If any more proof was needed as to how far the UK pop charts have declined since the mid-1990s, look no further than the fact that Genesis’s ‘Mama’ – released 40 years old this week – was their biggest hit, going all the way to #4.
Not bad for a nearly-seven-minute song without a proper chorus about a young man’s troubled relationship with a sex worker.
In my opinion, ‘Mama’ is one of the great singles of the 1980s, epic and menacing, and the last decent showing for post-Gabriel Genesis (I couldn’t/can’t get anywhere with its attendant 1983 self-titled album, nor any of their subsequent projects).
In autumn 1983, I was vaguely aware of Phil Collins, my ears having been piqued by my dad’s frequent playing of Face Value around the house. But when my uncle bought me the ‘Mama’ 12-inch single, I’m pretty sure I’d never heard of Genesis. But Uncle Jim wrote ‘Side A is the good side!’ on the front for guidance, knowing I’d love Phil’s immense drum sound (to these ears, still just as ‘shocking’ as ‘In The Air Tonight’). For me, this is the apex of Phil’s best era – roughly 1976 to 1983.
The author with his first snare drum, his dad the DJ about to put on ‘Mama’, circa autumn 1983
‘Mama’ was recorded at the band’s Farm studio near Chiddingfold, Surrey, and co-produced by Hugh Padgham. Phil set up in the new drum room modelled on the famous Townhouse Studio 2 in Shepherds Bush.
There are still so many pleasures – Phil’s sibilant, Lennon-influenced vocals (including a homage to Melle Mel), making full use of the slapback echo which went straight onto tape rather than being added later. Banks’s ominous synth layering and wacky lead tones. Mike Rutherford’s Linn drum programming, played through a guitar amp.
Also listen out for the way Phil avoids metal completely until the beginning of the fade, when his enormous crash cymbal is a huge release.
He talks at length about ‘Mama’ and its recording in this extended interview from 2014.
movingtheriver.com 