After discussing Paul D'Adamo's forthcoming album,
Loving Me Back To Life,
I moved the discussion over to the career of the project's Producer, Brad
Cole. Most of the Genesis and Phil Collins fan community knows that Brad has
been a member of Phil Collins' solo band since he joined them for Collins'
world tour in 1990. But Cole has had a long and prestigious career as a
keyboard player, arranger, and/or all-around session player with artists
ranging from the likes of Supertramp, Michael Bolton, Diane Schuur, Natalie
Cole, Johnny Mathis, Patti LaBelle, Gino Vannelli, Larry Carlton, Lionel
Richie, Rita Coolidge, (actress-turned pop singer) Jennifer Love Hewitt, and
even Earth, Wind and Fire to name but a few.
In part two of this exclusive and insightful interview, Brad shares his
thoughts with World of Genesis.com on his long career in music, how he got
the gig with Phil Collins, and what's next in his career.
Speaking of relationships with artists and producers, that raises a
question. Brad, you spoke about Phil Collinsí
Dance into the Light
earlier. That album saw the return of Hugh Padgham as Producer. Do you think
itís easier to work with a Producer where you already have an established
synergy the way Phil Collins and Hugh does after doing so many projects
together or does bringing in someone new with a fresh perspective tend to
bring out things and challenge you a bit more?
Well, Phil and Hugh were like conspirators. They would sit at the board and
whisper about stuff and one or the other of them would tell me something and
I would play. I wasnít part of the deliberative process, really.
I was just there playing the parts that we worked out in rehearsals. There
wasnít too much improvisational recording going on at that time. We
rehearsed for weeks for that record! Thatís also something that isnít done
World of Genesis:
Brad, I know you worked with Daryl Stuermer back in 1988 on his
Steppiní Out album. Was that the first
time you worked together?
We met in 1979 on a Gino Vannelli tour, and we got to be good friends while
on tour. This was just after he joined Genesis [for their tours]. It was the
year after he first toured with them for
And Then There Were Three. He had a
some time off following the Genesis tour, so he took this gig with Gino.
Even though it wasnít music he was terribly interested in at the time, he
was interested in going out with his band. Ginoís drummer was a guy named
Mark Cranny who was one of his best friends at the time. He since passed
away a few years ago, but Mark was a genius of a drummer and just a
wonderful guy. I was new to LA, and I just got into this band after
auditioning. In 1979, I was basically where Paul [D'Adamo] is now... For me,
it was a dream come true opportunity. Gino was someone I had liked for
years, so I got the gig I dreamed of getting. Its great Ė but itís also a
little scary, because you now have to step up and deliver. It was during
that tour that I became friends with Daryl and Mark and several of the guys
in that band and weíve been life-long friends ever since.
Between 1979 and 1989 when I was asked to join Phil Collinsí band, Daryl and
I stayed very good friends. During that time, I would come to see the
Genesis shows and come backstage. I had met Phil numerous times, and I was
sort of like a pet that hung around the periphery of the band (laughs)! So,
they all knew about me. So, when Peter Robinson declined to go back out on
tour with Phil in 1990 for
...But Seriously, my name was right at
the top of the list, because of Darylís recommendation and just because I
had been around so much.
One thing I will say about Phil is that I donít think he really likes the
idea of going through a whole cattle call concept of auditions. He prefers
to get personal recommendations from people and after a lot of vetting and,
in those days faxing back and forth, it happened. So, it was primarily
because of Darylís recommendation.
We had a five week rehearsal period for the
album to basically work it out as a band live. So, the songs were already
fully ready to be performed live and then going into the studio and more or
less going in and playing those parts for tape. Which is really not how its
done anymoreÖ or very rarely. When itís a band itís one thingÖ. When itís an
individual artist, most sessions you book the time, you bring the players
in, you cut the record, and thatís it. This was more of a band concept. It
was really the only time Iíve ever done anything like that for rehearsal.
Hugh and Phil were such a team. They were like twins. They were really
funny. It was really a laugh filled kind of experience. There was a lot of
goofing around and stuff. It was great! But I was really playing out my
assigned parts more or less. I didnít want to get too involved in what was
going on behind the board.
"Iím an arranger, Iím a
producer, and Iím a player, but Iím not an artist... Whatever expression I
do comes out in my work for other people, and Iím pretty content with that."
dedication to kind of ďrehearse it, rehearse it, rehearse it Ė ok letís
record itĒ, was that an indicator of Philís desire to have the album come
out perfect or just because he had the resources to make an album this way?
