Review Summary: his finest album yet put out
Face Value is Phil Collins' eclectic debut. Colilns was originally Genesis' drummer, but took on designation of lead singer after Gabriel left. In Gabriel's shadow, Collins was often deemed a poor man's Peter Gabriel, who's widely considered Genesis' brainchild and creator of consistently ingenious albums post-Genesis whilst Collins, a small man, has remained perpetually cemented in position of competent drummer and good, but unexceptional, singer - in other words, a lesser talent that eventually knocked Genesis down from greatness. Collins was never a man or musician to be admired and
Face Value, riddled with wimpish themes, didn't afford Collins that magnetic draw that seemed instinctual to Gabriel, which is why it's surprising that Collins' most famous and uncompromising song of his career, “In the Air Tonight,” has charisma that Collins himself escapes.
For a song that's remembered for instrumental impact, “In the Air Tonight” is uncomplicated. A slow, mysterious and menacing first half collapses to a loud, powerful drum break-down that arrives past mid-track. It's a transition that leaves listeners calmly wanting for that return to punchy gated reverberation, which runs concurrent to that drum break-down, which's so affecting it fully accounts for anybody's continual return to this song. However, after “In the Air Tonight,” Collins doesn't ever echo this feeling of empowerment, although he does attempt surprising musical moments that seem to be overshadowed by
Face Value's permeating tackiness and over sentimentality.
In
Face Value, Collins mostly relinquishes sophisticated instrumentation that's characteristic of Genesis for relatively generic 80s pop, traces of R&B and touches of funk. On occasion, he veers from general tones; in particular, “Droned” is fascinating; layered with quick-fingered keyboard, Eastern-sounding percussion and string-based instrumentation in addition to at times guttural, at times incoherent fast-lipped vocal-work, Collins steers "Droned" into experimental, art rock possession. Then, Collins continues experimenting in ambitious “Hand in Hand,” which has a groovy horn section and youthful choir accompaniment – an altogether confusing combination. Seeming standard elevator at first, when this young choir announces itself, it starts to sound less elevator-ish. "Hand in Hand" is confident, but nonconforming, assured in itself but completely ill-suited out of itself.
Collins dabbles with "Hand in Hand"'s horn section throughout, cranking up
Face Values's jazz element, but, for all odd, should-be disobliging decisions, Collins is masterful at painting pictures and setting moods. Mostly notably, “In the Air Tonight” demonstrates this ability, but “This Must Be Love” and “The Roof is Leaking” too copy certain feelings - subdued but sudden elation of discovering how deep your affections run, defeated cheerlessness of a continually leaking roof. Collins' vocal timber is essential to forming mood; emotive and distinctive, Collins beseeches you to accept his messages at face value. The key to enjoying this album is recognizing that Collins is a solid musician, who's gifted infectious pop music that's honest and heartfelt, rather than expecting vision and depth from him.
That being said,
Face Value is Phil Collins through and through, unobstructed and open, with an experimental sharpness that's lacking in his later releases, making
Face Value his finest album yet put out.
