
just to let us know.
481
00:27:21,985 --> 00:27:22,951
It's much blusier.
482
00:27:23,055 --> 00:27:23,952
TONY BANKS: Yeah.
483
00:27:24,056 --> 00:27:26,714
Here's what ended
up on the record.
484
00:27:26,817 --> 00:27:30,027
[SINGING] Ma and Pa livedhere, and theirs before them.
485
00:27:30,131 --> 00:27:35,792
They tried their hardest
to make it a home.
486
00:27:35,895 --> 00:27:36,965
Seems so long now--
487
00:27:37,069 --> 00:27:38,795
It was that kind of song,I just felt you should
488
00:27:38,898 --> 00:27:40,451
have been done in one go.
489
00:27:40,555 --> 00:27:42,453
Which is kind of
the spontaneity.
490
00:27:42,557 --> 00:27:44,145
Of because I didn't
get to in one go
491
00:27:44,248 --> 00:27:46,388
I went for something
else which ended up
492
00:27:46,492 --> 00:27:49,115
being a little bit too perfect.
493
00:27:49,219 --> 00:27:51,014
[SINGING] But the
roof is leaking,
494
00:27:51,117 --> 00:27:53,982
and the wind is howling.
495
00:27:54,086 --> 00:27:58,884
The kids are crying 'causethe sheets are so cold.
496
00:27:58,987 --> 00:28:03,336
When I woke this morningfound my hands were frozen.
497
00:28:03,440 --> 00:28:10,689
I tried to fix the fire but youknow, the dang thing's too old.
498
00:28:10,792 --> 00:28:14,693
And me, oh, I'm getting
stronger by the minute.
499
00:28:14,796 --> 00:28:16,073
TONY BANKS: When I
listen to Phil's album
500
00:28:16,177 --> 00:28:18,558
again what strikes
me is that there's
501
00:28:18,662 --> 00:28:22,114
all these different varietiesof music on this one record.
502
00:28:22,217 --> 00:28:25,531
It has sounds similar to theBeatles and Weather Report,
503
00:28:25,634 --> 00:28:28,465
Motown music, a bit
of Genisis style.
504
00:28:28,568 --> 00:28:32,780
Which I think is almost nextto impossible to do today.
505
00:28:32,883 --> 00:28:36,197
I think if you were to presentto a record company this album,
506
00:28:36,300 --> 00:28:37,854
say here I'm thinking
about doing this,
507
00:28:37,957 --> 00:28:40,063
could you sign me
for this album.
508
00:28:40,166 --> 00:28:41,305
I think they wouldn't.
509
00:28:41,409 --> 00:28:45,482
I think even if Phil waspresenting this album today
510
00:28:45,585 --> 00:28:46,932
they'd go, well,
you know that's not
511
00:28:47,035 --> 00:28:48,899
really what we're looking for.
512
00:28:49,003 --> 00:28:50,729
[SINGING] De-ayo!
513
00:28:50,832 --> 00:28:53,524
De-ayo!
514
00:28:53,628 --> 00:28:54,802
De-ayo!
515
00:28:54,905 --> 00:28:56,182
TOM TOM WASHINGTON: At thetime we worked with Phil,
516
00:28:56,286 --> 00:28:57,701
we didn't care anything
about record sales.
517
00:28:57,805 --> 00:29:01,153
So when we got together wealways played the music which
518
00:29:01,256 --> 00:29:04,225
we enjoyed, and we neverthought that it was going
519
00:29:04,328 --> 00:29:06,365
to be as successful as it was.
520
00:29:11,508 --> 00:29:13,234
PHIL COLLINS: The
way the song starts
521
00:29:13,337 --> 00:29:15,995
it's like a call and response.
522
00:29:16,099 --> 00:29:19,447
Village coming to life,waking up and going to work.
523
00:29:19,550 --> 00:29:22,553
And so that's the way
that song starts to me
524
00:29:22,657 --> 00:29:23,623
is kind of like that.
525
00:29:23,727 --> 00:29:25,384
We kind of used to
exaggerate it more live.
526
00:29:25,487 --> 00:29:26,316
De-ayo!
