Both Sides
Both Sides is the fifth solo studio album by English singer-songwriter, musician, and record producer Phil Collins, released on 8 November 1993 by Virgin Records in the United Kingdom and Atlantic Records in the United States.[1][2] Recorded during a hiatus from his band Genesis following their We Can't Dance tour, the album features Collins handling nearly all instrumentation, songwriting, and production himself at his home studio in Surrey, England, resulting in a more introspective and adult-oriented soft rock sound compared to his prior pop-driven releases.[3] Key tracks include the lead single "Both Sides of the Story," a socially conscious ballad addressing conflict and misunderstanding that reached number seven on the UK Singles Chart, and "Everyday," which explores themes of routine and emotional stagnation.[4] Despite critical praise for its personal depth—Collins has called it his favorite solo album due to its uncompromised vision—the record marked a commercial downturn, peaking at number one in the UK, number eight in Australia, and number thirteen on the US Billboard 200, with global sales exceeding four million copies.[5] This shift reflected Collins's divorce from his second wife and a deliberate move away from formulaic hits, prioritizing artistic authenticity over mass appeal, though it sparked debates among fans about its departure from the upbeat style of albums like No Jacket Required.[6]Background and Development
Personal Context
Phil Collins entered the creation of Both Sides amid the breakdown of his second marriage to Jill Tavelman, married since 1984, with separation occurring prior to the album's November 8, 1993 release and formal divorce in 1996.[7] This marital strife prompted a return to raw, confessional songwriting reminiscent of his 1981 debut Face Value, which had similarly arisen from the collapse of his first marriage to Andrea Bertorelli in 1980, though now tempered by over a decade of sustained fame and family responsibilities including three children.[8] The album's introspective tone reflected Collins' accumulated weariness from balancing Genesis commitments—such as the 1992 *We Can't Dance* tour—with solo expectations, fostering a desire for unfiltered personal expression over formulaic success.[9] Seeking autonomy from band dynamics and industry demands for hit-driven polish, as seen in albums like 1985's No Jacket Required, Collins recorded Both Sides entirely alone at his home studio, eschewing external collaborators to prioritize creative integrity and emotional authenticity.[8] This self-reliant approach stemmed from frustration with prior overproduction and a wish to recapture the unadorned vulnerability of his early solo work, amid broader fatigue from relentless touring and multimedia ventures that had defined his 1980s peak. The result emphasized thematic depth over commercial sheen, signaling a deliberate pivot toward maturity in addressing relational and existential conflicts.[10]Conception and Songwriting
Phil Collins initiated songwriting for Both Sides through home demos recorded in his personal studio setup, beginning around 1992 amid a period of personal transition following Genesis's We Can't Dance tour.[11] This solitary process marked a deliberate return to self-contained creation, with Collins handling all instrumentation and vocals on initial multi-track recordings to capture raw ideas without intermediary input.[12] Rejecting co-writers and producers who had shaped his preceding albums like ...But Seriously (1989), Collins sought to reclaim unfiltered creative authority, viewing collaboration as a potential diluter of authentic expression in an era when pop-rock norms increasingly favored external contributions for commercial appeal.[12] He later described realizing during demos that he had already incorporated every desired element himself, affirming the viability of independent composition over committee-style development.[12] This method echoed his debut Face Value (1981) but emphasized streamlined efficiency, yielding 11 tracks rooted in direct personal authorship.[13] Lyrical conception drew from observed relational dynamics, particularly breakdowns in partnerships, with songs structured to present conflicting viewpoints rather than unilateral accounts—exemplified by the title track's advocacy for examining "both sides of the story" to uncover factual causation amid disputes.[14] Collins composed these amid his separation from second wife Jill Tavelman, prioritizing objective dissection of interpersonal failures over emotive partisanship, as in framing homelessness or marital strife through balanced causal lenses to challenge simplified narratives.[14] This approach informed tracks like "Can't Turn Back the Years," conceived as meditations on irreversible consequences from multiple angles, underscoring accountability without excusing behavioral patterns.[13] Collins has since identified Both Sides as his preferred solo work for its songwriting purity, uncompromised by external revisions.[15]Recording and Production
Studio Process
