All language subtitles for Phil.Collins.Face.Value.1999.1080p.WEBRip.x265-RARBG

[music playing]

[MUSIC - PHIL COLLINS, "IN THE AIR TONIGHT"]

PHIL COLLINS: This
record definitely

is autobiographical, but notjust focusing on the sadness.

That's the thing that isa misconception, I think.

It's triggered by an event.

It chronicles, you
know, a life in motion.

[SINGING] I can feel itcoming in the air tonight.

Oh Lord.

And I've been waiting forthis moment for all my life.

Oh, Lord.

I wasn't even intending onwriting a song, you know.

I want to sit down
and write a song.

I just was fooling around.

And I got these chords thatare liked, and the sound.

The chords went with the sound.

It all was-- you couldn'thave played faster or slower

than the sound allowed you to.

So it sort of created itself.

So I turned the microphoneon, and I saw the meter move.

That was a good sign.

And then I started singing.

And the lyrics
you hear were what

I wrote spontaneously withthe feeling of that music

at that time.

[SINGING] Well if you toldme you you were drowning,

I would not lend a hand.

I seen your face
before, my friend,

but I don't know if
you know who I am.

This frightens me a
bit, because there's

obviously something going on inthere that I don't know about.

But I'm quite proud ofthe fact that I sang 99.9%

of those lyrics spontaneously.

And when someone
says now tell me,

Phil, what is it really about?

I say I don't know.

I've no idea, because I justmade it up as I went along.

[SINGING] But I was there,and I saw what you did.

I saw it with my own two eyes.

So you can wipe off that grin.

I know where you've been.

It's all been a pack of lies.

I lived outside Guilford, in avillage called Shalford Common.

And I was just a relativelywell-known pop star.

You know, I mean I had Ihad a wife and two children,

and two dogs.

And then the next day
I didn't have anything.

So I actually had a lot
of time on my hands.

So I don't know.
That's sounds terrible.

I don't want to make itsound like the carpet was

ripped out from underneath me.

I played my part in
this mistake, too.

So a lot of these songs werewritten because at the time

I was you going through
this emotional changes.

But to me it was just thesound of the words, you know.

I didn't know what
I was singing about.

I mean obviously when you'regoing through a divorce

all kinds of things
run through your mind.

There's anger, there'sbitterness, there's hurt,

you know.

And all that stuff is
in "In the Air Tonight."

Menace.

Finally losing your
temper at the end,

when the drums come in.

[drums]

[SINGING] Coming in the
air tonight, oh Lord.

I've been waiting
for this moment

for all my life, oh Lord.

I can feel it in the
air tonight, oh Lord.

I remember when I was
at the demo stage.

You hear clicks when thefridge was going on and off,

and then the phone wouldring, and I wouldn't hear it,

and I listened back to itlater and there'd be a phone

ringing in the background.

And I didn't really mind.

At the time, to
be honest, I never

knew that was going to bean outlet for these tapes.

This was just me expressingmyself, and learning

how to operate the equipment.

[music playing]

The whole thing was
set up by this, really.

The mood of this drum machine.

For me.

When you hear that,
you couldn't possibly

replace that with real drums.

People say why do you use drummachines when you're a drummer.

And it's just that
sometimes drum

machines give you things that--

it's the atmosphere.

It's relentless.
Doesn't move.

A drummer would get boredplaying anything like this.

Dumb It would ruin the sortof relentlessness of it.

[chords playing]

And then this would
have been the first two

things I'd put down.

Couple of nice chords, D minor.

The saddest cord of all.

C. B flat.

Back to C. Piece
of cake, really.

[SINGING] Well I remember.

I remember, don't worry.

How could I ever forget?

It's the first time, the
last time we ever met.

I hadn't really set
out to be famous.

I hadn't really set out tomake a record of any type.

You know.

I'd just done a few
things in my room.

I painted a few
pictures in my room,

and someone wanted
to look at them.

[SINGING] The hurt doesn't show.

The songs were just songsbased on my emotion at the time

[drums]

[SINGING] I could waiting forthis moment for all my life,

oh Lord, I can feel it, yeah.

I can feel it, yeah.

I can feel it coming
in the air tonight.

Been waiting for this momentfor all my life, my life.

Oh!

I was cutting the
album in America,

and this legendary figureof Ahmet Ertegun who started

the company in
the Atlantic Music

came to the cutting sessionin New York and he said--

he literally, he just
faced it up and said,

this sounds great, man.