I think it was more a matter of resources. If he had wanted it perfect, he
would have taken six months to do it. I think it was
Face Value, his first solo
album, that he built on his demos, he worked on for a long time. Then, he
basically sweetened the demos. So, thatís how that record was made. This one
was made without demos Ė basically as a band. We were doing them demos in
I just did this thing for this songwriter Barry Mann who wrote ďYou Lost
that Loviní FeelingĒ for this series coming on PBS called
Legends and Lyrics. [The
concept of the program is that] its songwriters doing their [own music]. It
was just thinking of that because of Marc Cohn.
Itís kind of like Unplugged where they
explain how the song came to be and so on. Anyway, Marc Cohn was talking
about one of the songs and he got so tangled up in the explanation of the
song that had to stop the tape. He just boxed himself in this corner that he
couldnít get out of (laughs). He said, ďLet me try that again!Ē Then he came
back in a second take and did the explanation in 20 seconds instead of three
minutesÖ Thatís where I was a minute ago here Ė I got off on some tangent
Brad, for musicians like you, Daryl, Chester or Leland who are probably more
traditionally trained to read music when you arrange or compose a piece of
music, what challenges if any does that represent when you work with an
artist like Phil who uses his own system of dots and dashes to learn the
music he arranges or composes?
So, you never had any kind of formal audition with Phil?
BC: No, not
really. I just sent off some tapes of some of the stuff I had done over the
yearsÖ all of which Phil didnít like. Not because he didnít like what I did
Ė he didnít like the music. It was mostly dance records and that kind of
Tiffany kind of stuff from the Ď80sÖ Not great stuff and not really in his
style exactly. So, there was probably initial doubt, but Darylís
recommendation and assurances swung him over, finally. There was not moment
where I had to sit in front of him and play or anything. There were a few
phone calls and we sent tapes back and forth.
understand that Chester Thompson was essentially the same. Phil liked what
he heard on Frank Zappaís
Roxy and Elsewhere album and when he saw Chester with Weather Report
in concert in London back around 1975.
Well, remember, Chester already had a real pedigree as a drummer back then
having already played with Weather Report and Zappa alone, not to mention
some of the other things he had done by that time. I mean, he wasnít
diddling around doing these silly demos that I was doing at the time, he was
a major force by the time he got into Genesis and, especially, by the time
he was touring with Phil as a solo artist.
BC: Well, for
example, the big band thingÖ We did a recording session with another
drummer, a friend of mine named Nick Vincent, in LA. We did those
arrangements, and Nick played them kind of as any session player would play
them. He played them straight up, mostly for hits, anticipations, and the
basic architecture of the chart. Phil got that recording and wrote out his
own 'Bish-Bah', which is what he calls it. (Brad demonstrates some simulated
air drummingÖ) ďBish!ĒÖ ďBah!Ē
Phil did his 'Bish Bah' charts with his little dots and hieroglyphics based
upon the recording. So, he did the entire thing by ear, basically. Heís
actually improved in his reading of regular music over the years. I think
heís been learning how to read rhythm charts at least. I mean, I just wrote
him up this rhythm chart of this song [for the Motown project that was
recently announced] in regular notation and he seemed to have no problem
with that. Phil does everything intuitively by ear, which is all you need.
However you notate it for yourself is up to youÖ But, we canít hand him a
complicated drum chart from a jazz band arrangement and expect him to read
that right away. Once he hears it though, he will play it perfectly! That
was also the case with Buddy Rich. Buddy couldnít read a note of music.
Actually, youíd be surprised how few people in the commercial music business
can read music. Itís a very intuitive-ear based business. I mean, in
Nashville, they only write numbers on their charts. I have a hard time
reading them, because I read music (laughs)! Iím looking at these numbers
and it looks like algebra equations and itís really hard to know what the
hellís going on! Itís a question of whatever method people are used to
looking at and communicating with each other. You use whatever you can use
to share your ideas.
When I spoke to Ronnie Caryl a few years back, we talked about his joining
of Philís band. I understand that he didnít necessarily feel fully accepted
initially by everyone in the band. What is your take on that?