527
00:29:26,419 --> 00:29:27,869
De-ayo!
528
00:29:27,973 --> 00:29:29,629
De-ayo!
529
00:29:29,733 --> 00:29:32,011
You know, as if
people were waking up,
530
00:29:32,115 --> 00:29:33,426
and it was like
a Disney cartoon.
531
00:29:33,530 --> 00:29:35,670
You can imagine
the birds rustling
532
00:29:35,774 --> 00:29:37,430
their feathers and things.
533
00:29:37,534 --> 00:29:40,502
[SINGING] De-ayo!
534
00:29:40,606 --> 00:29:41,400
De-ayo!
535
00:29:54,965 --> 00:29:59,176
The main track that I didat home was based on this.
536
00:29:59,280 --> 00:30:01,661
[rhythm playing]
537
00:30:03,767 --> 00:30:08,082
Boum, boum boum boum.
538
00:30:08,185 --> 00:30:13,535
Boum boum, boum boum boum.
539
00:30:13,639 --> 00:30:24,339
Boum, boum boum boum,
baum boum boum boum.
540
00:30:24,443 --> 00:30:31,691
Boum boum boum boum
boum boum boum baum.
541
00:30:35,799 --> 00:30:41,909
All those fills, Tom
Tom arranged the horns.
542
00:30:42,012 --> 00:30:45,913
He had notated certainthings with dots and dashes.
543
00:30:46,016 --> 00:30:48,329
Looks sort of like
the Morse code to me.
544
00:30:48,432 --> 00:30:52,091
And as the music played he wouldpoint to the dot or the dash,
545
00:30:52,195 --> 00:30:54,197
and I would look at
him and say, yeah, man.
546
00:30:54,300 --> 00:30:56,302
I didn't know what this meant.
547
00:30:56,406 --> 00:31:00,859
But he would point to thisand say, dat dat dat da dat,
548
00:31:00,962 --> 00:31:02,274
you know.
549
00:31:02,377 --> 00:31:05,449
And whatever that meant, this iswhere he predated Max Headroom.
550
00:31:05,553 --> 00:31:07,693
Now what was so
interesting about it,
551
00:31:07,796 --> 00:31:11,731
he was able to sing phoneticallywhat he meant by the dots
552
00:31:11,835 --> 00:31:12,974
and dashes.
553
00:31:13,078 --> 00:31:15,011
If it's a ba-dum.
554
00:31:15,114 --> 00:31:17,703
I have to write a line, bash.
555
00:31:17,806 --> 00:31:18,773
So I probably did that for him.
556
00:31:18,877 --> 00:31:20,050
It was a da-da-da-da,
da-da-da-da,
557
00:31:20,154 --> 00:31:21,362
da-da-da-da dun-da-da-dup!
558
00:31:21,465 --> 00:31:22,777
TOM TOM WASHINGTON: By
him being a drummer,
559
00:31:22,881 --> 00:31:24,744
maybe this was
some kind of way he
560
00:31:24,848 --> 00:31:26,815
notated the best way he could.
561
00:31:26,919 --> 00:31:28,093
The first couple
of times, I don't
562
00:31:28,196 --> 00:31:31,544
know whether he really noticed,I thought he was crazy.
563
00:31:31,648 --> 00:31:33,374
Whoever heard of this?
564
00:31:33,477 --> 00:31:36,929
But the money was so well paidthat I said, man, this great.
565
00:31:37,033 --> 00:31:37,930
Makes a lot of sense to me.
566
00:31:38,034 --> 00:31:40,415
[MUSIC - PHIL COLLINS, "HAND IN HAND"]
567
00:31:56,017 --> 00:31:58,088
DARYL STUERMER: I remember whenthe horn section all came in,
568
00:31:58,192 --> 00:32:00,746
and they were all laughingand having a great time,
569
00:32:00,849 --> 00:32:03,714
and we were doing "In The AirTonight" and songs like this.
570
00:32:03,818 --> 00:32:05,613
And then these guys
came in laughing,
571
00:32:05,716 --> 00:32:08,685
and Lui Lui Satterfield
was sitting there.
