Latest / Booked On Rock with Eric Senich / [HIGHLIGHT] The Phil Collins Mystery Behind 'Press To Play' - From EP 388

Transcript

[HIGHLIGHT] The Phil Collins Mystery Behind 'Press To Play' - From EP 388 · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: Going behind the music once more. With this highlight from
• 0:02
  Speaker 1: a recent episode of Booked on Rock, Luca Parassi returns
• 0:06
  Speaker 1: the title of his book, Paul McCartney press to play
• 0:08
  Speaker 1: that unmistakable eighties sound. It's part of Lily Publishing Milestone's
• 0:13
  Speaker 1: series Phil Collins, and he's credited on one track on
• 0:17
  Speaker 1: this album, Angry. That's the next track. But honestly, I
• 0:23
  Speaker 1: hear him. I hear him on Good Times, Coming Field
• 0:26
  Speaker 1: the Sun, I hear him on Talk More Talk, I
• 0:28
  Speaker 1: hear him on the last four tracks, starting with a
• 0:30
  Speaker 1: Pretty Little Head. He's not playing drums on that one,
• 0:32
  Speaker 1: but I feel like that drum loop is something you'd
• 0:34
  Speaker 1: hear on No jacket required, m that's him on the
• 0:39
  Speaker 1: next track, move Over Busker and after Angry is the
• 0:42
  Speaker 1: final track, however, absurd that's him on the drums. I mean,
• 0:45
  Speaker 1: I'm curious to your thoughts. I could wait to ask
• 0:48
  Speaker 1: him because I love Phil Collins. I'm curious as to
• 0:50
  Speaker 1: your thoughts on where you hear him outside of his
• 0:54
  Speaker 1: quote unquote official credit. I'm angry.
• 0:57
  Speaker 2: Maybe I'm not dating to h Phil Collins says, you are,
• 1:03
  Speaker 2: so I trusted, I trusted? What what what you hear well,
• 1:09
  Speaker 2: having having spoken with Jerry about some of these tracks,
• 1:15
  Speaker 2: he definitely confirmed his own presence. So I'm not aware
• 1:19
  Speaker 2: of Phil Collins being in other tracks because it basically
• 1:24
  Speaker 2: was according to what we know, it was basically in
• 1:32
  Speaker 2: in the city for one day because that's the track
• 1:35
  Speaker 2: Angry was recorded one week after Live Aid. Okay, so
• 1:40
  Speaker 2: the Live Aid was was on the other thirteenth of July,
• 1:44
  Speaker 2: and so the Saturday twenty they showed up him and
• 1:52
  Speaker 2: the townshend on guitar and was also Eddie Rayner on
• 1:56
  Speaker 2: on synthesizer was in the studio. So to my books
• 2:01
  Speaker 2: and my information feel is not in any of the
• 2:05
  Speaker 2: tracks you mentioned pretty Head and them and then or
• 2:10
  Speaker 2: talk more talk and then and percussion percussion. Uh. You
• 2:14
  Speaker 2: know this this kind of rhythms that lie behind uh.
• 2:20
  Speaker 2: I know that Jerry Morotto programmed the lindrum on Footprints,
• 2:26
  Speaker 2: another another track on the album, so I think it
• 2:29
  Speaker 2: was it was the one who was programming the lindrum.
• 2:33
  Speaker 2: And also Edie Rainer did a lot of programming. I
• 2:37
  Speaker 2: had the chance to interview Edi Uriner quite recently last month,
• 2:43
  Speaker 2: and so he mentioned him programming uh lindrums and emulator uh.
• 2:51
  Speaker 2: Throughout the album it was called in to do a
• 2:56
  Speaker 2: specifically dis kind of work and adding a piano parts
• 3:00
  Speaker 2: synthesizer choosing different sounds soon rich the album. So but anyway,
• 3:09
  Speaker 2: anything could be Eric because McCartney's discography is full of
• 3:15
  Speaker 2: details that we don't really know. So that's the official thing.
• 3:19
  Speaker 1: Because now I'm sorry to feel like I'm crazy. I'm
• 3:21
  Speaker 1: hearing things that I'm not here now. I mean no,
• 3:24
  Speaker 1: I listened to so many of Phil Collins's music that
• 3:27
  Speaker 1: it's like I'm tuned into it. But maybe it's like
• 3:29
  Speaker 1: confirmation bias. I think I'm hearing it.
• 3:32
  Speaker 2: Well, anything could be. I mean, Paul said said this
• 3:36
  Speaker 2: thing at the time, that he involved Phil Collins only
• 3:41
  Speaker 2: on one track because he didn't want to rely too
• 3:44
  Speaker 2: much on such a big name, blah blah, but that
• 3:47
  Speaker 2: that could be an indirect, indirect confirmation that Phil is
• 3:52
  Speaker 2: hidden somewhere and they didn't credit it in him here
• 3:56
  Speaker 2: and there. Anything could be. Two or three years before
• 4:00
  Speaker 2: Press to Play, there was a couple of articles in
• 4:04
  Speaker 2: the press saying that Phil Collins was supposed to joining
• 4:11
  Speaker 2: to be joining Wings, I mean, because they they knew
• 4:17
  Speaker 2: that we were without a drummer. Again, I was ninety
• 4:20
  Speaker 2: eighty one or ninety eighty two, so at the time
• 4:24
  Speaker 2: I think that even they discussed it with with George
• 4:28
  Speaker 2: Martin about involving Phil Collins, blah blah. But there was
• 4:32
  Speaker 2: another interesting thing that I was able to discover, and
• 4:36
  Speaker 2: you find it in the book without spoiling too much. Again,
• 4:38
  Speaker 2: but since we're talked about Phil, I think it's interesting
• 4:42
  Speaker 2: to mention this. And at some point Phil said, Okay,
• 4:47
  Speaker 2: Paul still still got it. I mean, this is it's
• 4:51
  Speaker 2: a great artist and I would like to produce him.
• 4:55
  Speaker 2: So it was it was suggesting himself kind of a
• 5:03
  Speaker 2: producer for Paul McCarthy and it didn't happen. But I
• 5:07
  Speaker 2: mean there was something definitely behind the scenes and contexts
• 5:14
  Speaker 2: between Paul and Phil Collins, because I mean Phil Collins
• 5:18
  Speaker 2: around mid eighties, Phil Collins was the drummer. You we
• 5:23
  Speaker 2: all know that. Yeah, So to come back to your question,
• 5:26
  Speaker 2: I mean, it could be that there's some hidden credits
• 5:29
  Speaker 2: here and there. Listen to the
• 5:31
  Speaker 1: Full episode wherever you get your favorite podcasts.