PHIL COLLINS
''GOING BACK''
SEPTEMBER 28 2010
57:16
1/Girl (Why You Wanna Make Me Blue) feat. The PC Horns
Eddie Holland / Norman J. Whitfield/2:32
2/(Love Is Like A) Heatwave
Lamont Dozier / Brian Holland / Eddie Holland/2:53
3/Uptight (Everything's Alright)
Henry Cosby / Sylvia Moy / Stevie Wonder/3:03
4/Some of Your Lovin'
Gerry Goffin / Carole King/3:19
5/In My Lonely Room
Lamont Dozier / Brian Holland / Eddie Holland/2:25
6/Take Me in Your Arms (Rock Me for a Little While)
Lamont Dozier / Brian Holland / Eddie Holland/2:59
7/Blame It on the Sun
Stevie Wonder/3:27
8/Papa Was a Rolling Stone
Barrett Strong / Norman J. Whitfield/6:44
9/Never Dreamed You'd Leave in Summer
Stevie Wonder / Syreeta Wright/2:59
10/Standing in the Shadows of Love
Lamont Dozier / Brian Holland / Eddie Holland/2:42
11/Do I Love You
Vini Poncia / Phil Spector/2:50
12/Jimmy Mack
Lamont Dozier / Brian Holland / Eddie Holland/2:56
13/Something About You
Lamont Dozier / Brian Holland / Eddie Holland/2:47
14/Love Is Here and Now You're Gone
Lamont Dozier / Brian Holland / Eddie Holland/2:40
15/Loving You Is Sweeter Than Ever
Ivy Jo Hunter / Stevie Wonder/2:48
16/Going to a Go-Go
Warren Moore / William "Smokey" Robinson / Robert Rogers / Marvin Tarplin/2:49
17/Talkin About My Baby
Curtis Mayfield/2:47
18/Going Back
Gerry Goffin / Carole King/4:36
John Aram /Finger Snaps, Handclapping, Trombone
Bob Babbitt /Bass, Guitar, Member of Featured Artist
Guy Barker /Soloist, Trumpet
Graeme Blevins /Sax (Tenor), Soloist
Ronnie Caryl /Guitar (Acoustic)
Mathew Collins /Finger Snaps, Handclapping, Stomping, Vocals (Background)
Nicholas Collins /Finger Snaps, Handclapping, Stomping, Vocals (Background)
Phil Collins /Arranger, Back Cover Photo, Bass, Drums, Finger Snaps, Glockenspiel, Guitar, Handclapping, Harp, Keyboards, Organ, Percussion, Piano,
Piano (Electric), Vocals, Vocals (Background)
Lynne Fiddmont /Vocals (Background)
The Funk Brothers
Connie Jackson /Vocals (Background)
Ray Monette /Guitar, Wah Wah Guitar
Jason Rebello /Piano, Piano (Electric), Vibraphone
Tom Rees-Roberts /Trumpet
Celeste-Marie Roy /Bassoon
Scott Stroman /Conductor, Finger Snaps, Handclapping, String Arrangements
Phil Todd /Flute, Piccolo, Sax (Baritone), Soloist
Eddie Willis /Guitar, Member of Featured Artist
REVIEW
by Stephen Thomas Erlewine
Like any baby boomer Phil Collins is no stranger to Motown. Arguably, he has a deeper connection than most, having scored a hit with a cover of the Supremes' “You Can’t Hurry Love” back in 1982 and then proving he was adept at writing his own Tamla bounce with 1988’s “Two Hearts,” so devoting a full album to Motown songs is not a huge stretch, but 2010’s Going Back -- his first studio album since 2002’s Testify and only his fourth record since 1990 -- is nevertheless mildly surprising in its fidelity to its source material. Collins hired three of the surviving Funk Brothers as instrumental support and set about replicating a bunch of Motown classics -- 18 in its standard edition, a whopping 25 in its deluxe edition -- in a studio in Switzerland. Replication is not an exaggeration: these are not interpretations but re-creations of the original arrangements and productions, the only difference being Collins’ vocals. He is too in love with the originals to change even tiny inflections but he’s also enjoying the process of making music with some of his idols. For a listener, this can be a shared fun, particularly when Collins explores some of the lesser-known songs, like “Girl (Why You Wanna Make Me Blue),” “Some of Your Lovin’,” “In My Lonely Room” and “Something About You.” Most of Going Back is devoted to the tried and true, though, the hits that remain staples on oldies stations across the globe, and whenever Collins is singing “Heatwave,” “Uptight,” “Papa Was a Rolling Stone,” “Jimmy Mack” or “Going to a Go-Go,” the album inches away from being a labor of love and into pure nostalgia trip, but even then the album is pleasant enough that it’s hard to complain.
