"Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think "Invisible Touch" was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums.
Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you dance a little. Take the lyrics to "Land of Confusion." In this song, Phil Collins addresses the problems of abusive political authority. "In Too Deep" is the most moving pop song of the 1980s, about monogamy and commitment.
The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your ass. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like "In the Air Tonight" and "Against All Odds." Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is "Sussudio," a great, great song, a personal favorite."
(Bret Easton Ellis, American Psycho, Paladin 1991)
Dave Cameron has already created a bit of a controversy with his remarks earlier in the year that he was a bit of a Smiths and Jam fan in his youth and to this day. He realised that this might be his equivalent of a Clause Four moment, commenting about his love of Morrissey and Paul Weller, ‘I'm a big fan, I'm afraid. Sorry about that'.
This brought a fascinating set of responses. Weller got irate asking if Dave was ‘thick', while Morrissey was more diplomatic refusing to comment. The indie establishment and cognoscenti - who define themselves around two watersheds, post-77 and 1980s indie - were outraged.
They have already lost the battle to maintain the purity of post-77 and ‘Year Zero', the ubiquitousness of the Sex Pistols and Clash diluting their meaning. Still they thought they had 1980s indie as their own and could still act as the guardians of the Holy Grail of this era. They can thus feel horror at this latest Tory onslaught!
This was their decade and their counter-story to the mainstream Tory account of the decade being taken from them. It was whether Cameron knew it or not a direct act on the self-importance and identity of such people. First, the miners, next the NME version of the 1980s. It is so insensitive!
Cameron's comments show that people could just listen to music and groove to it, get their air guitar out, swing their hips and sing along and have a good time. They can do so, and no matter the earnest intent of the artist to convey a certain meaning, they can completely understand it, or understand it in another way. That's not right or wrong, just kind of natural.
Then along comes this week's, ‘When Boris Met Dave' (More 4), a pretty poor, aimless, meandering and in places quite funny ‘drama' about when David Cameron and Boris Johnston were at Oxford University together, in the posh ‘bad boy' club, the Bullingdon Group - of the famous photo of Dave and Boris arrogantly standing in their coats and tales.