I had a cut of that,
of in the air tonight.

And whenever anybody
brought me, that people

would come in and bringme, as they do all the time

demo records of a group.

They would play me what
they thought was a hit.

I would say listen, that soundsvery good, but listen to this.

And I put that on,
and they would say,

my God, what is that?

That is fantastic.

I said, it's got
to be close to--

you won't get as good
as this, but you've

got to be close to it if youwant to have a hit record.

From my-- one of my
heroes to say that,

gave me a lot of confidenceto what I'd been doing.

Which I was still needing.

And we went from there.

All right, Phil Collins here.

Who's that?
RADIO: Phil Collins?

Wow.

I just wanted to know,
we all know how you made

your solo album and everything.

We want to know
like what effects

does that have on Genesis?

PHIL COLLINS: Before Istarted singing with Genesis

I really didn't
care about lyrics.

It was the sound of the voice,and the melody it was singing,

and the groove of the tune.

And then I started to
sing and I realized

that the voice is the
thing that actually

communicates to people.

[MUSIC - GENISIS, "BEHIND THE LINES"]

[SINGING] I held the bookso tightly in my hand.

I saw your picture,
heard you call my name.

There was something strange--

Pre-Genisis I felt like I wasplaying a part, sometimes,

rather than being me.

You know even when I
was singing my lyrics,

I felt that it wasn't really me.

[SINGING] You gave me no reason,and you gave me no warning,

but I was with you
right by your side.

He was the original
the drummer of the band,

and that was what he originallywas chosen for an everything.

But we always knew
he had a nice voice,

and then obviously he tookover when Peter Gabriel

left doing the lead vocals.

And I think he
developed as a singer.

And obviously I think thefact the first album came out

so well makes you realizeyou always had in his mind

an idea of how things should be.

And for the first
time I could do it

exactly how he wanted to do it.

And it came out great, sohe's always had this sort of--

there's always a
very good arranger,

I think, in Phil's head.

One day we'd finished
the backing track

of "Behind the Lines," and wewanted to clean some tracks up,

stuff we didn't need anymoreso we could do some vocals.

And we ran the tape at doublespeed just to short of--

time was money.

And then suddenly this othersong appeared, you know,

and sometimes-- it's likethat with the Beatles records.

Put one double speed,sometimes something else,

you hear something else.

[music going fast]

We played it back
at a high speed,

and it sounded very
like sort of a Michael,

Jackson kind of funky track, andwe all kind of got off on it.

Obviously that
stayed in his mind,

and he sort of drew from that.

It sounds a little
over hip, now.

But it's actually,
at the time, it was--

[SINGING] I held the bookso tightly in my hand,

I saw your picture,
heard you call my name.

Basically I wanted to do
the track just for this.

Just for the horns, really.

Just those-- they
just have that.

[SINGING] You gave me no reason,and you gave me no warning,

but I was with you,
right by your side.

Just give me the strength,so I can help you.

And I can be stronger if
you don't frighten me.

[inaudible] not
something I felt before,

but I [inaudible] I wonder why.

HUGH PEDGHAM: People didn'thave black horn sections

on their songs in those days.

It sounds crazy to say thatnow, but American radio wouldn't

play some of Phil's
songs to start with,

because the white guywith a black horn section,

that's not right, you know.

That should be R&B music.

Everybody should black.

You know, everybody
should be white.

And it's amazing that only20 years ago attitudes

like that still existed.

We didn't know who PhilCollins was as far as the horn

section was concerned, at all.

There was some
inference that he played

with a group called
Genesis, which didn't

mean anything to us, neither.

We didn't know.

We didn't know anything abouthim at that particular time.

He wanted a certain sound, hewanted that particular sound,

and he would get those players.

And that's how we
evolved around it.

And so Phil would always give ussome challenging things to do,

and he would leave
me the ability

to write at my own
discretion, and there

were certain things
that he favored

that he would like to hear.

So he has an ear, also, forwhat thing you should do.

[horn playing]

Trumpets are cool,
and the high bit, right?

They turned it around,but it just sounded good.

So as long as it
takes, it'll work.

You know [inaudible].

51 again.

Tom Tom would
just say, bar 49.

Bar 49.

And then he just go like this.

It was a very
democratic society

in the recording sessions,whether he liked it or not.

And it was like you'd
be living on glass.

