“One More Night” is the first single in the United States and second in the United Kingdom from Phil Collins‘ third album, the Diamond-certified No Jacket Required. “One More Night” was Phil Collins’ second U.S. #1 single, following “Against All Odds“, and was his 4th single to reach the top 10 in the UK, peaking at #4 on the singles chart. In the US, the single entered the Billboard Hot 100 at #50 on the chart dated February 9, 1985. It hit #1 7 weeks later and remained on top for 2 weeks. In the UK, the single was certified silver by the British Phonographic Industry. It was also his first #1 on the US Adult contemporary chart.
The soft rock ballad remained for 2 weeks at the top in the U.S. in early 1985, until it was surpassed by “We Are the World” by USA for Africa on 13 April 1985.
Phil Collins was playing around with his drum machine (a Roland TR-808) when he started saying the chorus of the song. He later recalled that the writing of the song, which has no hook, was completed “very quickly.”
The song’s music video, directed by Jim Yukich, features Phil Collins playing the piano in a downtown bar. It was filmed at a pub owned by Richard Branson in London (the same club used for the “Sussudio” video, but looking different because the bar is now closed and this clip is shot in sepia tone, while “Sussudio” was full-colored). This video is in fact a segue from the music video for “Sussudio“, the full version of both clips without a break was included in Phil Collins’ long-form music video release “The Singles Collection”
Phil’s guitarist Daryl Stuermer makes an appearance, as does Phenix Horns member Don Myrick, who plays the sax solo which closes the tune.
Robert Hilburn of the Los Angeles Times said that “Collins’ soulful but polite vocal style is also capable of capturing the pain of going through yet one more night without her”. Isaac Guzman of the New York Daily News said that the song brought about “snuggle-inspiring tenderness”.
However, Keegan Hamilton of the Riverfront Times said that the song was the worst track on the album, saying that “The album’s introspective slow jam wallows in self-pity.” “It’s minimalist, as far as the 1980s go, relying mostly on a shaker, a crisp drum machine and echoing keyboards. It ends with a saxophone solo so smooth that I can’t believe it’s not butter,” adds Keegan.