Collins Phil: Hello, I Must Be Going! CD Track Listing

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Collins Phil Hello, I Must Be Going! (1982)
Track titels in lower case\nOriginally Released 1982\nCD Edition Released 1987 ??\n\nAMG EXPERT REVIEW: As his hit cover of "You Can't Hurry Love" demonstrates, Phil Collins began to inject his highly melodic pop songwriting with more soul and R&B influences on his second solo album, Hello, I Must Be Going! While some of the material was successful, much of it showed that he was still coming to grips with how to incorporate R&B techniques into his style; in retrospect, Hello, I Must Be Going! laid the groundwork for his breakthrough album, No Jacket Required. -- Stephen Thomas Erlewine\n\nAmazon.com essential recording\nIf you are considering divorcing a rock star, let Hello, I Must Be Going! serve as fair warning of what you're likely to face once the papers have been signed and the settlements made. Collins got the last word on sundering his relationship with first wife Jill (he actually addresses her by name on the album!), and managed to deliver it to millions of homes via this album, which contains one blistering diatribe after another: "I Don't Care Anymore," "I Cannot Believe It's True," "Do You Know, Do You Care?," and "It Don't Matter to Me." The mood is tempered a bit by a lively remake of the Supremes' "You Can't Hurry Love" and "Like China," a sprightly rocker celebrating new love. Yet as listenable and engaging as it is, Hello, I Must Be Going! has to be regarded as one of the angriest albums in mainstream rock history. Great stuff, when you're in the mood for that sort of thing. --Daniel Durchholz \n\nAMAZON.COM CUSTOMER REVIEW\nAmong his best work, December 21, 2005\nReviewer: Daryl R. Dirham\nWhen I wrote a review of another album and referred to it as a redheaded stepchild, I realized that this album may be the mother of redheaded stepchild albums - albums that become ignored by their creators and by the listening public. Once again, we have an album that gets only one song on the greatest hits - despite being chock full of some of the finest work of the artist's career. "I Don't Care Anymore" improves upon "In the air Tonight" in every way - lyrics that are angrier and more concise, music that cuts to the chase with intense, stark drumming from the get-go. Feeling ticked off? Try screaming along to this in your car. "I Cannot Believe it's True" and "It Don't Matter to Me" both use uptempo, EW&F brass to punctuate driving songs from the edge of a breakup. "Don't let him Steal your Heart Away" is one of the best songs ever to describe the too-little-too-late feelings of accountability that crop up as a relationship turns to dust. It's heartbreaking. "Do you know, Do you Care" and "Thru These Walls" are dark and scary (that's right, Phil Collins making music that is dark and scary!), plunging us into the depths of a troubled mind, frought with anger and paranoia. Particularly the unsettling "Walls," which I've heard is either about how much Phil misses his kids or a fictionalized account of a separated guy deposed to a hotel room, being emotionally tortured by the sounds of a couple's lovemaking coming from the room next door. Whichever, it's a creepy, pervy-sounding song. I don't want to give the impression that listening to this is an overly depressing affair. The musicianship is first-rate, the tune selection varied. It's the last of Phil's deeply personal, handmade albums. Within a couple years, he'd get married, find happiness and dominate the world as one of the biggest pop stars of the decade (Really. The year Phil had in '85 is possibly trumped only by Michael Jackson's '83). He'd never return to this kind of introspective, nakedly personal work. This is a rock-solid offering that deserves to be heard.