Especially when you weren'tquite ready to record.

What's happening is our
punches are very tight.

The machine is not fast as me.

And neither is you.

Hey.

PRODUCER: And then
you'd say something

like, well, I'm not
really ready yet,

and he'd go into this
sort of long thing.

Now you tell me why you werenot able to record or something,

you know.

And then go off about buyingsugar in the supermarket

or something.

It was like, where?

You didn't know what was his--

Say Don!

AHMET ERTEGUN: Face
value is a record which

has a lot of black influence.

And that's also one
of the things that

made it an international hit.

His feelings and his
soul are expressed

in terms very much influencedby black American music.

[SINGING] It was strange,I could not look away.

I wanted to be there,
I wanted to go.

You gave me no reason, andyou gave me no warning.

TONY SMITH: For the firsttime he was making the record

that he wanted to
make, and no one

else had any influence on it.

And for him it was avery exciting experience.

Suddenly he had all
these toys to play with.

Bringing the Phoenix
Horns and suddenly

he could he could think in termsof, let's have a horn section.

Which had always been
an area that he'd

been cut off to before.

Na na na na na na na na na.

Na na na la la la la, hey!

[inaudible]

PHIL COLLINS: The
most personal song

of all from this
whole batch of songs,

really the most personalsong was "Please Don't Ask."

Which was literally allabout, bar mentioning names,

it was about kids.

It was about what was happening.

It was about my
problems, my situation.

I mean I've never really writtenanything like that since.

[MUSIC - PHIL COLLINS, "PLEASE DON'T ASK"]

[SINGING] I can remember whenit was easy to say I love you.

But things have
changed since then.

Now I really can't
say if I still do.

Oh, but I can try.

'Cos I know that
the kids are well,

'cos you're a mother to theworld, but I miss my boy.

I hope he's good as gold.

But enough of me.

How are you?

You look good.

Oh, you lost some weight,and see your hair looks nice.

You look good.

Ooh.

Maybe we should try.

Don't say it, I know why.

Oh I can remember when itwas easy to say I love you.

So on.

Actually it's the
kind of song you could

do differently, now that--

you could do it
as a ballad, now,

as opposed to something else.

But that's that stuff I don'tsay, I know why, you know?

Those lyrics.

I forgot about bit.

But maybe we should try.

Don't t tell me, I know why.

It is a conversation, really.

But that's the way a lot ofthese songs were written,

you know.

They were written because thecommunication was at a low.

So they were written
as letters, messages,

phone calls that had
the phone not going down

might have occurred,
and things like that.

Those were the days.

[MUSIC - PHIL COLLINS, "I MISSED AGAIN"]

[SINGING] So you finally cameright out and said it, girl.

What took you so long?

It was in your eyes, that look'sbeen there for far too long.

I haven't got a band.You see, I didn't have a band.

So we could do a video.

OK, well, I'll play everything.

I'll pretend to play everything.

So then you get into
the guitar, saxophone.

I mean it was great fun to do.

Every character had
a different look.

And you get kind
of the mannerisms

of saxophone players,
and the trumpet players.

The look, you know the shadesin the hat of a trumpet player.

You just had fun with it.

You know I mean, that'sthe most important thing.

[SINGING] I try to forget, andyet still run to the telephone.

[DISTORTED] I'm on theline, would you [inaudible]

I missed you babe.

I really do.

Oh, OK.

So the working-- this was Imiss you, babe, I really do.

So this was obviously
an early vocals.

Early, early lyrics.

It's funny seeing half yourlife go before your eyes.

But, yeah.

Obviously sort of
change from being--

of course you can sing
I'll miss you, babe.

Better than it sounds,
I miss you, babe.

It doesn't sound very
nice when it's said.

But I mean it went from thatkind of quite a sad lyric,

I suppose, to sort
of much more ironic,

which was I missed again.

It was like I missed again.

Yeah.

Which is funnier.

I felt more comfortable
with that, obviously.

But the tempo is obviouslythe main thing that changed.

It became this Motown, theclassic Motown drum fill.

[drums]

[SINGING] Ba-dum, brum-ba-ba.

Bap ba dap bup.

So you finally came rightout and said it, girl.

What took you so long?

It's not so much hurt, now.

It's more anger in the lyric.

But-- Some people, like
Shankar for example,

I didn't really know
what kind of role

he could have in the album,I just liked what he did.

I liked him as a person andjust wanted him on the record.

