Phil Collins - Hello I Must Be Going! (2LP, 45RPM)
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Vocals, Drums (A1 to D2), handclap (B1), Keyboards (A1 to B2, C1-2, D2), Marimba (C2), Percussion (A2, C1, D2), Piano (D3), Tambourine (B3), Trumpet (B2), Timpani (B2), Bass (A1, B2, D2) – Phil Collins [click here to see more vinyl featuring Phil Collins]
Alto Saxophone – Don Myrick (A2, D2)
Bass – John Giblin (A2), John (B1, B3, D1), Mo Foster (C1), Mo (C2)
Guitar – Daryl Stuermer (A1), Daryl (A2 to D2)
Piano, Glockenspiel, Vibraphone – Peter (Scene) Robinson (B3)
Trombone – Louis Satterfield
Trumpet – Michael Harris, Rahmlee Michael Davis
Tenor Horn, Alto Horn – Don Myrick (A2)
Trombone – Louis Satterfield (A2)
Trumpet – Michael Harris (A2), Rahmlee Michael Davis (A2)
Horns [Phenix Horns] – Don (D2), Louis (D2), Michael (D2), Rham (D2)
Tenor Horn, Alto Horn – Don Myrick (D2)
Trombone – Louis Satterfield (D2)
Trumpet – Michael Harris (D2), Rahmlee Michael Davis (D2)
Orchestra – The Mountain Fjord Orchestra (B3, D1, D3)
Conductor – Martyn Ford
Orchestra Leader – Gavyn Wright
Horns – The Phenix Horns (A2, C1, D2)
Strings arranged by Martyn (Doris) Ford (B3, D3), Martyn (Kickers) Ford (D1)
Horns arranged by Tom-Tom 84
Written by Phil Collins (all tracks except B2), Holland-Dozier-Holland (B3)
2LPs, gatefold jacket printed by Stoughton Printing Co.
Limited Edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Productions
Original Label : Atlantic
Recorded May–June 1982 at Old Croft (Shalford, Surrey), Fisher Lane Farm (Chiddingfold, Surrey), The Town House (Goldhawk Road, London), CBS Studios (London)
Engineered by Hugh Padgham
Orchestral tracks engineered by Martyn Ford
Strings engineered by Mike Ross
Mixed by Martyn Ford
Produced by Phil Collins Hugh Padgham
Mastered by Chris Bellman at Bernie Grundman Mastering
Photography by Hugh Padgham, Jill Tavelman, Margaret Maxwell, Trevor Key
Originally released in November 1982
Reissued in December 2023
Tracks:
Side A:
- I Don't Care Anymore
- I Cannot Believe It's True
Side B:
- Like China
- Do You Know, Do You Care?
- You Can't Hurry Love
Side C:
- It Don't Matter To Me
- Thru These Walls
Side D1:
- Don't Let Him Steal Your Heart Away
- The West Side
- Why Can't It Wait 'Til Morning
Reviews:
“After the massive success of his 1981 album Face Value, Phil Collins didn't take a much of a break. Genesis released Abacab six months later, then headed out on a long tour. When they got back, Collins jumped right into recording his second solo album, 1982's Hello, I Must Be Going! The album wasn't a huge departure from the formula established on Face Value, built as it was on introspective, gut-spilling ballads, horn-driven R&B jams, arty rockers, and dramatic breakup songs. In fact, the first track, the vitriolic "I Don't Care Anymore," sounds like a very close relative of "In the Air Tonight," only less mysterious and more in your face. Still effective though, and with the same magical drum sound Collins got on that earlier song. The R&B-based tracks are well served by the Earth, Wind & Fire Horns, and if nothing is quite on par with "I Missed Again," there's not a huge drop-off in quality. There are a few less ballads, with Collins only slowing down on the lovely "Don't Let Him Steal Your Heart Away" and the lush "Why Can't It Wait 'Til Morning," which foreshadows his career as a singer for hire on many a movie soundtrack. Along with the upgraded production values overall, there are a couple of surprises on Hello, notably the uptempo pop tune "Like China" (which features some blistering guitar work from Daryl Stuermer) and the almost note-perfect take on the Supremes' "You Can't Hurry Love," which sounds less like a pastiche and more like a loving tribute. Another departure from Face Value comes on the song "Thru These Walls," where Collins is playing a character instead of writing from a place of pain and frustration, which was one of the things that made that album so devastating. Despite the change in tone from intensely personal and dark to slightly detached and even lighthearted in spots, the album is still a winning follow-up that shows Collins to be in full control of songwriting and production. It may be a shade less impressive than Face Value, but that was a hard act to follow.” AllMusic Review by Tim Sendra
Ratings:
AllMusic : 4 / 5 ; Discogs : 4.89 / 5