\n\nAMAZON.COM CUSTOMER REVIEW\nDon't Go! Stay For More!, October 21, 2005\nReviewer: Josephll "Josephll" (CET)\nPhil Collins second album was not as moody as the first but it was still quite bitter. However, he discovered his "soul" here and it came to influent him during the whole 80's. Although many songs are still about his divorce, the sound is happier here overall and the soul roots come through with songs like "You Can't Hurry Love" and "It Doesn't matter" but it wasn't until the next abum "No Jackets Required" that he had his big break for real. \n\n"I Don't Care Anymore" is very bitter, a good breakup song I guess but otherwise You'll feel bad about listening to it. It's slow with percussions and it's about "trying to not care about the Ex". Lyrics like this "Don't care what you say, We never played by the same rules anyway. I won't be there anymore, Get out of my way". Second song is called "I Cannot Believe it true" it's a catchy soul uptempo song with the trademark horns. Forget the pessimistic lyrics but enjoy the song that is wonderful and full of joy. "like China" starts off with a cool guitar riff that goes on throgh the whole song, it feautures percussion and it one of the most rocky songs here. For some reason I always thought that Collins sounds very odd when he sings here, like he got a accent?. The song is about the same thing as the first 2. "Do You know, Do You care" follows the same formula, and it's a slow song with percussion, Collins lyrics echoes through the song. \n\n"You Can't Hurry Love" is a note for note cover of Supreme's classic 60's hit. It proved Collins soul that was going to be something that he kept through his career. "It doesn't Matter" is yet another soulish song that feautures horns and a happy feeling, although the songs meaning may not be. A highlight on this album for sure and the horn playing is fantastic. "Thru These Walls" is a slow ballad like song and perhaps the most simular song to "In the Air", not the same emotional feeling but the drum playing is simular. "Don't Let Him Steal Your Heart" is another ballad with piano. Reminds me abit of Elton John. "The West Side" continues the tradition of instrumentals, Sometimes music says more then words, this is fantastic with beautiful horns, just enjoy!. "Why Can't It wait til Morning" ends the album with a piano ballad. \n\nOverall, Phil Collins discovers soul. While there weren't that many single hits here there's alot of beautiful songs just the same. The instruments especially proves his musicality and the music adds variety to the album. Perhaps abit too many bitter lyrics but an wonderful album to listen to, wether you're moody or happy. \n\nAMAZON.COM CUSTOMER REVIEW\ngood Phil, a few clunkers, some gems - and a correction, September 24, 2005\nReviewer: Daniel Sapen (Huntington Station, NY United States)\nFirst, to Editorial Reviewer Dan Durchholz - nice work, but one big boo-boo: Phil had not divorced Jill at the time of this album - he had just married her, and remained married to her for many years. He cited her in the notes of this album because he loved her. The bitter songs referred to his ex (Andrea), who reportedly cheated on him with her interior decorator, spawning several songs from Genesis' Duke album (e.g. Misunderstanding, Please Don't Ask) and much of Face value and this album. \n\nThis is a fine album with some great grooves, some bitter diatribes, some manic-happy-pop and heartbreaking ballads. Phil hits his best R&B a la Collins feel in this record, for my money. I Cannot Believe It's True is a gem. Great, great drums all around. But why "Like China" even made it out of a disturbed sleep, much less into the studio, I can't fathom. \n\nMore hits than misses - for the detractors, Phil does what he sets out to do with a higher batting average than most. Prog-rockers beware - unless you like lighter fare as well. \n\nAMAZON.COM CUSTOMER REVIEW\na great album; characteristically sincere and emotional, with a sprinkling of serious rage, August 21, 2005\nReviewer: Dave "missing person" (United States)\nThis second solo album from Phil Collins, "Hello, I Must Be Going", was originally released in late 1982, and although it's not *quite* as great as his two surrounding albums--"Face Value" & "No Jacket Required"--it's really splitting hairs, because this is a great album in its own right. \n\nI've seen this album referred to as being, essentially, a carbon copy of the previous album, which is a bit of an overstatement. Certainly, the two albums aren't without similarity, but overall, this album is considerably less quiet than "Face Value" (which featured a smokey and/or starkly-arranged sound on many of the tracks). Also, although it doesn't seem like it was a conscious move, drum machines are not very prominent on here. "Thru These Walls" does feature sustained keyboard chords over a rhythm loop, but the loop doesn't have the "machine"-feel of "In the Air Tonight"--it sounds more like real percussion. The album is excellently produced (by Collins & assisted by Hugh Padgham)--it sounds very crisp, vibrant, and more organic than the two studio albums from Genesis that it's sandwiched in between. \n\nIt starts off with the cathartic break-up song "I Don't Care Anymore", which features explosive drums, unhinged vocals, & a classic Collins build-up. "Do You Know, Do You Care?" is slower, but very similar, & is also excellent, with an arresting, ominous, doom-laden atmosphere, as well a great, extended high note from Collins toward the end. These 2 tracks display an angry, raging Phil letting off a ton of steam to powerful effect. \n\nLyrically, Phil continues to express disgust over a broken relationship on "I Cannot Believe It's True" and "It Don't Matter To Me", but on these tracks he uses an upbeat, horn-laden pop-rock enviroment instead, and each of these tracks are gems. "I Cannot Believe It's True" seamlessly works its way through several different musical sections, and is in a very similar vein as the 1981 Genesis song "No Reply At All". \n\n"Thru These Walls" is an arrestingly creepy song that effectively creates the feeling of being a little kid locked in their room in the dark and being able to hear what their parents are saying/ doing. The melodic, pleading, piano-based ballad "Don't Let Him Steal Your Heart Away" is a gem as well. Another track to feature masterful Collins use of dynamnics is the splendid sax & horn-laden instrumental-plus-vocal chant "The West Side" (the bit you hear at 1:08 of the track totally recalls "Harbor Lights" by Boz Scaggs). The gentle, orchestrated ballad "Why Can't It Wait 'Til Morning" is a tad tedious, but it's only about 3 minutes long, & it's a decent album-closer. \n\nPhil lightens up the mood to jolting effect on a couple of tracks, which was probably intentional, but it leads Collins into a small bit of trouble. Actually, the cover of "You Can't Hurry Love" (every other track is a Collins solo composition) is good clean fun--admittedly, it's very faithful to the Supremes' original--and it's enthusiastically performed. However, he gets a little carried away on "Like China", which features annoying lyrics, including Phil saying he'll treat his girlfriend "like china" knowing it's her "first time", and the song is made additionally annoying by his jokey vocal, but it still does have that catchy guitar riff plus the soaring bridge sections. It seems as though he was trying to draw some attention away from his angrier side by sticking "Do You Know, Do You Care?" in between "Like China" & "You Can't Hurry Love". \n\nSo, the album ends up being a tad flawed, but it's not a big problem at all--the lion's share of the album is brilliant. Track upon track features Collins taking his own personal turmoil & turning it into powerful art--in other words, Collins at his best.\n\nAMAZON.COM CUSTOMER REVIEW\nOr call this No Vest Required--the prelude, July 8, 2005\nReviewer: Daniel J. Hamlow (Farmington, NM USA)\nAnother Genesis album, Abacab, was followed a year later by another Phil Collins solo album. Hello, I Must Be Going was a clear indication of the Earth, Wind, & Fire type soul-pop that would yield the Grammy-winning No Jacket Required. For the most part, gone were the "weird" songs like "In The Air Tonight" or the cover of "Tomorrow Never Knows." His note-for-note cover of the Supremes' "You Can't Hurry Love," which went to #10, is ample evidence of the pop/soul direction that would hit pay dirt later on. It's still infectious and has its place in the 80's, a decade and a half before the original hit #1. \n\nThe closest thing to "In The Air Tonight," with the airy synths, is "Thru These Walls," of how loneliness feeds upon the need to listen with a glass to the wall or stare out at the window at goings on, where a genuine need to touch someone isn't an option in the cold world. Next up is the disgust and apathy of being ridiculed and having one's name dragged in the dirt of "I Don't Care Anymore," which made it to #39. However, there was none of the haunting eeriness which made "Air" a hit. The slow "Do You Know Do You Care" has a droning synth and guitars, with Collins' vocals overlaid on that airy soundscape. It sounds more like later day Genesis, come to think of it. \n\nThe third single, the upbeat "I Cannot Believe It's True," only made it to #79 despite the snazzy horns. This is puzzling given how similar-sounding singles by him shot to the Top Ten in later years. The