I just wanted him to be
part of this experience.

When he came up at
his first solo record,

people weren't sure what kindof record it was going to be.

At that time they weren't sure.

They thought maybe it isgoing to be like a fusion

record, jazz rockrecord, instrumental kind

of record or something else.

And in a way it's kind
of good, because it

gives him more freedom.

He's an Indian
musician, obviously

can play in that world asone of the finest violinists.

And here I was giving hima four chord song to play.

Dink dink dink dink dink
dink dink dink dink.

You know it's
underplaying the guy,

but he wanted to be part ofthis experience, too, so.

Sometimes you get people
for specific jobs,

and other times you
just say sort of say,

I'd like you to do something.

Can you find a
hole for yourself?

[bass playing]

Alphonso Johnson.

Alphonso Johnson was one ofmy heroes from Weather Report.

It's almost like alittle sentence, you know?

It like the beginning
of a sentence.

And it's kind of like theafter thought of the reply.

[bass playing]

This track.

It had that real just Earth,Wind and Fire quality to it,

you know?

It really did.

But yet Phil somehow managedto kind of put his own--

because of his vocal sound, itdefinitely had his stamp on it,

you know.

[SINGING] I think about
it from time to time,

when I'm lonely, and I'm alone.

PHIL COLLINS: I used tohave these outrageous Earth,

Wind and Fire type suits.

And considering I was
pretty boring to watch,

I mean I just sort of
stood there and sung.

I was still finding myfeet really as a performer.

They added an amazingpresence to the stage show.

Because it gave people
something else to watch.

[SINGING] I missed again.

I think I missed again, ah-ah.

Yes, I missed again, oh, yeah.

I think I missed again.

It was the first sort
of proper album that

I'd co-produced with somebody.

So I didn't have anythingto measure it by,

I just remember I was 26 orsomething, and going to LA,

and--

you don't feel at
any time that you're

making incredible recordsthat would be remembered

20 years later, or whatever.

But both Phil and I had thisfeeling of loving to listen

to music that had space in it.

We tried very hard to notput too many instruments

onto the record.

[MUSIC - PHIL COLLINS, "THE ROOF IS LEAKING"]

PHIL COLLINS: [SINGING]
The roof is leaking

and the wind is howling.

Kids are crying 'cause
the sheets are so cold.

Woke this morning, found
my hands were frozen.

I've tried to fix
the fire, but you

know the dang thing's too old.

It was always going tobe a song about the South

and frontiersmen, and guysthat sort of out in the middle

of nowhere, little shack.

When winter comes you'rethere for months, you know.

And the wife gets pregnant,and she has her own baby,

and you give a hand, and someonefrom next door 30 miles down

the road comes and
gives you a hand.

[SINGING] And me, I'm gettingstronger by the minute.

My wife's expecting, but Ihope she can wait, 'cause

this winter looks like it'sgonna be another bad one,

but spring will soon be here.

God I hope it's not late.

It kind of stuck out a
little bit on the album

because it was a story song,because the rest were about me.

But the sadness and maybe thesolitary feeling of the thing

was probably something thatseeped in from the other songs.

I guess I always
figured that with Eric--

Clapton was going to
play slide guitar.

So we'd just do it
as a live thing.

And in fact we did
try with Clapton.

You know in those days
we all enjoyed a drink.

And we enjoyed a
drink that night.

In fact he enjoyed a
drink before he came,

and then he enjoyed
a drink with me.

But I put Eric through
hell with this.

And actually listening to it,you probably got it closer

than I thought at the time.

[inaudible]

See what I was after wassomething kind of precise.

And just listening to, this isthe first time I've heard this

since the session 21 years ago.

He actually was
playing what should

have been played, really.

I mean the sound
of the doubront,

you know that scratch,
it's much more funky.

[SINGING] It's been months nowsince we heard from our Mary.

I wonder if she
ever made the coast.

Well she and her young man,they both moved out there.

I sure hope they write,
just to let us know.

It's much blusier.

TONY BANKS: Yeah.

Here's what ended
up on the record.

[SINGING] Ma and Pa livedhere, and theirs before them.

They tried their hardest
to make it a home.

Seems so long now--

It was that kind of song,I just felt you should

have been done in one go.

Which is kind of
the spontaneity.

Of because I didn't
get to in one go

I went for something
else which ended up

being a little bit too perfect.