I think everybody was a little worried after so many years about putting in
an extra player. We understood Philís change in style by that time. I mean,
there were multiple guitar parts with
Dance into the Light, and
another guitarist was needed. The thing you have to remember is that a band
is like a big sloppy dysfunctional family. If you bring in a new sibling,
itís virtually inevitable that there will be a breaking in period, I guess,
but that didnít take very long, and I think Ronnieís been great!
Actually, we just did this thing in November where Phil, Ronnie and I played
at Philís sonís private school. Ronnie did a great job! In fact I was the
one who screwed up. Ronnie was really worried about messing up because he
hadnít played in such an exposed position with Phil in such a long time. He
ended up playing flawlessly, and I absolutely fucked up the ending of
ďAlways.Ē It was a train wreck of nuclear proportions (laughs)Ö It was huge!
I understand that they gave the performance out on CD, so I guess now itís
immortalized on CD (laughs)?
Yes, unfortunately, itís there for the world to hear. Phil says he wrote
pretty funny the liner notes for this CD, basically saying that shit happens
(laughs)! Öand it certainly did!
Speaking of live recordings, I was always really surprised that following
First Final Farewell Tour in 2004 that Phil didnít release a live album.
I know he initially thought about doing an Encore Series similar to what he
did on the 2007 Genesis tour where every night would be released on CD, but
that when he wanted to do that for his solo tour in í04 that Atlantic
Records put a stop to it.
Speaking of the Phil Collins Big Band project, it seemed like a very logical
progression since Phil has always had a bit of a jazz influence on his solo
albums and uses the big horn section on tour. Were you surprised that there
was never a follow-up big band project with Phil?
No, I wasnít surprised, because it was an expensive venture for him and Tony
[Smith, Philís Manager]. The record didnít do that well. It did better in
Europe than it did in America, and thatís primarily because Americans donít
understand what a big band is, in the pop market anyway.
Our performances with the big band were also less successful in America than
they were in Europe. Primarily, because I think Americans were coming to the
concerts and expecting to hear something like the Ringo Starr All-Star Band
with lots of players. Instead they see this big trombone section on stage,
and they would get confused. Then, when Phil didnít sing that much in this
show, they got angry in America.
In Europe they loved it, because I think the
Europeans are much more accepting of whatever it is their favorite artists
like to do. They just go with it. America is such a niche taste driven,
consumer driven market, where their tastes are so dictated by radio that
they donít have the flexibility of mind to go with something like a big
band. We thought that the American fans would be more open minded than they
turned out to be.
Well, I enjoyed it!
Same here. I drove six hours to Boston, Massachusetts to see the Phil
Collins Big Band.
I saw it at Carnegie Hall in New York.
For those of us who love all kinds of music, those people loved it. My
father also saw it at Carnegie Hall, and I donít think heíd seen a concert
there since Benny Goodman! I could see him from where I was on the stage, it
was really something.
I didnít know about the Encore Series thing. As far as an actual live album
goes, Phil had done
Serious HitsÖ Live! which was
the big live album from the Ď90s, and there had been two live DVDs since not
to mention the release of
Love Songs. So, maybe he was
concerned about over-exposure and over-saturation of the market putting out
a number of things at the same time? You'd have to ask him.
Honestly, we really hadnít done much on the last tour that hadnít been done
before, so Iím not sure there was much reason to do another live album. I
think if he can be urged to do a small acoustic version of the show in a
smaller venue or perhaps with a smaller band that would be a great thing to
put out live, because it would be a recasting of what people have heard. A
lot of artists are doing that now. Boz Scaggs, as an example, has totally
rejuvenated his career by doing his older material in a simpler setting with
almost like a jazz band. It sounds wonderful. Phil has always wanted to do
something like that, but I donít think the opportunity ever came up where
the desire matched the times everyone was available or whatever. I do think
someday heíll want to do something like that.
I think my favorite ďBrad Cole momentĒ was back when Phil Collins did the
A&E Live by Request performance around the release of Philís
Hits album in 1998 where people called in to the show to request
specific songs that they wanted played. My impression was that the show was
completely scripted and that essentially Phil's people would say to A&E,
"Here are the 20 songs we know and are prepared to play, and screen everyone
else out." Well, someone managed to get through on the air, perhaps by
saying to the telephone screener that they were going to ask for a big solo
hit single like ďOne More NightĒ and instead requesting ďHome by the SeaĒ by
Genesis. Phil openly admitted that it hadnít sung the song in quite some
time and couldnít recall the words, but you almost instantly started playing
the song, which really impressed me. I recall thinking that ďThis guy is
either the most prepared musician on the planet, or heís a Genesis fan who
just happened to get the gig playing with Phil Collins!Ē
(laughs) ÖWas it there or MTV Unplugged? I did it there, too. I just
happened to know that song. Itís not hard. I just knew how it went and the
feel and the changes and everything. Phil didnít recall all of the words,
but he got into it, and Daryl and I played some of it up through the chorus
maybe. Iím sure itís on YouTube. I was a little bratty about starting that
without permission, but I figure you go with the moment!