572
00:32:08,788 --> 00:32:12,068
He said, you know Phil,
he is this amazing cat.
573
00:32:12,171 --> 00:32:14,001
He says this guy,
you walk in, you'll
574
00:32:14,104 --> 00:32:17,590
look at him you think he lookslike a farmer from England.
575
00:32:17,694 --> 00:32:20,421
And then he sits down at adrum, he's hip as anybody else.
576
00:32:20,524 --> 00:32:21,767
And I remember
Louis saying that.
577
00:32:21,870 --> 00:32:24,908
And it was making me
laugh, because it's sort
578
00:32:25,012 --> 00:32:26,496
of exactly what it looked like.
579
00:32:26,599 --> 00:32:30,017
Here's Phil, very
casual, and he looked
580
00:32:30,120 --> 00:32:32,778
like he could be a guy comingin with some tea for you.
581
00:32:32,881 --> 00:32:35,298
TOM TOM WASHINGTON: Nowlet them try to play that.
582
00:32:35,401 --> 00:32:36,540
LUI LUI SATTERFIELD:
He had a hand
583
00:32:36,644 --> 00:32:38,611
as a combination of things,which he was good at.
584
00:32:38,715 --> 00:32:39,992
He used to do it all the time.
585
00:32:40,096 --> 00:32:43,513
We would grab things from him,put it together like this.
586
00:32:43,616 --> 00:32:47,413
I mean it would be a couple ofcoaches working hand in hand.
587
00:32:50,416 --> 00:32:52,867
I don't know that was hisidea, put Collins on there,
588
00:32:52,971 --> 00:32:56,215
but this song "Hand in
Hand" was one at a huffy
589
00:32:56,319 --> 00:32:58,562
puffy songs for the horns.
590
00:32:58,666 --> 00:33:00,979
[music playing]
591
00:33:05,397 --> 00:33:07,295
That was beautiful, LuiLui, we just don't want it
592
00:33:07,399 --> 00:33:09,090
on this particular record.
593
00:33:09,194 --> 00:33:10,885
[laughter]
594
00:33:10,989 --> 00:33:14,164
It would be
great, wouldn't it?
595
00:33:14,268 --> 00:33:18,134
[inaudible]
596
00:33:18,237 --> 00:33:21,896
When that style comes backin, we'll give you a call.
597
00:33:22,000 --> 00:33:23,863
DARYL STUERMER: I don't knowwhat was going on in his head,
598
00:33:23,967 --> 00:33:27,488
but it didn't appear to me thathe was in any particular pain.
599
00:33:27,591 --> 00:33:29,524
I think he was just
happy to be there.
600
00:33:29,628 --> 00:33:32,631
But he was also probably
a little insecure
601
00:33:32,734 --> 00:33:33,977
about what he's doing here.
602
00:33:34,081 --> 00:33:35,875
Because he doesn't know howthis is going to turn out.
603
00:33:35,979 --> 00:33:37,636
This is very new to him.
604
00:33:37,739 --> 00:33:40,259
And when you were in a bandlike for instance in Genesis.
605
00:33:40,363 --> 00:33:42,123
If you were in
Genesis you always
606
00:33:42,227 --> 00:33:46,231
had the other two guys to feedoff of and to run ideas by.
607
00:33:46,334 --> 00:33:48,992
So you don't do anythingwithout their approval, also.
608
00:33:49,096 --> 00:33:50,752
Here it's up to him.
609
00:33:50,856 --> 00:33:56,586
So Phil has got all thisresponsibility laid on him.
610
00:33:56,689 --> 00:33:58,622
But I think he sort
of enjoyed that.
611
00:33:58,726 --> 00:34:00,693
The tapes of the concert.
612
00:34:00,797 --> 00:34:03,041
[MUSIC - PHIL COLLINS, "THIS MUST BE LOVE"]
613
00:34:03,144 --> 00:34:10,289
[SINGING] Well I'm waitingevery day just in case
614
00:34:10,393 --> 00:34:13,706
you decide to call.
615
00:34:13,810 --> 00:34:17,262
This must be love is enteringthe next phase of my life.