[SINGING] But the
roof is leaking,

and the wind is howling.

The kids are crying 'causethe sheets are so cold.

When I woke this morningfound my hands were frozen.

I tried to fix the fire but youknow, the dang thing's too old.

And me, oh, I'm getting
stronger by the minute.

TONY BANKS: When I
listen to Phil's album

again what strikes
me is that there's

all these different varietiesof music on this one record.

It has sounds similar to theBeatles and Weather Report,

Motown music, a bit
of Genisis style.

Which I think is almost nextto impossible to do today.

I think if you were to presentto a record company this album,

say here I'm thinking
about doing this,

could you sign me
for this album.

I think they wouldn't.

I think even if Phil waspresenting this album today

they'd go, well,
you know that's not

really what we're looking for.

[SINGING] De-ayo!

De-ayo!

De-ayo!

TOM TOM WASHINGTON: At thetime we worked with Phil,

we didn't care anything
about record sales.

So when we got together wealways played the music which

we enjoyed, and we neverthought that it was going

to be as successful as it was.

PHIL COLLINS: The
way the song starts

it's like a call and response.

Village coming to life,waking up and going to work.

And so that's the way
that song starts to me

is kind of like that.

We kind of used to
exaggerate it more live.

De-ayo!

De-ayo!

De-ayo!

You know, as if
people were waking up,

and it was like
a Disney cartoon.

You can imagine
the birds rustling

their feathers and things.

[SINGING] De-ayo!

De-ayo!

The main track that I didat home was based on this.

[rhythm playing]

Boum, boum boum boum.

Boum boum, boum boum boum.

Boum, boum boum boum,
baum boum boum boum.

Boum boum boum boum
boum boum boum baum.

All those fills, Tom
Tom arranged the horns.

He had notated certainthings with dots and dashes.

Looks sort of like
the Morse code to me.

And as the music played he wouldpoint to the dot or the dash,

and I would look at
him and say, yeah, man.

I didn't know what this meant.

But he would point to thisand say, dat dat dat da dat,

you know.

And whatever that meant, this iswhere he predated Max Headroom.

Now what was so
interesting about it,

he was able to sing phoneticallywhat he meant by the dots

and dashes.

If it's a ba-dum.

I have to write a line, bash.

So I probably did that for him.

It was a da-da-da-da,
da-da-da-da,

da-da-da-da dun-da-da-dup!

TOM TOM WASHINGTON: By
him being a drummer,

maybe this was
some kind of way he

notated the best way he could.

The first couple
of times, I don't

know whether he really noticed,I thought he was crazy.

Whoever heard of this?

But the money was so well paidthat I said, man, this great.

Makes a lot of sense to me.

[MUSIC - PHIL COLLINS, "HAND IN HAND"]

DARYL STUERMER: I remember whenthe horn section all came in,

and they were all laughingand having a great time,

and we were doing "In The AirTonight" and songs like this.

And then these guys
came in laughing,

and Lui Lui Satterfield
was sitting there.

He said, you know Phil,
he is this amazing cat.

He says this guy,
you walk in, you'll

look at him you think he lookslike a farmer from England.

And then he sits down at adrum, he's hip as anybody else.

And I remember
Louis saying that.

And it was making me
laugh, because it's sort

of exactly what it looked like.

Here's Phil, very
casual, and he looked

like he could be a guy comingin with some tea for you.

TOM TOM WASHINGTON: Nowlet them try to play that.

LUI LUI SATTERFIELD:
He had a hand

as a combination of things,which he was good at.

He used to do it all the time.

We would grab things from him,put it together like this.

I mean it would be a couple ofcoaches working hand in hand.

I don't know that was hisidea, put Collins on there,

but this song "Hand in
Hand" was one at a huffy

puffy songs for the horns.

[music playing]

That was beautiful, LuiLui, we just don't want it

on this particular record.

[laughter]

It would be
great, wouldn't it?

[inaudible]

When that style comes backin, we'll give you a call.

DARYL STUERMER: I don't knowwhat was going on in his head,

but it didn't appear to me thathe was in any particular pain.

I think he was just
happy to be there.

But he was also probably
a little insecure

about what he's doing here.

Because he doesn't know howthis is going to turn out.

This is very new to him.

And when you were in a bandlike for instance in Genesis.

If you were in
Genesis you always

had the other two guys to feedoff of and to run ideas by.

So you don't do anythingwithout their approval, also.