always read liner notes, and it seems that session work is a fairly
incestuous circle. Especially, in that Nashville circuit. It seems like LA
and New York were the hubs if you were a session player in the Ď70s and Ď80s
and now it seems like itís largely Nashville, Tennessee.
Well, its incestuous everywhere that there is a scene.
Well, what I mean is that, as an example, you worked with Kathy Troccoli and
so did Chester Thompson... You worked with this other person and so did
Leeland Sklar.... Perhaps not on the same album each time, but there is a
definite repetition of hired session players on albums coming out of places
like Nashville. Because itís such a tight-knit group of players, do you ever
find yourself running into each other on these various projects you
Yes. Actually, on a project Iím doing at the end of March, another French
record. Leland Sklar as well as another friend of mine, Bernie Dresel are
both on that project. Bernie used to be the drummer with the Brian Setzer
Big Band. When I was in LA for all of those years, you would run into people
all of the time. Youíre right. Itís a closed knit circle. People kind of
worm their way in over the years.
The ĎA-Teamí as I like to call them, which is (John) JR Robinson, Nathan
East, Greg Phillinganes, and Neil Stubenhaus and that whole crowd. The
Qunicy [Jones] crowd; they play together all of the time. I would be lucky
enough to be in a situation like that now and then. Iím finding that
Nashville is very tough to get into. Itís even tighter than LA. There are
fewer opportunities and fewer guys do more things. I was hoping that
Nashville would be a little more fluid than it has turned out to be. Whether
I stay there or not, I donít know.
Knowing that you play a number of instrumentsÖ
Well, I used to (laughs)Ö
Well, when you do write compositions for yourself, do you write them around
the piano or another instrument first?
I actually focus most of what I do now around the rhythm section. I think
like a band rather than just a keyboard player.
Is that the arranger in you working overtime?
WOG: In your mind, do you think
Phil has officially retired?
Itís hard to say. He says so, but who knows. Things change, situations
change, and moods change. I do believe that he is done with the big
production tours. I think between the cost of them and the time and energy
behind them, itís just overwhelming for anybody at this point. He certainly
doesnít have anything to prove to the world or himself. So, I think heís
very content not to put himself through the rigors of doing a huge
production like that. I do think one day he may have the urge to do smaller
shows for a smaller audience in a more intimate, personal setting. I think
that would be really affective.
Heís always enjoyed doing the smaller bands because he doesnít have to work
so hard to sing against the big production. Thatís part of the problem.
Because of the hearing loss on one side, there are always issues with his
hearing of what heís doing. The louder the band, the bigger the venue, and
the louder the PA and all of that stuff, you can get swallowed up by it
sometimes. When he sings like this thing we did in Switzerland with me and
Ronnie as a trio he was wonderful! He can hear himself and hear his inner
voice more clearly. Iím a firm believer that you need to hear initially what
you want to say, and thatís your inner voice. If you canít hear that because
you are getting pounded by 50,000 watts of PA and this gigantic band behind
you Ė all playing at 11, you canít tell what you are doing, and you get
detached from it. You drift away from the focus of it.
I understand as a child you musically inclined and more classically trained.
As a teenager, did you see yourself as more of a classical musician growing
up sort of playing Carnegie Hall?
I had illusions of that for a while, but I really wanted to be a
professional musician after my junior year of high school. I was a singer at
the time. I was a star of my high school theater and all of that crap
Paul D'Adamo & WOG:
So, I went to a conservatory and after about two weeks, I realized that I
didnít have it. There were kids there my age who already sounded fully
operatic. They just had it. They had the pipes and the voice. I didnít...
and I knew then that I didnít have it. So, I kind of switched my emphasis to
piano, although I continued to study voice for four years. I just kind of
floundered. I mean, I just drifted around. I didnít know what I wanted to
do. Part of it was confusion and part of it was just total insecurity of not
knowing where to land. I always loved jazz. I wasnít that crazy about rock
and roll and a lot of pop, but that came later. When I got out of school my
first gigs were in show bands and the Sheraton circuit and playing top 40
covers and that sort of thing.
