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This is the world we live inand these are the hands we're given use them and lets start trying to make this a world worth living in. Theres too many men too many people making too many problems and not much love to go around can't you see its just a land of confusion.
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Jun 5, 2014 03:11
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https://www.youtube.com/watch?v=qD4PXEw8hxM
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Jun 5, 2014 03:15
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phil collins gets a free pass for whatever dumb poo poo he wants to do due to the drum part in the 9/8 bit of supper's ready
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Jun 5, 2014 03:16
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Isn't he crazy now? And not crazy in the fun way?
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Jun 5, 2014 03:18
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Big Ol Marsh Pussy posted:phil collins gets a free pass for whatever dumb poo poo he wants to do due to the drum part in the 9/8 bit of supper's ready Supper's Ready is awesome unrelated: 
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Jun 5, 2014 03:20
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RIP phil collins' arm
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Jun 5, 2014 03:22
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redshirt posted:Isn't he crazy now? And not crazy in the fun way? all crazy is fun, FYI and more fun if they have as somethingawful.com account
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Jun 5, 2014 03:27
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Aesop Poprock posted:Dave Matthews is a good musician 
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Jun 5, 2014 03:43
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U2 making fun of anybody, this is the world we live in and these are the clowns we're given
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Jun 5, 2014 04:24
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The Phil Collins Miami Vice episode was good. https://www.youtube.com/watch?v=ss4jbv3wVSg
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Jun 5, 2014 06:41
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Phil Collins is the dark master. All are touched by his malevolent omnipresence.
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Jun 5, 2014 07:03
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Jeses je knows me and je knows im right.
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Jun 5, 2014 07:04
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He has a solid body of work except for "I can't dance," what a loving stupid song
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Jun 5, 2014 07:50
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the way that the southpark boys harbored a years-long grudge against Phil Collins because he won the oscar for best song the year that they were nominated is so hilariously pissy
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Jun 5, 2014 07:56
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i used to dislike Phil Collins, but he's an easy lover. he'll get a hold on you, believe it.
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Jun 5, 2014 08:10
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~*
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Aesop Poprock posted:Dave Matthews is a good musician  
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Jun 5, 2014 08:26
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No lie, Invisible Touch is an OK album.
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Jun 5, 2014 10:22
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I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn’t understand any of their work. Too artsy, too intellectual.
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Jun 5, 2014 11:13
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What is it about the late 80s/early 90s and everyone wearing ugly button down shirts? Also, Phil Collins is very bald.
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Jun 5, 2014 11:49
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phill collins good
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Jun 5, 2014 11:54
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Love Rat posted:Same here, though In Too Deep and Mama are funner to perform. Yeah, I like to do in too deep and invisible touch
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Jun 5, 2014 12:02
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whoa http://www.avclub.com/article/phil-collins-was-just-your-average-everyday-kind-o-81128 av club posted:He has young children he wants to watch grow up, crippling pain that makes gripping things (like drum sticks) with his hands a difficult proposition, and a weirdly obsessive preoccupation with collecting Alamo memorabilia. Oh, and Collins is also sick of the world making fun of him av club posted:Later—after the part where Collins suggests that he’s taken photos of ghosts hovering above present-day Alamo battle sites—he admits that he’s contemplated suicide. “I wouldn’t blow my head off,” he says in the story’s other big pull quote. “I’d overdose or do something that didn’t hurt. But I wouldn’t do that to the children. A comedian who committed suicide in the ’60s left a note saying, ‘Too many things went wrong too often.’ I often think about that.”
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Jun 5, 2014 12:08
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Luvcow posted:whoa Aww thats sad, poor Phil. I also heard his hearing is shot too. I'm a huge genesis fan in general and used to be a staunch proponent of the Gabriel years but Phil is just way better as a frontman. And then I can't dance came out which is just utter poo poo. Qadaffi Taffy fucked around with this message at 13:41 on Jun 5, 2014 |
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Jun 5, 2014 12:55
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His finest hour https://www.youtube.com/watch?v=XW0AhWoHP0w
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Jun 5, 2014 12:58
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Peter Gabriel much better he's like the most british guy ever and pretty cool. I like the album with the fox on it with the crazy cool songs and the one about selling england trespass is cool too cause it's all folksy and philless.
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Jun 5, 2014 13:01
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who can stop this mad genius? the answer is: no one
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Jun 5, 2014 13:11
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egon_beeblebrox posted:No lie, Invisible Touch is an OK album. Anyone ever see the video for land of confusion? Cause it's cool as heck. It's got a puppet of Ronnie Reagan!
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Jun 5, 2014 13:44
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more importantly, if you don't play some drat Phil Collins, Steven Gerrard will beat you up
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Jun 5, 2014 22:48
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Best Genesis https://www.youtube.com/watch?v=_61hzuGGJX0
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Jun 5, 2014 22:58
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not too long ago i had a dream that i went to a karaoke bar where a washed-up phil collins was getting piss drunk and singing his own songs for karaoke and nobody knew who he was i woke up lollin
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Jun 6, 2014 04:01
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I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself. Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted. My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all. Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills. “Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities. Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock. Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
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Jun 6, 2014 04:13
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Piearesquared posted:Anyone ever see the video for land of confusion? Cause it's cool as heck. It's got a puppet of Ronnie Reagan! 
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Jun 6, 2014 04:24
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I only clicked on this thread because some guy in my apartment complex has been sticking his head out the window every 30 minutes and loudly singing a single line of "I Can Feel it in the Air Tonight". If it's one of you I just want you to know you're a terrible singer.
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Jun 6, 2014 04:25
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12. Genesis, “No Son Of Mine” (1991) Most songs about bad dads focus on the abuse, physical or otherwise; if there’s any confrontation between the abuser and the abused, it’s usually triumphant or violent. “No Son Of Mine” takes the knife and twists it. After spending his childhood being beaten (or watching his mother get beaten, or both; the song is ambiguous on this point), the unnamed narrator runs away from home, desperate to escape. As time goes by, he realizes he needs to go back to his parents, if only to confront them about what happened. Instead of expressing any guilt or shame over his behavior, the narrator’s father sits him down and tells him, well, it’s right there in the title. The beatings were bad enough, but the song’s chorus suggests that the rejection might have had a greater impact. https://www.youtube.com/watch?v=GsUpBsbJy4Y Thanks AV Club you've done it again
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Jun 12, 2014 04:12
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rip phil
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Jun 12, 2014 04:13
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Phil Collins had the theme songs for me grabbing boobs while ice skating in like 7th grade
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Jun 12, 2014 04:14
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I don't care anymore, no homo no mo, no homo no mo
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Jun 12, 2014 04:15
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in the air tonight is an air bass fave of mine
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Jun 12, 2014 04:19
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Orkin Mang posted:in the air tonight is an air bass fave of mine Cool Michelob ad too.
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Jun 12, 2014 04:22
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in the air tonight owns because it's such lazy songwriting https://www.youtube.com/watch?v=aTVsTAq0Xb4 press butan, collect grammies
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Jun 12, 2014 04:32
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