BIOGRAPHY
by William Ruhlmann
Phil Collins' ascent to the status of one of the most successful pop and adult contemporary singers of the '80s and beyond was probably as much of a surprise to him as it was to many others. Balding and diminutive, Collins was almost 30 years old when his first solo single, "In the Air Tonight," became a number two hit in his native U.K. (the song was a Top 20 hit in the U.S.). Between 1984 and 1990, Collins had a string of 13 straight U.S. Top Ten hits.
Long before any of that happened, however, Collins was a child actor/singer who appeared as the Artful Dodger in the London production of Oliver! in 1964. (He also has a cameo in A Hard Day's Night, among other films.) He got his first break in music at the end of his teens, when he was chosen to be a replacement drummer in the British art rock band Genesis in 1970. (Collins maintained a separate jazz career with the band Brand X as well.)
Genesis was fronted by singer Peter Gabriel. They had achieved a moderate level of success in the U.K. and the U.S., with elaborate concept albums, before Gabriel abruptly left in 1974. Genesis auditioned 400 singers without success, then decided to let Collins have a go. The result was a gradual simplifying of Genesis' sound and an increasing focus on Collins' expressive, throaty voice. And Then There Were Three... went gold in 1978, and Duke was even more successful.
Collins made his debut solo album, Face Value, in 1981, which turned out to be a bigger hit than any Genesis album. It concentrated on Collins' voice, often in stark, haunting contexts such as the piano-and-drum dirge "In the Air Tonight," which sounded like something from John Lennon's debut solo album, John Lennon/Plastic Ono Band.
During the '80s, Collins was enormously successful in balancing his continuing solo work with his membership in Genesis. In 1992, Genesis released We Can't Dance and began an extensive tour. Upon its completion Collins released Both Sides in 1993, and the record became his first album not to produce a major hit single or go multi-platinum. In 1995, he announced that he was leaving Genesis permanently. The following year, he released Dance Into the Light. Although the album was a flop, its subsequent supporting tour was a success.
The Hits collection followed in 1998, and a year later Collins made his first big-band record, Hot Night in Paris. The song cycle Testify arrived in 2002, and his next studio-recorded solo release was 2010's Going Back, which saw Collins revisiting the Motown hits that so influenced him and featuring three of the surviving Funk Brothers -- guitarists Eddie Willis and Ray Monette and bassist Bob Babbitt.
DoWnLoAd
''GOING BACK''
SEPTEMBER 28 2010
57:16
1/Girl (Why You Wanna Make Me Blue) feat. The PC Horns
Eddie Holland / Norman J. Whitfield/2:32
2/(Love Is Like A) Heatwave
Lamont Dozier / Brian Holland / Eddie Holland/2:53
3/Uptight (Everything's Alright)
Henry Cosby / Sylvia Moy / Stevie Wonder/3:03
4/Some of Your Lovin'
Gerry Goffin / Carole King/3:19
5/In My Lonely Room
Lamont Dozier / Brian Holland / Eddie Holland/2:25
6/Take Me in Your Arms (Rock Me for a Little While)
Lamont Dozier / Brian Holland / Eddie Holland/2:59
7/Blame It on the Sun
Stevie Wonder/3:27
8/Papa Was a Rolling Stone
Barrett Strong / Norman J. Whitfield/6:44
9/Never Dreamed You'd Leave in Summer
Stevie Wonder / Syreeta Wright/2:59
10/Standing in the Shadows of Love
Lamont Dozier / Brian Holland / Eddie Holland/2:42
11/Do I Love You
Vini Poncia / Phil Spector/2:50
12/Jimmy Mack
Lamont Dozier / Brian Holland / Eddie Holland/2:56
13/Something About You
Lamont Dozier / Brian Holland / Eddie Holland/2:47
14/Love Is Here and Now You're Gone
Lamont Dozier / Brian Holland / Eddie Holland/2:40
15/Loving You Is Sweeter Than Ever
Ivy Jo Hunter / Stevie Wonder/2:48
16/Going to a Go-Go
Warren Moore / William "Smokey" Robinson / Robert Rogers / Marvin Tarplin/2:49
17/Talkin About My Baby
Curtis Mayfield/2:47
18/Going Back
Gerry Goffin / Carole King/4:36
John Aram /Finger Snaps, Handclapping, Trombone
Bob Babbitt /Bass, Guitar, Member of Featured Artist
Guy Barker /Soloist, Trumpet
Graeme Blevins /Sax (Tenor), Soloist
Ronnie Caryl /Guitar (Acoustic)
Mathew Collins /Finger Snaps, Handclapping, Stomping, Vocals (Background)
Nicholas Collins /Finger Snaps, Handclapping, Stomping, Vocals (Background)
Phil Collins /Arranger, Back Cover Photo, Bass, Drums, Finger Snaps, Glockenspiel, Guitar, Handclapping, Harp, Keyboards, Organ, Percussion, Piano,
Piano (Electric), Vocals, Vocals (Background)
Lynne Fiddmont /Vocals (Background)
The Funk Brothers
Connie Jackson /Vocals (Background)
Ray Monette /Guitar, Wah Wah Guitar