616
00:34:17,365 --> 00:34:21,335
So it actually isn't thedowner album or the sad album
617
00:34:21,438 --> 00:34:24,269
that a lot of
people think it is.
618
00:34:24,372 --> 00:34:27,755
By the time it was
actually being record--
619
00:34:27,858 --> 00:34:30,137
being finished, and
certainly by the time
620
00:34:30,240 --> 00:34:34,658
it came out, as I was
in another relationship.
621
00:34:34,762 --> 00:34:42,045
So this is kind of a
very optimistic song.
622
00:34:42,149 --> 00:34:44,254
I had the chords,
obviously the song.
623
00:34:44,358 --> 00:34:46,532
But then Alphonso
came up with this--
624
00:34:46,636 --> 00:34:54,333
de-da-uh, which
was a great hook.
625
00:34:54,437 --> 00:34:56,473
He wanted kind of
something to thread
626
00:34:56,577 --> 00:34:59,925
through the actual
motion of the song.
627
00:35:00,028 --> 00:35:03,549
So he didn't want just
a plain R&B baseline.
628
00:35:03,653 --> 00:35:06,207
And yet it couldn't
be too complicated.
629
00:35:06,311 --> 00:35:10,349
So just using bare
instinct, I started
630
00:35:10,453 --> 00:35:14,905
playing the notes of the chordsand came up with that kind
631
00:35:15,009 --> 00:35:17,149
of loop, which was like a
632
00:35:17,253 --> 00:35:19,600
[playing bass]
633
00:35:29,230 --> 00:35:32,854
Which kind of complements hisvocal melody a little bit,
634
00:35:32,958 --> 00:35:36,617
but not so much that
it distracts from it.
635
00:35:36,720 --> 00:35:38,274
[SINGING] This must be love.
636
00:35:41,242 --> 00:35:46,316
This must be love I'm feeling.
637
00:35:46,420 --> 00:35:47,386
This must--
638
00:35:47,490 --> 00:35:50,872
What is good?
639
00:35:50,976 --> 00:35:52,943
Does it reach you,
does it touch you?
640
00:35:53,047 --> 00:35:54,738
That's the most important thing.
641
00:35:54,842 --> 00:35:57,327
And I just get bored.
642
00:35:57,431 --> 00:35:59,502
So I don't like workingon things for a long time.
643
00:35:59,605 --> 00:36:04,610
My attention span is kindof limited in terms of let's
644
00:36:04,714 --> 00:36:06,750
do this, and let's move on.
645
00:36:06,854 --> 00:36:10,478
As opposed to, let's do thisuntil we're really sick of it.
646
00:36:10,582 --> 00:36:11,928
But it will be perfect.
647
00:36:12,031 --> 00:36:16,829
[SINGING] This must
be love I'm feeling.
648
00:36:16,933 --> 00:36:18,797
This must be love.
649
00:36:22,456 --> 00:36:23,215
Woo.
650
00:36:32,742 --> 00:36:47,929
[music - phil collins, "droned"]
651
00:36:48,033 --> 00:36:50,932
PHIL COLLINS: It was alittle experiment, you know.
652
00:36:51,036 --> 00:36:54,626
It was just a nice idea.
653
00:36:54,729 --> 00:36:57,215
Sort of slightly esotericsort of area of music.
654
00:36:57,318 --> 00:37:01,322
Some of it was Whether Report,some of was even more spacey,
655
00:37:01,426 --> 00:37:05,395
but I just came up with thisrhythm on the black notes.
656
00:37:09,503 --> 00:37:12,713
Phil is amazing, because hehas all the structurally needs,
657
00:37:12,816 --> 00:37:14,508
but at the same time,
which a lot of people
658
00:37:14,611 --> 00:37:16,268
might think that's
what he does only.
659
00:37:16,372 --> 00:37:18,477
But he's equally
comfortable with all
660
00:37:18,581 --> 00:37:20,686
the improvisational stuff,and immediately also he's
661
00:37:20,790 --> 00:37:23,310
able to change if
something doesn't work.
662
00:37:23,413 --> 00:37:25,139
MAN: He reminds me of
Frank Zappa, really.
