Producer Steve Lillywhite recently named Phil Collins as the best drummer he’s ever worked with, pretty high praise considering Lillywhite has also shared studios with Simon Phillips, Carter Beauford, Mel Gaynor, Mark Brzezicki, Jerry Marotta and Stewart Copeland.

And Phil’s excellent drums were all over his seriously impressive debut solo album Face Value, released 45 years ago this month.

But by 1981 he had nothing to prove from a drumming perspective. It was the quality of the material and arrangements that bowled people over. And yet Face Value is so much part of the woodwork these days that it’s easy to forget just how expertly crafted it is.

Many of the album’s songs started life as primitive home demos, featuring rhythm box, piano and vocals, Collins having a lot of time on his hands after separating from his first wife (‘I Missed Again’ started life as a medium-tempo shuffle, with the working title of ‘I Miss You Babe’).

A few other tracks were developed in the studio with various muso friends, including L Shankar on violin, Eric Clapton and ex-Weather Report bassist Alphonso Johnson, and then there were the two famous cover versions.

The resulting material was an embarrassment of riches. Phil threw the kitchen sink at Face Value: singer-songwriter balladry, Motown, Earth, Wind & Fire, jazz/rock, Beatles beats. Even a touch of Barry White (but no prog…). And all of it pretty much works.

He took full advantage of Townhouse Studios’ famous stone-clad drum room and the superb technical skills and easygoing manner of co-producer Hugh Padgham.

‘In The Air Tonight’ arguably changed the music business forever. Had there ever been a quieter album opener? Or UK #2 single (#19 in the States)?

Just a spectral Roland CR-78 rhythm box playing a loose approximation of Phil’s beat from Peter Gabriel’s ‘Intruder’ (and at exactly the same tempo) and a few synth chords (starting in D-minor, the saddest of all keys…). And then the massively compressed, mid-song fill is always louder than you think it’ll be.

Atlantic (Phil’s label in the US) boss Ahmet Ertegun said something interesting about ‘In The Air’: for years afterwards, it was always his go-to track for demonstrating a sure-fire hit – rather an extraordinary statement, when you think about it.

Phil was also becoming a more-than-useful pianist – check out his lovely voicings on ‘Hand In Hand’ and impressive rhythm playing (just the black keys!) on ‘Droned’.

The success of Face Value was a huge gamechanger for his Genesis colleagues. The ‘funny guy’ behind the kit who had always felt a bit like an outsider was now calling the shots. Newfound respect from Messrs. Rutherford and Banks. There would be no more drummer jokes.

The album revolutionised Virgin Records too. Its massive success (UK #1, US #7) was almost as seismic as Mike Oldfield’s Tubular Bells had been five years before, ushering in the label’s mega-selling pop era of Culture Club, Human League et al.

‘Phil and Peter Gabriel are delightful people. Nothing’s too much trouble for them and it’s also true that because they’d both bother to go into the office to see everyone, the staff would work their balls off for them.’ Richard Branson, 1999

If Phil’s solo career had only ever consisted of Face Value, his legacy would have been assured. (In fact many, including this writer, believe he hasn’t produced much solo stuff of worth since…)

(Postscript: my 1980s WEA CD sounds great but is apparently a bootleg, with a few funny misspellings inside the inlay card – Sharokav on violin – and a weird Eric Clapton pseudonym: Joe Partridge.)