The recording of Both Sides commenced with demos captured at Phil Collins' home studio in Geneva, Switzerland, where he engineered the initial multi-track sessions using a 12-track setup.[16] These home recordings formed the core of the basic tracks, allowing Collins to experiment in isolation with layered performances of vocals, drums, guitars, keyboards, and bass, all played by him to foster an organic, unpolished sound.[17] This approach contrasted with the collaborative, producer-heavy sessions of his prior album ...But Seriously (1989), emphasizing self-contained tracking over extended periods to build density through overdubs rather than ensemble interplay.[12] The project advanced to The Farm, Genesis' studio in Surrey, England, in 1993, where basic tracks were refined and overdubs completed in approximately six weeks under the assistance of engineer Paul Gomersall and assistant Mark Robinson.[12][18] Sessions incorporated live drum performances captured with microphones such as the Electro-Voice RE20 and Neumann U47 on bass drum, Shure SM57 on snare, and Beyerdynamic models for additional elements, supplemented by drum machine elements to underpin rhythms without heavy sequencing.[19] Early digital synthesizers facilitated keyboard layers, enabling Collins to multitrack synth parts that contributed to the album's textured yet raw production.[16] This timeline, spanning late 1992 to mid-1993, prioritized empirical trial-and-error in real-time playing to evoke a live-band immediacy, minimizing external gloss through limited personnel involvement.[17]Solo Instrumentation Approach
Phil Collins adopted a solo instrumentation approach for Both Sides, performing drums, keyboards, bass guitar, and guitar on the majority of tracks, a departure from prior reliance on collaborators for guitar and bass.[10] This self-sufficient method enabled him to realize the album's compositions without intermediaries, preserving the unfiltered expression of personal experiences central to the songwriting.[14] By handling nearly all elements himself, Collins exercised direct causal influence over the sonic outcomes, bypassing potential interpretive variances introduced by session players common in pop-rock production.[20] The decision stemmed from the album's intimate themes, which Collins deemed too vulnerable for external dilution; he articulated that the songs' specificity warranted his exclusive involvement to maintain authenticity and emotional immediacy.[21] This contrasted with industry conventions favoring ensemble contributions for polished density, positioning Collins' strategy as a deliberate assertion of independence that prioritized individual vision over collective refinement. Rare exceptions involved brass overdubs by Mark Robinson and Paul Young on the title track "Both Sides of the Story," underscoring otherwise comprehensive self-performance.[9] Such autonomy yielded a leaner production texture, emphasizing percussive drive and keyboard layers to convey unguarded sentiment, though it occasionally risked perceived sparseness absent the layered reinforcements typical of Collins' earlier works.[10] This approach not only critiqued the dilution inherent in outsourced musicianship but also demonstrated how singular control could foster uncompromised realism in recording, aligning with Collins' evolution toward introspective self-determination.[14]Musical Style and Themes
Genre Elements and Sound
Both Sides exemplifies a fusion of soft rock and adult contemporary styles, with subtle progressive rock influences drawn from Collins' Genesis tenure, manifesting in layered arrangements and dynamic builds on tracks like the title song.[22][23] The sonic palette prioritizes mid-tempo grooves, with track tempos spanning approximately 90 to 130 BPM, enabling a balance between introspective ballads and rhythmic drivers without venturing into high-energy pop.[24] Drums provide a foundational pulse, echoing Collins' signature style, yet the album's self-contained production—wherein Collins performed nearly all instruments—yields a more intimate, organic texture through multi-tracked guitars, keyboards, and percussion, eschewing the synth-dominated excess of his 1980s solo output.[25][26] Distinguishing the record from prior works, heavier guitar tones emerge on selections such as "Can't Turn Back the Years," contrasting softer acoustic elements in ballads like "Everyday," while subtle soul-inflected rhythms nod to Motown-era basslines and phrasing in the rhythmic foundation.[27] This minimalistic rock approach emphasizes live-feel layering over artificial embellishments, fostering a rawer drum tone and spatial dynamics achieved via studio isolation rather than expansive effects processing.[17] Instrumental interplay, including piano-driven progressions and occasional string-like synth swells, underscores the album's evolution toward stripped-back authenticity, with production techniques highlighting acoustic warmth and midrange clarity over the era's polished digital sheen.[22]Lyrical Content and Personal Reflection