663
00:37:30,972 --> 00:37:34,044
Fastest tongue in the west.Or the east.
664
00:37:36,806 --> 00:37:38,670
Daka da, dum dum, daka da dum.
665
00:37:38,773 --> 00:37:41,569
Taka taka taka taka
dum, taka da dum.
666
00:37:41,673 --> 00:37:42,639
Daka da dum.
667
00:37:42,743 --> 00:37:45,504
Taka taka taka taka
dum, taka da dum.
668
00:37:45,608 --> 00:37:48,438
PHIL COLLINS: Taka dum,dum de dum dum, tata dum--
669
00:37:48,542 --> 00:37:51,199
I was as the sessions.
670
00:37:51,303 --> 00:37:53,201
I felt I had to do something,so I played congas.
671
00:38:14,188 --> 00:38:17,295
For some reason everythinghas gotten jumbled and puzzled
672
00:38:17,398 --> 00:38:19,952
and mixed up over the years, andI've become known as something
673
00:38:20,056 --> 00:38:22,023
that I'm really not.
674
00:38:22,127 --> 00:38:24,025
A lot of people think
of me, I guess it could
675
00:38:24,129 --> 00:38:26,027
be the Genesis connection.
676
00:38:26,131 --> 00:38:29,445
It could be side effects
of the Mr. Nice Guy.
677
00:38:29,548 --> 00:38:32,171
It could be the fact that someof the songs that have been
678
00:38:32,275 --> 00:38:35,140
hits have been ballads,
and therefore people
679
00:38:35,243 --> 00:38:37,660
look down at sort of
ballads as if they're
680
00:38:37,763 --> 00:38:38,661
kind of middle of the road.
681
00:38:38,764 --> 00:38:40,835
And so I don't know.
682
00:38:40,939 --> 00:38:42,043
I don't know why.
683
00:38:42,147 --> 00:38:46,013
I mean I thrive onspontaneous music, you know.
684
00:38:46,116 --> 00:38:50,673
I used to sit with BrandX and just play for days.
685
00:38:50,776 --> 00:38:51,984
Just play for days and days.
686
00:38:52,088 --> 00:38:55,574
And in Genesis, weeverything we write all comes
687
00:38:55,678 --> 00:38:57,818
out of days of improvisation.
688
00:38:57,921 --> 00:39:01,269
It's not like-- it's
not music by numbers.
689
00:39:01,373 --> 00:39:06,378
And but just more specificallymy own musical career,
690
00:39:06,482 --> 00:39:08,380
you know I kind of felt
that I've been lumbered
691
00:39:08,484 --> 00:39:12,626
with that perfectionist
slightly highly polished
692
00:39:12,729 --> 00:39:15,491
last BMW driver kind of image.
693
00:39:15,594 --> 00:39:17,044
[MUSIC - PHIL COLLINS, "TOMORROW NEVER KNOWS"]
694
00:39:17,147 --> 00:39:18,356
[SINGING] It is shining.
695
00:39:22,152 --> 00:39:23,844
Nothing is labored over.
696
00:39:23,947 --> 00:39:26,294
Nothing is labored over.
697
00:39:26,398 --> 00:39:27,813
Especially on my records.
698
00:39:27,917 --> 00:39:33,232
[SINGING] That you maysee the meaning of within.
699
00:39:33,336 --> 00:39:36,063
I included "Tomorrow
Never Knows"
700
00:39:36,166 --> 00:39:39,618
because it's always been oneof my favorite Beatles songs.
701
00:39:39,722 --> 00:39:45,175
I mean alongside the realmelodic songs, [inaudible]
702
00:39:45,279 --> 00:39:47,039
and "I Want to Hold Your
Hand" and "If I Fell,"
703
00:39:47,143 --> 00:39:49,904
"Tomorrow Never Knows"
always appealed to me.
704
00:39:50,008 --> 00:39:52,424
The drums are great on it.
705
00:39:52,528 --> 00:39:54,806
And I've always felt thatthere's inside that song--
706
00:39:54,909 --> 00:39:56,324
the version of that song--
707
00:39:56,428 --> 00:40:00,743
there was a really strongmelodic song trying to get out.
