Phil Collins 5: Both Sides

After several high-profile years, both on his own and with Genesis, Phil Collins came home to find his marriage falling apart. Just as he did for Face Value, he turned to his trusty drum machine and home studio to put some demos together. But instead of adding horn sections and all-star buddies, he pretty much left the demos unadorned, and that was Both Sides.

Not all of the songs deal with failed romance, but overall it’s still a dour album, even when it’s upbeat. Apparently convinced that But Seriously wasn’t serious enough, “Both Sides Of The Story” treads territory familiar from “Another Day In Paradise”, but with faster drums and guitars and a distinct Peter Gabriel influence in the bridge (think “Biko”). “Can’t Turn Back The Years” is the first lover’s lament, while “Everyday” fills the “Never A Time” template following an extended solo piano intro. “I’ve Forgotten Everything” is a well-worn lyric in a defensive vein, but the recording certainly owes a debt to the Blue Nile. “We’re Sons Of Our Fathers” utilizes a banjo and canned horns for a near-Dixieland feel that thankfully dissipates. At least the track provides a little variety once those instruments are overshadowed, even if it if is about damn kids nowadays. “Can’t Find My Way” would likely stand out on any other album; here it’s just another mope.

While still a plea for forgiveness, “Survivors” revives the driving sound of the opening track, with prominent drums layered on top. It’s a shame he didn’t realize that the opening of “We Fly So Close” is ripped off from the theme from the movie Fame; maybe he was too concerned with repeating the basic chords from “In The Air Tonight”, right up to the guitar at the chorus. Despite the obvious nod to “Somewhere” from West Side Story, “There’s A Place For Us” has a Prince-worthy hook that’s screaming for someone to cover it. While supposedly about the ongoing troubles in Northern Ireland, the bagpipes on “We Wait And We Wonder” once again recall Peter Gabriel, this time “Come Talk To Me” from the year before. And in case you didn’t get the point, “Please Come Out Tonight” reiterates what’s really on his mind.

As is common with albums recorded in solitude, editing is eschewed throughout Both Sides, resulting in another over-long album, with several tracks lasting well over five, six, even seven minutes. Once again good songs get lost in the interminable sequence. Hence, it wasn’t the smash we’d come to expect; even the adult contemporary crowd seemed to be less than interested in something so down. (One of the first releases in the “Take A Look At Me Now” reissue series, the bonus Extra Sides disc collected a few contemporary B-sides, including the catchy “Take Me With You”, a demo of “Hero” as given to David Crosby, and a handful of live versions of album songs from questionable audio sources.)

Phil Collins Both Sides (1993)—2½
2016 “Take A Look At Me Now” edition: same as 1993, plus 10 extra tracks