The lyrics across Both Sides emphasize duality in human conflicts, portraying relationships as involving shared responsibility rather than unilateral victimhood. In the title track, Collins depicts vignettes of premature judgment—such as a street confrontation or parental discord—where understanding the opposing perspective could avert escalation, underscoring that "there's always two sides to every story" without excusing wrongdoing but insisting on contextual fairness before condemnation.[28][29] This approach counters tendencies toward one-sided narratives by highlighting how selective viewpoints perpetuate division, a theme extended to romantic failures where both parties bear causal roles in dissolution. Tied to Collins' separation from second wife Jill Tavelman, which preceded their 1995 divorce, tracks like "I Can't Stop Loving You" convey post-breakup realism: enduring emotional attachment amid acknowledged irreconcilability, reflecting self-critique alongside vulnerability rather than evasion of personal shortcomings.[30] Collins framed the album as an outlet for such introspection, drawing from relational regrets without absolving his contributions, as evidenced in broader reflections on his marital history.[31] Supporters praise this as candid accountability, fostering empathy through balanced realism over partisan blame.[8] Detractors, however, view the pervasive regret—such as in meditations on lost years—as veering into self-indulgence, interpreting the inward focus as conservative resistance to narratives prioritizing external or systemic excuses for personal failings.[8][32]Release and Promotion
Marketing and Singles
The lead single "Both Sides of the Story" was released on October 18, 1993, preceding the album's launch to generate anticipation through its emphasis on empathetic perspective-taking in lyrics addressing social divides.[33] The accompanying music video, directed and filmed primarily in New York City, featured aerial night shots of urban landscapes interspersed with scenes of homelessness, domestic violence, and interpersonal conflict, visually underscoring the song's narrative duality to align with the album's thematic core.[14] [34] The album Both Sides followed on November 8, 1993, distributed by Virgin Records in the United Kingdom and Atlantic Records in the United States, with marketing strategies leveraging Collins' established solo brand to target adult contemporary audiences via pre-release single exposure.[35] Subsequent singles included "Everyday" on January 3, 1994, and "We Wait and We Wonder" in April 1994, selected for their melodic accessibility to sustain momentum through sequenced radio and video pushes.[33] Promotion centered on visual media integration, with the lead single's video securing rotations on MTV, including unplugged performances that amplified visibility among cable viewers.[36] This approach causally linked thematic video content to album sales drivers by previewing introspective tracks, while tie-ins to the 1994–1995 Both Sides of the World Tour provided live extensions of studio material, incorporating promotional posters and rehearsal footage to engage fanbases directly.[37]Album Artwork and Packaging
The original 1993 release of Both Sides was packaged in a standard jewel case for the CD edition and a gatefold sleeve for the double vinyl LP, reflecting a straightforward presentation suited to the album's intimate, self-recorded production.[38] Later editions included a 2016 remastered version and a 2024 30th anniversary deluxe set titled Both Sides (All the Sides), comprising five 180-gram vinyl LPs in picture sleeves housed within a slipcase, accompanied by a 16-page booklet with liner notes by Michael Hann and printed inner bags featuring transcribed interviews.[13][39]Critical Reception
Contemporary Reviews
AllMusic critic Stephen Thomas Erlewine commended Both Sides for its introspective depth and Collins' solo performance on most instruments, stating that the album marked a return to the raw emotional territory of Face Value (1981), with Collins sounding "more mature or as assured" than before and delivering "artfully satisfying" songs despite occasional weaker moments.[40] This view highlighted the sincerity in tracks exploring personal vulnerability, such as "Can't Turn Back the Years" and "I've Forgotten Everything," positioning the record as a deliberate break from Collins' polished 1980s pop output.[40] UK outlets offered varied takes, with Q magazine reviewer Phil Sutcliffe in December 1993 acknowledging Collins' adept handling of love-themed material but framing the album within criticisms of his "uncool" image, commercial success, and perceived political endorsements, suggesting a disconnect between the music's intimacy and broader public perception. A Genesis News review from November 17, 1993, praised the album's personal recording process and vocal range, particularly on uptempo cuts like "Both Sides of the Story," lauding it as a fresh departure emphasizing lyrical reflection over formulaic production.[10] Negative assessments focused on the album's ballad-heavy structure and perceived sonic thinness from the multi-instrumentalist approach, with some UK music press implying over-reliance on sentimentality amid shifting 1990s trends favoring grittier rock.[26] These critiques often reflected broader institutional skepticism toward established acts diverging from radio-friendly norms, though empirical aggregations of period scores indicated moderate approval around the 60-70 range out of 100.[41] Overall, reception balanced recognition of authentic emotional core against dismissals of stylistic uniformity, debunking simplifications of the work as solely a "divorce album."[40][10]Retrospective Evaluations and Criticisms