708
00:40:05,851 --> 00:40:12,099
[SINGING] That love isall, and love is everyone.
709
00:40:12,202 --> 00:40:15,827
And there is trying to beJohn Lennon again, you see.
710
00:40:15,930 --> 00:40:20,245
[SINGING] It is knowing,
oh it is knowing.
711
00:40:23,697 --> 00:40:27,183
NEWSCASTER: John Lennon wasbrought to the emergency room
712
00:40:27,286 --> 00:40:30,358
at Roosevelt [inaudible] St.Luke's Roosevelt Hospital
713
00:40:30,462 --> 00:40:35,363
this evening shortly
before 11:00 PM.
714
00:40:35,467 --> 00:40:38,505
He was dead on arrival.
715
00:40:38,608 --> 00:40:41,784
PHIL COLLINS: [SINGING]
It is believing.
716
00:40:41,887 --> 00:40:44,062
It was an opportunity
to pay tribute.
717
00:40:44,165 --> 00:40:45,995
To sort of-- for me anyway.
718
00:40:46,098 --> 00:40:49,481
To play tribute to that
kind of pioneering stuff
719
00:40:49,585 --> 00:40:50,378
that they did, really.
720
00:40:53,209 --> 00:40:55,314
So we got everything in there.
721
00:40:55,418 --> 00:40:57,420
Guitars, horns.
722
00:41:01,010 --> 00:41:03,944
What's this?
723
00:41:04,047 --> 00:41:05,428
That's backwards violin.
724
00:41:09,018 --> 00:41:12,331
That is a section
two difference.
725
00:41:12,435 --> 00:41:15,749
PHIL COLLINS: That's"Hand in Hand" backwards.
726
00:41:15,852 --> 00:41:18,199
It's slowed down, and backwards.
727
00:41:18,303 --> 00:41:21,444
La La La, La La La La La.
728
00:41:21,548 --> 00:41:23,860
[speeded up music]
729
00:41:30,902 --> 00:41:33,974
I want to assure you that nodrugs were take at this session
730
00:41:34,077 --> 00:41:36,666
whatsoever.
731
00:41:36,770 --> 00:41:41,084
[SINGING] That love isall, and love is everyone.
732
00:41:45,641 --> 00:41:50,922
It is knowing, oh it is knowing.
733
00:41:54,995 --> 00:41:56,790
I did make it
quite clear that I
734
00:41:56,893 --> 00:42:01,622
wanted to be involved at everylevel, because this was my--
735
00:42:01,726 --> 00:42:02,968
you know this is a
very personal record.
736
00:42:03,072 --> 00:42:06,938
It was my life, and
it was my music,
737
00:42:07,041 --> 00:42:10,838
and I wanted to do
all the cover writing.
738
00:42:10,942 --> 00:42:13,910
The label, the bits
around it, the outside,
739
00:42:14,014 --> 00:42:17,604
all the legal stuff I wrote,which normally is just printed,
740
00:42:17,707 --> 00:42:18,881
and no one ever
reads it, you know.
741
00:42:18,984 --> 00:42:21,677
But I just thought this isthere, I'm going to do it.
742
00:42:21,780 --> 00:42:22,850
This is my life.
743
00:42:22,954 --> 00:42:25,128
This is my thing.
744
00:42:25,232 --> 00:42:26,716
And I chose the photographs.
745
00:42:26,820 --> 00:42:30,064
Chose the press release photos,everything had to go by me.
746
00:42:30,168 --> 00:42:31,341
And still does.
747
00:42:31,445 --> 00:42:33,240
Everything still does
with every record.
748
00:42:33,343 --> 00:42:36,864
Because I believe that someoneis going to buy that record,
749
00:42:36,968 --> 00:42:40,558
and I think this is my idea.
750
00:42:40,661 --> 00:42:43,388
The fact that some people thinkall my record have my face
751
00:42:43,491 --> 00:42:44,941
on it is an egotistical thing.
752
00:42:45,045 --> 00:42:47,910
Is I mean you wouldn't put aface like this on the cover,
753
00:42:48,013 --> 00:42:49,808
really, if you wanted tosell a record, would you?