Here it's up to him.

So Phil has got all thisresponsibility laid on him.

But I think he sort
of enjoyed that.

The tapes of the concert.

[MUSIC - PHIL COLLINS, "THIS MUST BE LOVE"]

[SINGING] Well I'm waitingevery day just in case

you decide to call.

This must be love is enteringthe next phase of my life.

So it actually isn't thedowner album or the sad album

that a lot of
people think it is.

By the time it was
actually being record--

being finished, and
certainly by the time

it came out, as I was
in another relationship.

So this is kind of a
very optimistic song.

I had the chords,
obviously the song.

But then Alphonso
came up with this--

de-da-uh, which
was a great hook.

He wanted kind of
something to thread

through the actual
motion of the song.

So he didn't want just
a plain R&B baseline.

And yet it couldn't
be too complicated.

So just using bare
instinct, I started

playing the notes of the chordsand came up with that kind

of loop, which was like a

[playing bass]

Which kind of complements hisvocal melody a little bit,

but not so much that
it distracts from it.

[SINGING] This must be love.

This must be love I'm feeling.

This must--

What is good?

Does it reach you,
does it touch you?

That's the most important thing.

And I just get bored.

So I don't like workingon things for a long time.

My attention span is kindof limited in terms of let's

do this, and let's move on.

As opposed to, let's do thisuntil we're really sick of it.

But it will be perfect.

[SINGING] This must
be love I'm feeling.

This must be love.

Woo.

[music - phil collins, "droned"]

PHIL COLLINS: It was alittle experiment, you know.

It was just a nice idea.

Sort of slightly esotericsort of area of music.

Some of it was Whether Report,some of was even more spacey,

but I just came up with thisrhythm on the black notes.

Phil is amazing, because hehas all the structurally needs,

but at the same time,
which a lot of people

might think that's
what he does only.

But he's equally
comfortable with all

the improvisational stuff,and immediately also he's

able to change if
something doesn't work.

MAN: He reminds me of
Frank Zappa, really.

Fastest tongue in the west.Or the east.

Daka da, dum dum, daka da dum.

Taka taka taka taka
dum, taka da dum.

Daka da dum.

Taka taka taka taka
dum, taka da dum.

PHIL COLLINS: Taka dum,dum de dum dum, tata dum--

I was as the sessions.

I felt I had to do something,so I played congas.

For some reason everythinghas gotten jumbled and puzzled

and mixed up over the years, andI've become known as something

that I'm really not.

A lot of people think
of me, I guess it could

be the Genesis connection.

It could be side effects
of the Mr. Nice Guy.

It could be the fact that someof the songs that have been

hits have been ballads,
and therefore people

look down at sort of
ballads as if they're

kind of middle of the road.

And so I don't know.

I don't know why.

I mean I thrive onspontaneous music, you know.

I used to sit with BrandX and just play for days.

Just play for days and days.

And in Genesis, weeverything we write all comes

out of days of improvisation.

It's not like-- it's
not music by numbers.

And but just more specificallymy own musical career,

you know I kind of felt
that I've been lumbered

with that perfectionist
slightly highly polished

last BMW driver kind of image.

[MUSIC - PHIL COLLINS, "TOMORROW NEVER KNOWS"]

[SINGING] It is shining.

Nothing is labored over.

Nothing is labored over.

Especially on my records.

[SINGING] That you maysee the meaning of within.

I included "Tomorrow
Never Knows"

because it's always been oneof my favorite Beatles songs.

I mean alongside the realmelodic songs, [inaudible]

and "I Want to Hold Your
Hand" and "If I Fell,"

"Tomorrow Never Knows"
always appealed to me.

The drums are great on it.

And I've always felt thatthere's inside that song--

the version of that song--

there was a really strongmelodic song trying to get out.

[SINGING] That love isall, and love is everyone.

And there is trying to beJohn Lennon again, you see.

[SINGING] It is knowing,
oh it is knowing.

NEWSCASTER: John Lennon wasbrought to the emergency room

at Roosevelt [inaudible] St.Luke's Roosevelt Hospital

this evening shortly
before 11:00 PM.

He was dead on arrival.

PHIL COLLINS: [SINGING]
It is believing.

It was an opportunity
to pay tribute.

To sort of-- for me anyway.

To play tribute to that
kind of pioneering stuff

that they did, really.

So we got everything in there.

Guitars, horns.

What's this?

