Ranking The Albums: Phil Collins

Written: February 2026

During the eighties Phil Collins moved from Genesis frontman and drummer to chart‑dominating songwriter, producer and bandleader. Hooks, heart and a thunderous drum sound made him a fixture on radio, TV and on also on the big screen. Some dismiss his music as lightweight pop but for every hit single there are more contemplative album tracks that deserve attention. As with many of my other ranking pieces, my introduction to each album and my personal resonance with them has played a part in their placement.

Remember, rankings are purely subjective and just for fun. Please add your own rankings and comments at the end!

8: Testify (2002)

By the time Phil Collins’s seventh studio album arrived, I must admit to not having followed his solo career as closely as I once did and it became the first album of his since becoming a fan that I did not buy at the time of release. Hearing it a few years after release, it did little to make me feel my life was incomplete without it. Collins sinks into a mellow, reflective space that is filled with overly smooth production and emotionally soft edges. Although there are moments of genuine warmth, I find the whole thing a little too repetitive - particularly in terms of tempo - to make me want to go back to it. For some reason, I also find the use of Brahms Lullaby in Come With Me intensely irritating. Overall, Testify feels a little too comfortable.

Three favourite tracks: Testify, Swing Low, It’s Not Too Late

7: Going Back (2010)

Collins’s final studio album is less a traditional record and more a lovingly crafted love letter to the Motown and soul classics that shaped his musical youth. Working with surviving Funk Brothers and recreating vintage arrangements with great attention to detail, he leans heavily into nostalgia here  - which I find to be both the album’s strength and its limitation. As a tribute, it’s wonderfully sincere and often beautifully performed but as a Phil Collins album, it sits slightly apart from the rest of his discography. There are moments where his affection for the material shines through but inevitably, it lacks the personal stamp and songwriting flair that define his best work.

Three favourite tracks: (Love Is Like a) Heatwave. Uptight (Everything's Alright), Going Back

6: Dance Into the Light (1996)

Although Dance Into The Light is only one place above Testify in this ranking, I actually enjoy it far more. The gap in quality and enjoyment between the two feels much larger than a single step suggests - Dance Into The Light may be uneven but there is far more energy, personality and musical spark within its songs. Following his departure from Genesis, Dance Into The Light finds Phil Collins in more optimistic territories. The album has an upbeat personality and even if there are moments where experimentation outweighs cohesion, it remains a colourful entry in his catalogue that contrasts sharply with the darker textures of some of his earlier work.

Three favourite tracks: Lorenzo, Oughta Know By Now, River So Wide

5: Both Sides (1993)

As the eighties progressed, Phil Collins transformed from a member of Genesis to a megastar in his own right. …But Seriously – his last album of the eighties - was an album that was deeply personal in places but also looked towards societal issues. Both Sides - his first solo album of the nineties - saw him turn his gaze almost completely inwards – the title track aside - becoming more introspective once more and producing his most personal album. It strips away much of the pop sheen of some of his previous albums in favour of deep reflection. Lyrically intimate and with a sense of isolation, it shows that he was not just an artist that produced great singles but one who was capable of writing excellent album tracks. We Fly So Close would easily make my Top 10 of his solo material. It is not a perfect album – it is overlong at close to seventy minutes; not every song hits the mark and the keyboard solo on Everyday is both cheesy and clumsily executed to name just two of its flaws. However, Collins playing everything here and producing the album himself should be commended and with a slightly trimmed track list, it could have placed higher in this ranking.

Three favourite tracks: Both Sides, We Fly So Close, We Wait and We Wonder

4: No Jacket Required (1985)

No Jacket Required is Collins at his gleaming, hook-laden peak. With massive hits, glossy production and an irresistible energy, this is the album where he morphed from solo artist into full‑blown global phenomenon. Its sheen has long divided listeners and there are moments where it now feels a little too polished; however, its impact remains undeniable. An album that would top many rankings, I could, on some days, switch No Jacket Required in my own list with Hello, I Must Be Going! But I find that its his second studio album I return to more often. Nevertheless, the album’s sheer melodic strength and confidence continue to shine through, reminding me why it became such a defining moment in his career. Placing it fourth is not an indication of dismissal, rather a reflection of how strong the albums above it happen to be.

Three favourite tracks: Long Long Way To Go, Inside Out, Take Me Home

3: Hello, I Must Be Going! (1982)

Collins’ second solo album continued the emotional self-examination that began on Face Value but found him spreading his wings a little more in terms of diversity. It has a sharp rhythmic core and a confident sense of identity. With clarity of intention, Collins was discovering how to fuse his pop instincts with personal storytelling. Sometimes overshadowed by the records around it, this marks a crucial moment in the evolution of his solo identity. It balances vibrancy and his more wounded intensity in an assured manner. I find myself appreciating it more with each revisit and I return to it with genuine appreciation.

Three favourite tracks: I Don’t Care Anymore, Thru These Walls, The West Side

                       2: …But Seriously (1989)

…But Seriously was the first ‘ new’ album I bought as a fan having come to Collins’ solo career through my discovery of Genesis in 1986. By the time it was released, I had already heard his three previous albums and enjoyed them all, but there is something uniquely exciting about buying a newly released record for the first time after becoming a fan of any band or artist. While that may be one reason why this album sits so high in this ranking, it is the quality of the songs and how well they stand up to repeated listening that truly confirms its placement. Spawning six singles, Collins balanced social commentary with heartfelt ballads, the record expanding his lyrical scope without abandoning his relatable personal emotions. It stands as one of his most fully realised works, blending craft, conviction and heart in equal measure.

Three favourite tracks: Colours, I Wish It Would Rain Down, Find A Way To My Heart

1: Face Value (1981)

The first Phil Collins album I heard, few debuts feel as raw, bold and complete as Face Value. Created in the aftermath or personal heartbreak, it channels grief, confusion and vulnerability into an exciting blend of pop, rock, soul and atmospheric experimentation. At times, Collins shows remarkable restraint, letting space, percussion and subtle arrangements drive the tension that holds the whole record together. It is no overstatement to say Face Value contains one of the most iconic moments in popular music history, courtesy of the legendary drum fill during In the Air Tonight, which remains the album’s monumental centrepiece. The foundation stone of his solo legacy, it is a song (and album) of which I never tire.

Three favourite tracks: In The Air Tonight, The Roof is Leaking, If Leaving Me Is Easy

Listen to my Phil Collins Through the Years playlist featuring my three favourite songs from each album in chronological order.