"I'm usually going to make a record, finish a record, start a record or start a tour or between tours"
About this Quote
Phil Collins makes busyness sound less like a complaint and more like a climate: you live in it, you dress for it, you stop noticing it. The line is almost comically procedural, a conveyor belt of verbs where the nouns barely matter. “Make,” “finish,” “start,” “tour” - the creative life reduced to project management, with no room left for the romantic myth of the musician waiting for inspiration to strike. He’s not describing a schedule so much as a permanent state of motion.
The specific intent is plain self-positioning: Collins as a working musician, always in production, always in circulation. But the subtext is sharper. The repetition of “start” and “record” suggests a loop: completion isn’t an endpoint, it’s a trigger. Even “between tours,” the supposed downtime, gets swallowed into the same rhythm. Rest exists only as a preposition.
Context matters here because Collins isn’t an indie auteur selling scarcity; he’s a stadium-era professional whose brand was built on relentlessness - Genesis, solo hits, session work, soundtrack ubiquity. This is late-20th-century pop’s industrial logic in one sentence: output feeds visibility, visibility demands more output. It also quietly deflects scrutiny. Ask about personal life, artistic doubts, the toll of fame, and he answers with logistics. The machine keeps running, and the point is that it can’t afford not to.
The specific intent is plain self-positioning: Collins as a working musician, always in production, always in circulation. But the subtext is sharper. The repetition of “start” and “record” suggests a loop: completion isn’t an endpoint, it’s a trigger. Even “between tours,” the supposed downtime, gets swallowed into the same rhythm. Rest exists only as a preposition.
Context matters here because Collins isn’t an indie auteur selling scarcity; he’s a stadium-era professional whose brand was built on relentlessness - Genesis, solo hits, session work, soundtrack ubiquity. This is late-20th-century pop’s industrial logic in one sentence: output feeds visibility, visibility demands more output. It also quietly deflects scrutiny. Ask about personal life, artistic doubts, the toll of fame, and he answers with logistics. The machine keeps running, and the point is that it can’t afford not to.
Quote Details
| Topic | Music |
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