Jason Rebello /Piano, Piano (Electric), Vibraphone
Tom Rees-Roberts /Trumpet
Celeste-Marie Roy /Bassoon
Scott Stroman /Conductor, Finger Snaps, Handclapping, String Arrangements
Phil Todd /Flute, Piccolo, Sax (Baritone), Soloist
Eddie Willis /Guitar, Member of Featured Artist
REVIEW
by Stephen Thomas Erlewine
Like any baby boomer Phil Collins is no stranger to Motown. Arguably, he has a deeper connection than most, having scored a hit with a cover of the Supremes' “You Can’t Hurry Love” back in 1982 and then proving he was adept at writing his own Tamla bounce with 1988’s “Two Hearts,” so devoting a full album to Motown songs is not a huge stretch, but 2010’s Going Back -- his first studio album since 2002’s Testify and only his fourth record since 1990 -- is nevertheless mildly surprising in its fidelity to its source material. Collins hired three of the surviving Funk Brothers as instrumental support and set about replicating a bunch of Motown classics -- 18 in its standard edition, a whopping 25 in its deluxe edition -- in a studio in Switzerland. Replication is not an exaggeration: these are not interpretations but re-creations of the original arrangements and productions, the only difference being Collins’ vocals. He is too in love with the originals to change even tiny inflections but he’s also enjoying the process of making music with some of his idols. For a listener, this can be a shared fun, particularly when Collins explores some of the lesser-known songs, like “Girl (Why You Wanna Make Me Blue),” “Some of Your Lovin’,” “In My Lonely Room” and “Something About You.” Most of Going Back is devoted to the tried and true, though, the hits that remain staples on oldies stations across the globe, and whenever Collins is singing “Heatwave,” “Uptight,” “Papa Was a Rolling Stone,” “Jimmy Mack” or “Going to a Go-Go,” the album inches away from being a labor of love and into pure nostalgia trip, but even then the album is pleasant enough that it’s hard to complain.
BIOGRAPHY
by William Ruhlmann
Phil Collins' ascent to the status of one of the most successful pop and adult contemporary singers of the '80s and beyond was probably as much of a surprise to him as it was to many others. Balding and diminutive, Collins was almost 30 years old when his first solo single, "In the Air Tonight," became a number two hit in his native U.K. (the song was a Top 20 hit in the U.S.). Between 1984 and 1990, Collins had a string of 13 straight U.S. Top Ten hits.
Long before any of that happened, however, Collins was a child actor/singer who appeared as the Artful Dodger in the London production of Oliver! in 1964. (He also has a cameo in A Hard Day's Night, among other films.) He got his first break in music at the end of his teens, when he was chosen to be a replacement drummer in the British art rock band Genesis in 1970. (Collins maintained a separate jazz career with the band Brand X as well.)
Genesis was fronted by singer Peter Gabriel. They had achieved a moderate level of success in the U.K. and the U.S., with elaborate concept albums, before Gabriel abruptly left in 1974. Genesis auditioned 400 singers without success, then decided to let Collins have a go. The result was a gradual simplifying of Genesis' sound and an increasing focus on Collins' expressive, throaty voice. And Then There Were Three... went gold in 1978, and Duke was even more successful.
Collins made his debut solo album, Face Value, in 1981, which turned out to be a bigger hit than any Genesis album. It concentrated on Collins' voice, often in stark, haunting contexts such as the piano-and-drum dirge "In the Air Tonight," which sounded like something from John Lennon's debut solo album, John Lennon/Plastic Ono Band.
During the '80s, Collins was enormously successful in balancing his continuing solo work with his membership in Genesis. In 1992, Genesis released We Can't Dance and began an extensive tour. Upon its completion Collins released Both Sides in 1993, and the record became his first album not to produce a major hit single or go multi-platinum. In 1995, he announced that he was leaving Genesis permanently. The following year, he released Dance Into the Light. Although the album was a flop, its subsequent supporting tour was a success.
The Hits collection followed in 1998, and a year later Collins made his first big-band record, Hot Night in Paris. The song cycle Testify arrived in 2002, and his next studio-recorded solo release was 2010's Going Back, which saw Collins revisiting the Motown hits that so influenced him and featuring three of the surviving Funk Brothers -- guitarists Eddie Willis and Ray Monette and bassist Bob Babbitt.
DoWnLoAd