Genesis Discography Reimagined, 3: Face Value

Phil Collins peaked with this, his first solo album. I'm not sad that the albums that follow exist but none of them even attempt to capture the restrained intensity of this album. It definitely sounds related to the late 70s/early 80s Genesis output than his later, more poppy albums. While it definitely still falls into the Soft Rock category, it's not quite the Limp Rock he'd soon embrace. 

1. Tomorrow Never Knows

First a slow snare, then a pounding bass drum rise out of squeaking whistles. Someone is breaking through a wall of progressive rock. When the vocals hit, they don't sound like lilting Genesis. The timbre is there but there is a sharper enunciation. While still definitely something you could hear on soft rock radio, this jagged Beatles cover sets a menacing but upbeat tone for this, in my opinion, best album to come out of any member of Genesis.

2. In The Air Tonite

Peak Genesis. Peak Collins. Peak drum fill. Peak creepy. I've loved this song since I was in elementary school. I sighed and nodded when it was used in NBA commercials. Overplayed? Oh yea. But with reason. It's the most iconic song he was ever a part of.

3. If Leaving Me Is Easy

This is the smokey pop ballad on every late 70s/early 80s album. It's the drippiest track on what is, otherwise, a pretty restrained album. There is, of course, obligatory 80s sad sax on the intro and outro.

4. I Missed Again

Horns! Big checkered suits! Jilted lover! Near-falsetto! Basic Betty chorus! Catchy lyrics! Only cheesily dancable! This is the upbeat song that this album doesn't actually need. It's great, and it has the sound production vibe that is pretty much exclusive to this one Phil Collins album. It's just so much happier than this mostly monotone album. The sax is as neutral as it can be but it's overpowered by the brightest horns in this discography.

5. Thunder & Lightning

Maybe this album isn't as monotone as I remember? The horns get no less dull on this song that sounds somewhere between early 80s Billy Joel and late 70s Genesis. How come this feels so nice? Phil asks. And, yea, why does it? I never remember this song when I'm thinking of the album but it's definitely catchy, inoffensive album rock. It even has a fairly listenable guitar solo between all the horn breaks and hand claps.

6. The Roof Is Leaking

This is the song I tend to think of when I remember this album. Oh, sure, "In The Air Tonite" is unquestionably both the best and most well-known track, but this spare track with it's weirdly country-esque twang just seems to best embody the album. The lyrics are passionate, and Phil definitely puts the right spin on them but he's not straining or completely rocking out. He soft rocks the piano out of this not quite ballad. It also has crickets as an intro and outro, which is Very 80s version of alternative.

7. Droned

This track really feels like a continuation of "The Roof Is Leaking". The floating piano starts to brighten and increase in volume, while the synths remain in the spooky background. This is a sort of instrumental track. There are wordless chant style vocals. And drums, of course. It's a very percussive track.

8. Hand In Hand

The 80s tried to be very tropical for a while. More organic drum sounds, a wider variety of woodwinds, and a spare ... chiminess to the sounds. This is another instrumental track that gives the impression of a spooky atmospheric piece but then the drums and horns kick in proper, and it starts to morph into an 80s TV theme song. A sitcom about a family of grifters. We also get the return of those non-word chanty vocals. 


9. This Must Be Love

The title gives the impression that we're going back to the weepy sax of "If Leaving Me Is Easy", but nah. We're continuing with the tropical beat, pushing the synth back into the forefront, and Phil's vocals have a restrained, whispery quaver. It really doesn't feel like a love song at all. I really appreciate its incongruence.  This isn't a "Wow, I'm so happy, THIS must be love." It's more a "I thought I had indigestion but it turns out this is as close to happy as I can get right now."

10. I'm Not Moving

We kick the falsetto up higher. And the piano and drums return to 80s Billy Joel level, as Phil sings a much more wishy-washy version of Tom Petty's "I Won't Back Down". This is as close to New Wave as Collins ever gets. It has vocoded background vocals, which is one of the better uses of vocoded vocals I can think of. 

11. Behind The Lines

This is the only song on the album that I believe sounds more like a B-side. It's definitely from the neighborhood of "I Missed Again". It's not quite as catchy. The brightness seems a bit tarnished, and the lyrics are an instructino manual for introspection. t's weird that this track works as part of any Phil Collins album, but it definitely fits here.

12. You Know What I Mean

The crickets are back! The piano goes from Billy Joel to Meatloaf/Bonnie Raitt territory. Phil's vocals are suddenly 70s singer/songwriter. very broody and more natural than anywhere else on this album. If there was a video for this song, it would take place in the rain. There would be a hole in an umbrella. The camera would be looking down at Phil's upturned face as someone he loved walked away from him. 

13. I Don't Care Anymore

This is technically from Phil's next album, but it Belongs To This One. I love this song with an equal passion as I do for "in The Air Tonite". I love the snarl to the vocals. The strict drums. The teen angst lyrics.  I also love how it threatens to fade out, and then just stops in a nearly acapella fashion. It's a great end to this weird album.