Things happen randomly and they also happen for a reasonÖ I got gigs out of
school where I had to learn to play left handed keyboard bass, because I was
in bands that didnít make enough money to hire a bass player (laughs)! So, I
became exceptional at left hand bass, and it just so happened that for the
Vannelli gig they wanted a keyboard player who could play left hand bass...
That was me!
Daryl would say that I was the only guy who was able to keep a groove going
and solo at the same time. That was because I had been doing it for two
years in the clubs. Youíd never think that something like that would pay
off, but because of the need to learn how to play left handed bass for the
club circuit, I got into Gino Vannelliís band, and because of that I met
Daryl Stuermer, and because of that I ended up in Philís band. So, it all
connects in one strange way or another, but it all has a sort of random
quality to it, too. You plan, and then life happens instead. Isnít that the
WOG: How did you
get involved with Natalie Coleís
played on three tracks from the
Unforgettable album. I got involved in the
project, because I knew Andre Fischer who happened to be conveniently
involved with Natalie Cole at the time. I happened to be working with him on
other projects, and so he very graciously let me play on a few of the tracks
he was producing for Natalie.
Natalie sang live with the Bill Holman Big Band, which was extraordinaryÖ
and me sitting in the little piano isolation booth in the studio sweating
and shaking (laughs). It came out great! I really felt like I was playing
with the big boys when I did that! It was frightening and exhilarating at
the same time. Nowadays, I wouldnít be scared, I would revel in it, but my
confidence level was up and down between 1988 and 1989 when we did that. I
was really on shaky ground at the time. It was amazing!
BRAD COLE ON THE PHIL COLLINS
"Our performances with the big band were
also less successful in America than they were in Europe. Primarily, because
I think Americans were coming to the concerts and expecting to hear
something like the Ringo Starr All-Star Band with lots of players. Instead,
they see this big trombone section on stage and they would get confused.
Then, when Phil didnít sing that much in this show, they got angry in
Brad, youíve worked with a fairly broad range of musicians from pop/rock to
jazz to contemporary religious. Which sessions do you look back on at this
point in your career and say, ďIf I was to pull out a CD of my work or a
portfolio of songs, this is some of the music I would play for someone?Ē
HmmmÖ Thatís a good question! Iíd have to think about that one! Well, the
Natalie Cole stuff is up there. I did more album recording in the Ď80s than
I did in the Ď90s. I kind of dried up a little over the past 15 years. I
just finished a record with a French singer named Hugues Aufray whoís done
an album of all Bob Dylan songs in French. Heís 79 years old, and his main
claim to fame was that he was the first French singer to do Bob Dylanís
music in French. He wrote the translations and got Bob Dylanís approval. So,
heís a guy from the Ď60s and Ď70s whoís doing a sort of nostalgia album.
There is a big wave of that over in France right now. We recorded that album
in this great studio in New York City. It was this all analog studio with
tubes and millions of vintage mics. Everything was going into Protools, but
everything else was analog. The album has this fat, warm beautiful old
sound. That was a pleasure! I got to play a lot of acoustic piano, and a lot
of organ and Wurlitzer and stuff like that. I also got write string quartet
arrangements for this thing. So, I would put that up there as a current
project. I did one song on a Michael Bolton album before he became annoying
(laughs) called ďSoul ProviderĒ which was really goodÖ
WOG & PD:
Ö Doing Philís record [Testify]
was fascinating, because it was sitting around in a chateau for a week and
dropping in to the recording room now and then doing my part. Which is kind
of like the way it used to be done in the old days when there wasnít this
clock watching mania that there is now. So, that was kind of a cool process
to watch that happen from the ground up. I donít know, Iíd need to look at
my resume and see what else Iíve done (laughs)!
Well, hopefully, when weíre done youíll add mine to your portfolio!
Oh, I will.
When youíre hired to come in and play a song a certain way, are you able to
shut off the arranger in your head and just play the track as is? Like, on
Dance into the Light
Well, not entirely, because when I start playing a part, Iím always
arranging the part as it goes. Itís just not a matter of throwing chords
down without any thought of how they will interact together. I always try to
make a chord progression have a line to it. I do that inside, and if they
donít like that, weíll try another alternative.
