'Hello, I Must Be Going'
Title: “Hello, I Must Be Going!”
Artist: Phil Collins
Release date: 1982
Favorite track: “Like China"
Truthfully, I never would’ve listened to this album 10 years ago.
I would’ve listened to the first song, “I Don’t Care Anymore,” and gone running in the opposite direction. Then, I was averse to anything mildly melodramatic or theatrical. Ironically, that’s now my second favorite song on the record.
I’m a different person today. I have different thoughts, feelings and tastes in a lot of things — especially music.
I had heard a few of Phil Collins' songs that received radio play, and I always loved Genesis’ music. At this point in my life, though, I’ve come to recognize Collins as one of the greatest songwriters of his time.
Collins’ second album, “Hello, I Must Be Going!” not only warrants an extra long name with punctuation, but also is a tad underrated in my opinion. I probably should’ve featured his debut album in my column first, but I like doing things a little out of order … because fun.
As I said before, the opening track, “I Don’t Care Anymore,” is my second favorite, and I’m not the only one.
With its heavy drum intro, Collins’ wire-y — at times guttural — vocals and the fiery passion innate to the track, it’s become one of his most popular songs.
It really fires me up when he passionately yells the lyrics toward the end — kinda the same feeling you get with a good door slam or swiftly tossing something away (like a person). In fact, I’m adding it to my gym playlist this instant, so I can listen to it while I throw weights around. Because, you know what, I don’t care anymore.
Collins drastically switched up the vibe in the follow-up track, “I Cannot Believe It’s True.” It has a flashier, more traditional pop sound.
But y’all know how I feel about a horn section. Swoon. The instrumentation really gives this song some funk flair, and I’m all for it.
“Like China” has a cheery sound, not at all unrelated to Collins’ suddenly imposing British accent. The hook has Collins’ trademark eerie robotic sound, and I surprisingly love how it crashes into the punchy pop chorus then transitions into a rock song. It’s a cool jam with great lyrics. Oh, yeah, it’s my favorite.
Collins returns to his moody comfort zone in “Do You Know, Do You Care,” as if it’s him getting in the last word after “I Don’t Care Anymore.”
Collins’ version of The Supremes’ 1966 song, “You Can’t Hurry Love,” is as sweet as the original. I enjoyed hearing it in male vocals, and it showed a different side to his voice. Also, that song is a classic.
The horn section returns in “It Don’t Matter To Me,” but the song is a little soft for me.
Every time a song starts with drums and synthesizers, I switch off the light in my head. I’m suddenly in a dark room with spotlights synchronized to the music.
“Thru These Walls” is another one of those.
My heart soared a bit when I heard the first piano notes in “Don’t Let Him Steal Your Heart Away.” It’s a wonderful ballad.
“The West Side” is the only instrumental, excluding Collins’ chanting at the end. I don’t mind it, but I would normally skip something like this.
The album concludes with “Why Can’t it Wait Til Morning,” a song riddled with sadness.
Why can’t it wait ‘til morning?
We can talk about it then
‘Cause I’ve had a drink too many
And my troubles, well, I ain’t got any
— “Why Can’t it Wait Til Morning”
Old me wouldn’t give this record the time of day. New me freaking loves it.
I like this album design a lot. From the portrait on the front and back to how the album sleeve features pictures from throughout Collins’ life, it’s an emotional package.