Phenix Horns, his brass band, gives this song, and others like "It Don't Matter To Me" quite the kick. \n\nTwo piano ballads are "Don't Let Him Steal Your Heart Away," which gains a bit of momentum with his steady drumming, the strings matching the pounded piano chords, and the sad but tender "Why Can't It Wait Till Morning," which is Phil on piano, the strings, and nothing else. Another singleworthy song and one of my favourites here. \n\nCollins was also at the producer's helm this time, with assistance from Hugh Padgham, the brains behind Face Value and the Police's Synchronicity, and would continue with him in his Grammy-winning triumph. And Daryl Steurmer, whose snarling guitar would be most noticeable in "Don't Lose My Number," has guitar chores here. \n\nWhereas Face Value showed many sides of Collins, this is basically a prelude to the hit that No Jacket Required would become. Maybe call this No Vest Required? Yet one can't help but think that Collins' solo success also fed upon the success of his group. Following this, Genesis would gain their first Top Ten hit with "That's All," and during that time, Collins would pave the way to superstardom with a few non-album hits and some big events. So, goodbye, I must be going.\n\nAMAZON.COM CUSTOMER REVIEW\nA Highly Personal Album - and a true masterpiece, August 9, 2004\nReviewer: William Cooper (Lawrenceville, NJ USA)\nPhil Collins' second solo album "Hello, I Must Be Going" is a highly personal album. Just about every song on the collection centers around relationships and most of it around the breakup of his marriage to his first wife Andrea. It had been reported that Andrea ran out on Phil, who had long been entrenched in his career. In a lot of ways, this album is a continuation from his first solo album "Face Value". On "Face Value" a lot of what was written on the hit song "In the Air Tonight" was his bitterness toward his first wife. On "Hello, I Must Be Going", Phil expands on the theme of the breakup - but not just with the bitterness. Phil gives his own perspectives on things and also will acknowledge his own faults. On the "Face Value" album, there are three central themes that are also carried out to "Hello, I Must Be Going": 1) He continues to integrate horns into the songs (although a little less on this album); 2) There still what I term a "dark psychedelic" element. The best way I can describe this is this is the kind of music you might hear on a quiet, dark city street - with a touch of psychedelica; 3) The Thundering, Haunting Drums of Phil Collins continue. With the "Hello" album, Phil also introduces a fourth element - the use of keyboards and pianos. This gives "Hello" a more of a mainstream pop element. Don't let that deter you, this is one terrific album and it shows that Collins had the confidence to grow his solo career while still being an integral part of Genesis. \n\nThe titles of the songs really tell a lot of the story of Phil's feelings about the breakup. "I Don't Care Anymore" is one of those songs with the dark psychedelic element" and Phil's haunting drums. Lines such as "Get out of my way, let me by, I got better things to do with my time" tell the story. Another song with that dark psychedelic element and haunting drums is "Do You Know, Do You Care?". This song has some trumpet in it. Again the references to the relationship are pretty clear - especially when he says "I'm sick of all the cheating". The song, "Thru These Walls" also falls into the same category. In this song, Phil sings about his feelings on what is going on with his estranged wife and her lover. A mellower song is "Why Can't It Wait Til Morning"- which can be interpreted different ways. Is this a song about Phil possibly reflecting on what could have been with his relationship; or is this Phil's feelings to his new lover (soon to be second wife Jill), apologizing for the anger? Finally, although not nearly a psychedelic song - but still with a bit of the "dark" side", "Don't Let Him Steal Your Heart Away" is one of the better tracks on the album. It basically is a message to his first wife as she is walking out the door on him. It's a powerful message to her, but Phil acknowleges his own faults by saying "I've been thinking and I know it was me leaving you lonely." \n\nThere are really three horn based songs. One is a near instrumental called "The West Side". Not really much in the way of vocals, but Phil does