That's backwards violin.

That is a section
two difference.

PHIL COLLINS: That's"Hand in Hand" backwards.

It's slowed down, and backwards.

La La La, La La La La La.

[speeded up music]

I want to assure you that nodrugs were take at this session

whatsoever.

[SINGING] That love isall, and love is everyone.

It is knowing, oh it is knowing.

I did make it
quite clear that I

wanted to be involved at everylevel, because this was my--

you know this is a
very personal record.

It was my life, and
it was my music,

and I wanted to do
all the cover writing.

The label, the bits
around it, the outside,

all the legal stuff I wrote,which normally is just printed,

and no one ever
reads it, you know.

But I just thought this isthere, I'm going to do it.

This is my life.

This is my thing.

And I chose the photographs.

Chose the press release photos,everything had to go by me.

And still does.

Everything still does
with every record.

Because I believe that someoneis going to buy that record,

and I think this is my idea.

The fact that some people thinkall my record have my face

on it is an egotistical thing.

Is I mean you wouldn't put aface like this on the cover,

really, if you wanted tosell a record, would you?

I mean the idea of
putting it on the cover

just to try and get asclose as you could to almost

see inside the person's head.

Because this is what was
going on inside my head.

SIMON DRAPER: 1980 he wasa time when we really were

having to come of age really.

And signing Phil was
in a way an attempt

by me to turn Virgin into amore mainstream record company.

But in fact, it turned out tobe something else altogether,

and broke completely newground, and was enormously

important for us in terms of wehad a major crossover record,

and helped to change
Virgin all together.

[MUSIC - PHIL COLLINS, "IF LEAVING ME IS EASY"]

[SINGING] I kept
those pictures,

but I hide my feelings
so no one knows.

Oh sure, my friends
all come round.

I'm in a crowd,
but I'm on my own.

I think this song is, from therecord, probably my favorite.

And that's probably includingin the "In the Air Tonight."

I've just played
"In the Air Tonight"

so many times since I wrote it.

Whereas this, this kindof captured an atmosphere

which was there all the time.

Actually we did it on thetour, the first tour we did.

But I got tired of people
talking through it,

so I dropped it.

[SINGING] See I heard

Phil would be playing
this delicate song,

and it would just
be going along.

[guitar playing]

And then somebody would
whistle really loud.

I actually remember himgetting angry at one point.

He goes, shut up!

And it's, you know--

Because you're trying to do thisdelicate song, and you just--

it was an American
audience, of course.

When I came out onstage here tonight I said,

this Dallas audience wantsto listen to the quiet songs.

Am I right?

I hope so.

Just these two
chords here are so

evocative to me of Isaac Hayesor "You Know I Love You, Babe."

I didn't mean to say thosethings about your mother.

Every moment on this, all thegung, gung, were choreographed.

I did it on the drums.

I just basically did thedrum track, and then me then

we added the bass
doing what I did,

and then the strings
highlighted it.

[SINGING] Love you the same.

That's the one thing--

The string part that Arif Mardinarranged it was wonderful.

It was one of the highlightsof the record, for me.

Having him stand thereconducting this real orchestra,

you know.

I'm so used to synthesizedstrings at that point.

It was lovely.

ARIF MARDIN: The
ending of this song

is so beautiful andserene, and he in his track

he had stabs, almost likeyou don't expect words not

to come up, you have anincredible like a wake up call,

you know.

Very, very beautiful.

And then continues again.

So we had that in a few places.

And it just--

Phil Collins built an
incredible mood there.

And I went along with the mood,and I went along with the mood

shattering stabs, too.

[SINGING] If leaving me iseasy and you know coming back

is harder.

PHIL COLLINS: To
me it's an album

of songs that I
really like, and songs

that I don't like as much.

Put it that way.

I mean, I'm my own
hardest critic, really.

So there's stuff
on there that I--

little moments like"Tomorrow Never Knows," this,

I guess "In the Air."

There's things that I'mvery proud of, that capture

those little moments in time.

I mean it's a surprise
that you get an album

like this from a drummer.

I guess-- and I think peopleovercompensated and went out

and bought it.

Because it was a surprise thatI could actually do something

else other than play the drums.

[MUSIC - PHIL COLLINS, "IN THE AIR TONIGHT"]

[SINGING] Yeah.

I've been waiting for
this moment all my life.

Waiting for this moment allmy life, for my whole, oh.

[cheering]