You never stop thinking like an arranger, particularly as a session player.
Youíre looking how your little part of the puzzle fits in. So, you have to
be aware of all of the other parts of the puzzle when you are listening to
the inter-play between the rhythm section, and you donít want to play too
much or too little... what register are you in?, what part of the keyboard
are you in?, how big of a sound do you want? There are a million iterationsÖ
and those are all arranger kind of things.
Itís no coincidence that some of the greatest arrangers have been trombone
players for big band. I mean, those guys are right in the middle of it. So,
they are really aware of whatís going on up top and whatís going on below.
Plus, they get no glory whatsoeverÖ So, the first thing they want to do is
write their own shit. There are tons of trombone arrangersÖ Great ones! Bass
players tend to make great arrangers, too.
...The person who does my horn charts for my 12-piece variety band in Texas,
called Plan B, is my trombonist. He does all of the horn parts for whatever
we are doing.
"....He wasnít a soloist or a star, but just
note perfect as an accompanist. Thatís
enough for me."
Have you ever considered doing a solo album of your own?
I did consider it, and Iíve decided not to (laughs). Iím an arranger, Iím a
producer, and Iím a player, but Iím not an artist. I think in order to be an
artist you need to be more like [Paul DíAdamo] and less like me. As an
artist, you need to be very single-minded about the thing that you do.
Phil Collins is an artist. Heís a classic artist. He is 100 percent
concerned about the thing that he does. Heís not a journeyman; heís not a
gun for hire musician... Heís played with other people, but thatís secondary
to his primary interest. Phil has an inner voice that he wants to express. I
donít. Or, at least I donít think I do. Whatever expression I do comes out
in my work for other people and Iím pretty content with that.
I think a lot of guys out there who put out their records who spend a great
deal of money doing it, and a great deal of time doing it, and its
satisfying to do but its ultimately difficult to get anywhere with it. I
mean, unless I was to do a record with Chester and a bass player from
Nashville as a jazz trio... That would be fun to do. If it could be done
quickly and cheaply. Yeah, Iíd be into that, but Iím not a songwriter
primarily, and Iím certainly not a singer in terms of being able to
communicate something that is original to me. Iím a below the line guy, and
thatís exactly who I like to be.
Many of the jazz albums you see out there are essentially live recordings
done at some small club over one or two nights. It doesnít get much cheaper
and easier than thatÖ
Right. My friend Arnold McCuller from [Philís] band, has put out several
albums, including a live one we did. These were terrific records! Iíve done
some tracks for him along the way. However, because he canít get a record
deal in America, he needs to self-release, and the mechanism of self-release
is tough and expensive. You have to do the job that the record company would
normally do for you, so you end up having to wear eight hats instead of one.
Iím not that crazy about doing that. I mean, if I was going to do something
like that, it would have been 15 years ago. Iím old now (laughs), and I have
grandchildren, and Iíd much rather be known as a really great accompanist.
There was a piano player named Ellis Larkins who was probably best known for
his work with Ella Fitzgerald. This guy was a true artist as an accompanist.
Thatís a real special art. Whenever he played with her, I learned an awful
lot about accompaniment from listening to recordings with this guy. He
wasnít a soloist or a star, but just note perfect as an accompanist. Thatís
enough for me.
Also, a guy named Ralph Sharon who played with Tony Bennett for decades.
When we were out with the Phil Collins Big Band in 1998, Tony Bennett was a
guest artist. Tony brought his trio with him, and Ralph Sharon played. He
was another extraordinary accompanistÖ Ralph was a great piano player
overall, but an exceptional accompanist. Just watching him work was an
education in itself. My interest in that kind of thing is collaborative, and
that is what my reputation is amongst the singers that I know.
FEATURING BRAD COLE:
Phil Collins - Finally...
PHIL COLLINS -
The First Final Farewell
Tour DVD (NTSC) -
LIVE! DVD (NTSC) -
Filmed on the '04 Tour!
Filmed on the '90 Tour!<![endif]>
Natalie Cole -
The Phil Collins Big
Band - A Hot Night In
Special thanks to Paul D'Adamo
and Brad Cole for granting this interview. Additional thanks to Paul D'Adamo
for the behind-the-scenes photographs from the making of his album. For more
information on Paul D'Adamo, visit his
For more information on Brad Cole, visit
his official site.
© 2010 Dave Negrin and may not be reprinted in whole
or in part without permission.
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