echo some "yeeaah" - sort of in the flavor of "Hand in Hand". The song "I Cannot Believe It's True" is probably one of the best songs on the album. The horns add a great dimension to the song as Phil basically tells the story when his marriage broke up. This song charted in the UK, but never hit in big in the U.S. The third horn song "It Don't Matter to Me" was a B side to "You Can't Hurry Love", but could have easily been a released song on its own. More ill feelings toward his first wife as Phil basically tells his wife now that they are done, "It Don't Matter" anymore to him. \n\nThe two "pop-like" songs that don't directly reference the breakup, but still fit into the theme nicely. "Like China" is another song that is terrific. This has a nice mix of keyboards and drums (both played by Phil thanks to the magic of mixing). This could either be a song as he reflects on how he met his first wife (Andrea) or his second wife (Jill). Phil's British accent is terrific in the song. The remake of the Supremes' "You Can't Hurry Love" reaffirms Phil's connection with Motown. Although no horns, the mix of keyboards and drums once again makes this a very fun song that also discusses relationships. The thing about "Like China" and "You Can't Hurry Love" is we start to see the more humorous side of Phil Collins. This is something that wasn't evident on "Face Value". I believe this humor really provided a nice launching pad for what soon would be the peak period of his career. The lightness of these two songs also add a nice other side to what could be considered an album that covers such a depressing theme as marriage breakup. \n\nThe version of this CD I have does not have the lyrics for the songs. There are production and studio musician credits listed in the booklet. Phil also gives a thank you to his second wife Jill "for putting up with it all". In general, a disappointing thing is that (today) Phil Collins doesn't do much of the material from this album live - and that is a shame because this album really showcases Phil Collins at his best. There isn't anything I would change about this album - it's a pure masterpiece both lyrically and musically and it is highly recommended!\n\nAMAZON.COM CUSTOMER REVIEW\nFine Record - I wish to correct the Amazon.com review though, November 30, 2003\nReviewer: "cyrusnewray" (Atlanta, GA USA)\nThe Amazon.com review of the record notes that Phil mentions the target of his lyrical ire by name -- Jill. It's a minor point, but facts is facts, brother. The woman he just divorced was Andrea. Jill was his new love. If you want to hear the songs about his breakup with Jill, you've gotta buy Phil's Both Sides CD.\n\nAMAZON.COM CUSTOMER REVIEW\nHello, I'm Phil, And This Is My Second Album!, July 21, 2003\nReviewer: Alan Caylow (USA)\nOn his second solo album, 1982's "Hello, I Must Be Going," Phil Collins shows two sides to himself: the happier man with a new ladylove in his life (the woman named Jill in the album credits), and the bitter man saying his last goodbyes to his first ex-wife. The end result is a powerful album, mixing tough rock with delectible pop, with a generous dose of horn-driven jazz/pop as well. It's one of Phil's best discs. The big hit from the album is Phil's faithful cover of the Supremes' "You Can't Hurry Love," and while Phil does great justice to the song, it's his own compositions that really stand out here. The angry "I Don't Care Anymore" & "Do You Know, Do You Care" are brilliant, powerful songs, with Phil's harsh lyrics, vocal & drumming attacks on both making these songs among his greatest recorded moments. "Like China" is a very humorous song (with Phil sporting a Cockney accent) about a young bloke who wants to make it with his girlfriend, but she keeps turning him down. The album's secret weapon, however, is the atmospheric "Thru These Walls," an outstanding song about a lonely man in desperate need of physical contact, but has to make do with hearing his next-door neighbors making love. It's one of Phil's strongest pieces. "I Cannot Believe It's True" & "It Don't Matter To Me" are both fine, upbeat jazz poppers, and "Don't Let Him Steal Your Heart Away" is an excellent mid-tempo ballad. Phil includes a great jazz rave-up with the instrumental "The West Side," and closes the album with the beautiful love song, "Why Can't It Wait 'Til Morning." Every song here is first-rate, as is Phil's work & production. "Hello, I Must Be Going" is a terrific second effort from Phil Collins.