Even the first half or so of the Phil Collins as lead singer era. I like the copious amounts of studio work he did throughout the early part of his career, pretty anonymously lending his chops to great albums by the likes of Brian Eno, Robert Fripp, Peter Gabriel, Brand X and all sorts of other prog and near-prog bands. I loved his debut album, Face Value: while “In the Air Tonight” has been over-played into insignificance (of not annoyance) in the years since it hit, it was truly an impressive and unusual hit for its era. Hearing a Genesis chestnut like “Behind the Lines” done up as a soulful, horn-fueled funk fest was fun and eye-opening. I wasn’t quite as thrilled with Phil’s second solo album, Hello, I Must Be Going, largely because of the stiff cover of “You Can’t Hurry Love,” a because it seemed like a track-by-track mirror of the first record, with poorer songs. No Jacket Required, unfortunately, was closer to the latter than the former. I was receptive and ready to receive it, and was crushingly disappointed when I actually heard it. I think that’s when I stopped liking Genesis too, so unpalatable did it make Phil. As for Springsteen, I never liked him.
Goodie Mob: : Soul Food: : LaFace Records
Stevie Wonder‘s second solo effort from 1972, Inner Visions confirmed the suspicion that this guy sees music in a very different dimension. On “Superstition,” from 1973’s Talking Book, he plays every instrument (save trumpet and sax), and does it well. The instantly recognizable 4&ah snare pickup kicks off a swaggering four-bar drum intro that owes its bopping momentum to a hi-hat pattern that plays roughly like &ah1&2&ah3e&4, swung heavily, with a straight quarter-note kick and 2 and 4 backbeat. Many drummers underestimate the potency of the swung hat and attempt to duplicate the bounce with complicated funk patterns.