754
00:42:49,912 --> 00:42:51,534
I mean the idea of
putting it on the cover
755
00:42:51,638 --> 00:42:56,643
just to try and get asclose as you could to almost
756
00:42:56,746 --> 00:42:58,921
see inside the person's head.
757
00:42:59,024 --> 00:43:02,545
Because this is what was
going on inside my head.
758
00:43:02,649 --> 00:43:04,651
SIMON DRAPER: 1980 he wasa time when we really were
759
00:43:04,754 --> 00:43:06,273
having to come of age really.
760
00:43:06,376 --> 00:43:11,174
And signing Phil was
in a way an attempt
761
00:43:11,278 --> 00:43:14,937
by me to turn Virgin into amore mainstream record company.
762
00:43:15,040 --> 00:43:17,698
But in fact, it turned out tobe something else altogether,
763
00:43:17,802 --> 00:43:19,976
and broke completely newground, and was enormously
764
00:43:20,080 --> 00:43:24,981
important for us in terms of wehad a major crossover record,
765
00:43:25,085 --> 00:43:28,744
and helped to change
Virgin all together.
766
00:43:28,847 --> 00:43:31,125
[MUSIC - PHIL COLLINS, "IF LEAVING ME IS EASY"]
767
00:43:31,229 --> 00:43:35,889
[SINGING] I kept
those pictures,
768
00:43:35,992 --> 00:43:42,136
but I hide my feelings
so no one knows.
769
00:43:53,561 --> 00:44:01,569
Oh sure, my friends
all come round.
770
00:44:01,673 --> 00:44:06,436
I'm in a crowd,
but I'm on my own.
771
00:44:06,540 --> 00:44:15,514
I think this song is, from therecord, probably my favorite.
772
00:44:15,618 --> 00:44:17,689
And that's probably includingin the "In the Air Tonight."
773
00:44:17,793 --> 00:44:18,932
I've just played
"In the Air Tonight"
774
00:44:19,035 --> 00:44:20,450
so many times since I wrote it.
775
00:44:20,554 --> 00:44:26,802
Whereas this, this kindof captured an atmosphere
776
00:44:26,905 --> 00:44:28,907
which was there all the time.
777
00:44:29,011 --> 00:44:32,186
Actually we did it on thetour, the first tour we did.
778
00:44:32,290 --> 00:44:34,741
But I got tired of people
talking through it,
779
00:44:34,844 --> 00:44:35,638
so I dropped it.
780
00:44:40,988 --> 00:44:42,334
[SINGING] See I heard
781
00:44:42,438 --> 00:44:44,405
Phil would be playing
this delicate song,
782
00:44:44,509 --> 00:44:46,476
and it would just
be going along.
783
00:44:46,580 --> 00:44:48,824
[guitar playing]
784
00:44:48,927 --> 00:44:52,620
And then somebody would
whistle really loud.
785
00:44:52,724 --> 00:44:54,553
I actually remember himgetting angry at one point.
786
00:44:54,657 --> 00:44:56,210
He goes, shut up!
787
00:44:56,314 --> 00:44:57,729
And it's, you know--
788
00:44:57,833 --> 00:45:00,801
Because you're trying to do thisdelicate song, and you just--
789
00:45:00,905 --> 00:45:02,734
it was an American
audience, of course.
790
00:45:02,838 --> 00:45:05,219
When I came out onstage here tonight I said,
791
00:45:05,323 --> 00:45:09,568
this Dallas audience wantsto listen to the quiet songs.
792
00:45:09,672 --> 00:45:10,984
Am I right?
793
00:45:15,609 --> 00:45:16,403
I hope so.
794
00:45:22,340 --> 00:45:25,584
Just these two
chords here are so
795
00:45:25,688 --> 00:45:31,901
evocative to me of Isaac Hayesor "You Know I Love You, Babe."
796
00:45:37,355 --> 00:45:38,943
I didn't mean to say thosethings about your mother.
797
00:45:44,293 --> 00:45:50,886
Every moment on this, all thegung, gung, were choreographed.