\n\nAMAZON.COM CUSTOMER REVIEW\nCollins Goes Away Mad On This 1982 LP, March 24, 2000\nReviewer: Anthony G Pizza "trivialtony" (FL)\nPhil Collins dedicated "Hello, I Must Be Going" to his wife and children, "who put up with it all!" When the music starts, the divorce and family strife they put up with comes to blinding light and sound.\nOver war drums, thunderous synth lines and wall-tearing horns (the EWF horn section is more pronounced here, sounding like Chicago's and less effective) Collins washes his hands of previous mistakes. "Let me by!" he shouts in "I Don't Care Anymore." "I've got better things to do with my time!"\n\nLike similar albums following well-known breakups (Sinatra's "Wee Small Hours," Marvin Gaye's "Here, My Dear") this deals with the stages and emotions of separation: denial ("I Cannot Believe It's True") regret ("What else can I do but say I was wrong?" Phil asks in "Don't Let Him Steal Your Heart Away") accusation (the menacing drum/synth workout "Do You Know, Do You Care?") paranoia ("Thru These Walls" features a variation of "In The Air Tonight" drum fills) and finally, apathy (the previously mentioned "I Don't Care Anymore") \n\nThe songs closing the first and second halves of the LP balm the salted wounds. Collins' faithful rendition of "You Can't Hurry Love" seeks solace not only in parental advice, but in the radio classics of his youth (Motown is saluted in the liner notes, and Phil returned to these songs in Genesis encores). The gentle piano ballad "Why Can't It Wait 'Til Morning?" (later covered with Fourplay), features Phil sweetly singing, "You're going nowhere without me." It's a stark lyric beautifully performed, much like "Hello! I Must Be Going" itself. Success would evolve this anger into impishness helped Collins create his public image; meaning, regardless of future disappointments, this will remain Phil Collins' most angrily sung set ever. Recommended with balled fists when vulnerable.\n\nAMAZON.COM CUSTOMER REVIEW\nMost of this material is best appreciated live, July 27, 1999\nReviewer: A music fan\nI think I still have a video of a show he did in Pasadena after this album's release, when he opened with "I Don't Care Anymore". He left the skins to touring drummer Chester Thompson so he could amble out onstage during the intro with a menacing look on his face in keeping with this song's anger (it's a testament to his acting ability that a little guy like him could look menacing). The rest of the show was characterized by his signature affability in stage presence, especially when he introduced "Thru These Walls" ("this is for all the perverts out there--I hope I get to meet a few of you, maybe after the show") where he put on a bathrobe and demonstrated use of a wine glass as an eavesdropping device. This neo-vaudevillian sort of showmanship never did translate well into Genesis, nor has it ever played well to the crowd who like their rock stars to be Axl Rose clones, but when you take him out of that element and let him be the Al Jolson of rock, you realize that this man's wittiness is part of a very active mind.\n\nHalf.com Details \nProducer: Phil Collins \n\nAlbum Notes\nPersonnel: Phil Collins (vocals, trumpet, keyboards, drums, percussion); Daryl Steurmer (guitar); Don Myrick (alto saxophone); Peter "Scene" Robinson (piano, glockenspiel, vibraphone); John Giblin, Mo Foster (bass); Peter Newton (background vocals). The Phenix Horns: Don Myrick (tenor & alto saxophones); Rahmleee Michael Davis, Michael Harris (trumpet); Louis Satterfield (trombone).\n\nThe omnipresent Phil took two years to follow Face Value, which cynics believed to be a fluke and fans willed him to repeat. This album rocketed him back to the top, together with a number 1 single, 'You Can't Hurry Love', and a superb video featuring Phil in triplicate with a tonic mohair suit and Blues Brother shades. The rest is in a similar vein to his debut, albeit with a happier theme running throughout. The album's finale is the touching 'Why Can't It Wait 'Til Morning', a sentence we have all used in the same way at some time in our lives.\n\nIndustry Reviews\n3 Stars - Good - ...essentially an even easier on the ear version of FACE VALUE...\nQ (11/01/1996)
This misc cd contains 10 tracks and runs 45min 47sec.
Freedb: 7e0aaf0a
Buy: from Amazon.com

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