Most people remember Phil Collins as the 1980s pop titan with the receding hairline and the "Sussudio" music videos. Honestly, for a certain generation, he’s basically the guy from the Tarzan soundtrack or the face of 80s adult contemporary. But that version of Phil didn't just appear out of thin air. Before the solo hits and the massive global fame, there was a version of him that looks and sounds almost nothing like the guy we know today.
Young Phil Collins was a long-haired, jazz-fusion-obsessed virtuoso who spent the 1970s being one of the most respected drummers on the planet. If you only know him for his ballads, you've missed the best part of his story.
The Kid from Chiswick Who Refused to Stop
Phil didn't start with a silver spoon. He started with a toy drum kit at age five. By twelve, he had a real set. He was obsessed. He didn’t just play; he lived inside the rhythm.
His mother, June, was a theatrical agent, which meant Phil was a "stage kid" long before he was a rock star. You’ve probably heard the trivia about him being in A Hard Day’s Night. It’s true, kinda. He was an extra—a screaming teenager in the audience during the Beatles’ televised concert scene. For years, he couldn’t even find himself in the film. It wasn't until a 30th-anniversary documentary unearthed outtakes that he finally saw his younger self in the crowd.
He played the Artful Dodger in Oliver! on London’s West End. He was a professional actor before he was out of his teens. But music was the real pull. While other kids were studying for exams, Phil was hanging out at the Marquee Club, watching bands like Yes and The Action. He eventually ditched the acting scripts for drumsticks, joining a band called Flaming Youth. They released a concept album called Ark 2 in 1969. It was about man evacuating a burning Earth. It didn't exactly set the charts on fire, but it proved one thing: the kid could play.
When Genesis Met Its Match
In 1970, Genesis was a struggling progressive rock band in need of a drummer who didn't just keep time but added texture. Phil showed up to the audition at Peter Gabriel’s parents’ house. While the other drummers were nervous, Phil went for a swim in the pool. He listened to the guys auditioning ahead of him through the windows. By the time it was his turn, he already knew the songs.
He got the job.
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The early 70s Genesis era is a masterclass in drumming. If you haven't heard his work on Selling England by the Pound or The Lamb Lies Down on Broadway, you’re doing your ears a disservice. He was playing complex time signatures—shifting between $2/4$ and $13/16$ like it was nothing. He was influenced by jazz legends like Billy Cobham and Tony Williams. During this time, he also joined a jazz-fusion side project called Brand X. That band was all about technical wizardry. No vocals. Just pure, frantic, brilliant musicianship.
People forget that Phil didn't want to be the singer.
When Peter Gabriel left in 1975, the band auditioned hundreds of people. Phil would sit there and coach them, singing the parts to show them how it was done. Eventually, the band realized the best guy for the job was already sitting behind the kit.
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The Gear and the Gritty Reality
In the studio, Phil was a Gretsch guy. On stage, he mostly used a massive Premier kit. He was left-handed, which gave his setup a mirror-image look that confused many aspiring drummers. He also used a Fibes acrylic snare drum—the same kind Billy Cobham used. He wasn't just hitting things; he was "aural-texturing," using everything from Chinese blocks to tubular bells.
Life on the road in the 70s wasn't all private jets. It was cramped vans and cheap hotels. Phil was a workaholic. He did session work for everyone: Robert Fripp, Brian Eno, John Cale. He even played congas on George Harrison’s All Things Must Pass, though his part was famously left off the final mix. Harrison actually played a prank on him years later, sending him a fake recording of a terrible conga player and telling him it was his lost session. Phil was mortified until George admitted it was a joke.
Why the "Young Phil" Era Still Matters
The transition from the "drummer's drummer" to the "pop star" happened around 1980 with the album Duke. Personal tragedy—specifically the collapse of his first marriage—pushed him to start writing more personal, direct lyrics. That’s where "In the Air Tonight" came from. It wasn't a calculated move to become a celebrity; it was therapy.
But if you strip away the 80s production, the core of young Phil Collins remains. He was a musician who prioritized the feel of the song over the ego of the performer.
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How to actually appreciate this era today:
- Listen to "The Cinema Show" (Genesis): The drum solo in the second half is peak 70s Phil. Subtlety meets power.
- Check out Brand X's Unorthodox Behaviour: If you think he’s just a "pop" guy, this will break your brain.
- Watch the Shepperton 1973 live footage: See him playing a hybrid Gretsch/Premier kit with hair down to his shoulders.
To understand the legend, you have to look past the suit-and-tie era. Young Phil Collins was a reckless, experimental, and deeply talented musician who helped define the outer limits of rock before he ever conquered the center of pop. He didn't just "become" a star; he built the foundation one complex drum fill at a time.
Next Steps for the Curious Listener:
Go to your streaming service of choice and find the 1976 Genesis album A Trick of the Tail. It’s the first album with Phil on lead vocals, and it bridges the gap between his prog-rock drumming roots and his future as a frontman perfectly. Focus specifically on the track "Los Endos"—it’s essentially a six-minute summary of why he’s one of the greatest to ever sit behind a drum stool.