798
00:45:50,989 --> 00:45:54,337
I did it on the drums.
799
00:45:54,441 --> 00:45:56,754
I just basically did thedrum track, and then me then
800
00:45:56,857 --> 00:45:58,894
we added the bass
doing what I did,
801
00:45:58,997 --> 00:46:01,759
and then the strings
highlighted it.
802
00:46:01,862 --> 00:46:05,728
[SINGING] Love you the same.
803
00:46:05,832 --> 00:46:07,212
That's the one thing--
804
00:46:07,316 --> 00:46:12,045
The string part that Arif Mardinarranged it was wonderful.
805
00:46:12,148 --> 00:46:14,944
It was one of the highlightsof the record, for me.
806
00:46:15,048 --> 00:46:17,015
Having him stand thereconducting this real orchestra,
807
00:46:17,119 --> 00:46:18,223
you know.
808
00:46:18,327 --> 00:46:20,087
I'm so used to synthesizedstrings at that point.
809
00:46:20,191 --> 00:46:22,434
It was lovely.
810
00:46:22,538 --> 00:46:24,367
ARIF MARDIN: The
ending of this song
811
00:46:24,471 --> 00:46:30,891
is so beautiful andserene, and he in his track
812
00:46:30,995 --> 00:46:36,863
he had stabs, almost likeyou don't expect words not
813
00:46:36,966 --> 00:46:39,210
to come up, you have anincredible like a wake up call,
814
00:46:39,313 --> 00:46:40,107
you know.
815
00:46:46,217 --> 00:46:48,046
Very, very beautiful.
816
00:46:56,158 --> 00:46:58,022
And then continues again.
817
00:46:58,125 --> 00:47:00,679
So we had that in a few places.
818
00:47:00,783 --> 00:47:03,337
And it just--
819
00:47:03,441 --> 00:47:05,512
Phil Collins built an
incredible mood there.
820
00:47:05,615 --> 00:47:08,308
And I went along with the mood,and I went along with the mood
821
00:47:08,411 --> 00:47:10,172
shattering stabs, too.
822
00:47:14,279 --> 00:47:28,466
[SINGING] If leaving me iseasy and you know coming back
823
00:47:28,569 --> 00:47:29,467
is harder.
824
00:47:35,507 --> 00:47:36,508
PHIL COLLINS: To
me it's an album
825
00:47:36,612 --> 00:47:38,683
of songs that I
really like, and songs
826
00:47:38,786 --> 00:47:43,205
that I don't like as much.
827
00:47:43,308 --> 00:47:44,723
Put it that way.
828
00:47:44,827 --> 00:47:51,799
I mean, I'm my own
hardest critic, really.
829
00:47:51,903 --> 00:47:54,872
So there's stuff
on there that I--
830
00:47:54,975 --> 00:47:57,288
little moments like"Tomorrow Never Knows," this,
831
00:47:57,391 --> 00:47:59,669
I guess "In the Air."
832
00:47:59,773 --> 00:48:02,120
There's things that I'mvery proud of, that capture
833
00:48:02,224 --> 00:48:04,674
those little moments in time.
834
00:48:04,778 --> 00:48:06,504
I mean it's a surprise
that you get an album
835
00:48:06,607 --> 00:48:09,438
like this from a drummer.
836
00:48:09,541 --> 00:48:12,165
I guess-- and I think peopleovercompensated and went out
837
00:48:12,268 --> 00:48:13,649
and bought it.
838
00:48:13,752 --> 00:48:16,479
Because it was a surprise thatI could actually do something
839
00:48:16,583 --> 00:48:17,722
else other than play the drums.
840
00:48:17,825 --> 00:48:19,206
[MUSIC - PHIL COLLINS, "IN THE AIR TONIGHT"]
841
00:48:19,310 --> 00:48:20,069
[SINGING] Yeah.
842
00:48:23,210 --> 00:48:26,973
I've been waiting for
this moment all my life.
843
00:48:43,299 --> 00:48:54,586
Waiting for this moment allmy life, for my whole, oh.
844
00:48:54,690 --> 00:48:57,348
[cheering]
61710
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