In the 2010s, music critics and fan analyses began reappraising Both Sides as an underrated effort highlighting Collins' self-reliant production, where he performed all instruments on the original recordings using an Akai 12-track recorder, emphasizing personal introspection over collaborative pop norms prevalent in the industry.[42] This approach yielded raw, demo-like authenticity praised in outlets like Sputnikmusic, which noted the album's ability to "grow on you with every new listening" by evoking melancholic life perspectives through its soft rock ballads and minimalism.[43] However, detractors in blogs such as Fraudsters Almanac criticized its lack of standout tracks and perceived mediocrity, arguing it lacked the hooks of prior works like Face Value, with dated synth tones and a vocal delivery showing strain from Collins' evolving timbre.[32] Commercial underperformance—peaking at No. 13 on the UK Albums Chart and No. 92 on the Billboard 200 upon release—fueled claims of artistic irrelevance amid grunge's dominance, yet retrospective views counter this by pointing to sustained fan loyalty and tour success, where the 1994-1995 outings drew over 2 million attendees globally despite softer sales of around 1.5 million units worldwide.[44] Proponents highlight achievements in uncompromised personal expression, valuing Collins' defiance of session-musician trends for a cohesive, theme-driven narrative on relational duality, as echoed in Pop Rescue's commendation of its "well-conceived" tracks and instrumental prowess.[26] Criticisms persist on ballad-heavy pacing and production quirks, like droning synths, which some analyses attribute to solo constraints limiting sonic variety.[22] The September 20, 2024, release of the Both Sides (All the Sides) 5LP box set, featuring half-speed remastered originals, early demos, and rarities cut at Abbey Road Studios, reignited discussions on its enduring appeal amid Collins' health challenges, including spinal surgery and mobility issues since 2010.[45] Fan forums and reviews frame this as validation of the album's introspective depth, with Collins citing it as a personal favorite for its unfiltered reflection, countering earlier dismissals by underscoring archival material's revelation of creative independence over commercial polish.[46] While not reversing all critiques of vocal fatigue or synth datedness, the reissue affirms a niche legacy for authenticity in an era favoring auteur control against mainstream conformity.[9]Commercial Performance
Chart Achievements
Both Sides debuted at number one on the UK Albums Chart, holding the top position for one week in November 1993.[47] In the United States, the album peaked at number 13 on the Billboard 200 chart.[48] It reached number eight on the Australian Albums Chart.[5] The album also topped charts in several European countries, including Germany, and achieved high placements elsewhere in the region. In the UK, it ranked number 11 on the year-end albums chart for 1993.[49]| Country/Region | Peak Position | National Chart |
|---|---|---|
| United Kingdom | 1 | UK Albums Chart[47] |
| United States | 13 | Billboard 200[48] |
| Australia | 8 | ARIA Albums Chart[5] |
| Germany | 1 | German Albums Chart[50] |
Sales and Certifications
Both Sides has sold an estimated 4.3 million copies worldwide across multiple markets, based on aggregated certification data.[5] This figure reflects shipments rather than pure retail sales and positions the album as a moderate commercial success compared to Phil Collins' prior releases, such as ...But Seriously, which exceeded 15 million units globally.[6] The relatively lower performance has been attributed to a shift toward introspective ballads amid a broader market transition away from adult contemporary pop toward alternative rock in the mid-1990s, though it sustained viability in established adult rock audiences.[9]| Country | Certification | Certified Units | Date |
|---|---|---|---|
| United States (RIAA) | Platinum | 1,000,000 | — |
| United Kingdom (BPI) | 2× Platinum | 600,000 | — |
| Germany (BVMI) | 3× Platinum | 1,500,000 | 1994 |
| France (SNEP) | Platinum | 300,000 | — |
| Canada (Music Canada) | Gold | 50,000 | — |
Content
Track Listing
| No. | Title | Writer(s) | Duration |
|---|---|---|---|
| 1 | "Both Sides of the Story" | Phil Collins | 6:42 |
| 2 | "Can't Turn Back the Years" | Phil Collins | 4:40 |
| 3 | "Everyday" | Phil Collins | 5:43 |
| 4 | "I've Forgotten Everything" | Phil Collins | 5:15 |
| 5 | "We're Sons of Our Fathers" | Phil Collins | 5:24 |
| 6 | "Can't Find My Way" | Phil Collins | 5:09 |
| 7 | "Survivors" | Phil Collins | 5:58 |
| 8 | "Thru' These Walls" | Phil Collins | 5:05 |
| 9 | "We Fly So Close" | Phil Collins | 6:00 |
| 10 | "River So Wide" | Phil Collins | 4:18 |
| 11 | "Hero" | Phil Collins | 4:37 |