![\"Phil](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/01\/Phil-Collins-Singer-Musician-2018-Far-Out-Magazine-1140x855.jpg\")
<\/p>\n <\/p>\n
(Credits: Far Out \/ YouTube Still)<\/p>\n
Sun 11 January 2026 5:00, UK <\/p>\n
For someone who has been in the game for as long as Phil Collins<\/a> has, there comes a point where all of them realise there\u2019s no such thing as perfection.\u00a0<\/p>\n As much as people can try to get that perfect drum take or make sure that everything is perfectly in tune, the beauty of rock and roll is about things being a little bit rough around the edges. The whole point is to make people feel a performance rather than dissect it every time they hear it, but Collins knew that there was still a standard that he needed to hit to feel like he had a classic song on his hands when he walked out of the studio.<\/p>\n Then again, no one who has turned in time in a prog rock outfit was going to settle for \u201cgood enough\u201d whenever they made their own albums. Collins\u2019s solo career is clearly a much different animal than the massive exercises that he did in Genesis, but when hearing him on everything from Face Value to No Jacket Required, he was always looking out for those moments where he felt like a piece of magic was captured on tape. The same thing applied to Genesis, but the legends of rock had already done the dirty work for all of them.<\/p>\n Because in reality, there wasn\u2019t anything that Collins was playing on drums that couldn\u2019t have been played by John Bonham or Buddy Rich. Both of them were absolute legends in their fields, and while Collins could unleash that inner musical beast whenever he started playing through records like The Lamb Lies Down on Broadway<\/a>, it was a much different story whenever listening to the melodic side of his career.<\/p>\n His voice didn\u2019t sound all that dissimilar to Peter Gabriel\u2019s in some spots, but when looking at the way he played piano and approached playing guitar, he was always falling back on the biggest names in Motown that he started out with. That explains why he managed to work so well with Philip Bailey, but there was always going to be a subtle piece of The Beatles trailing back into every tune he played.<\/p>\n Which is strange considering how rudimentary a lot of the Fab Four\u2019s songs were in the beginning. Most prog fans would have been dismissive of something that sounded so simple when making their own records, but when looking at a tune like \u2018She Loves You\u2019, Collins was still convinced that everything that he played needed to sound close to those kinds of vocal harmonies. <\/p>\n