They were only four (and some others)

When Genesis released their last studio album (Calling all stations), after the departure of Phil Collins in 1997, replaced by Ray Wilson, I heard an interview in which the reporter asked two veterans of the group, Tony Banks and Mike Rutherfod which according to them was the best album of Genesis. One of them (I do not remember which) replied mischievously "the last", the other without really answer made reference to Seconds Out which gave an excellent representation of what was begging the band's music at the time.

In fact, this double live that closes the second time the group, but without Peter Gabriel and Steve Hackett who left after the tour, dune is exceptional. Recorded in Paris between 1976 and 1977 (thus several concerts), it reveals a great First of miking that brings a lot to the interest of this album. It really hear all the details, either percussion, guitar riffs, synths (listen all the strange sounds of the first part of Cinema Show or the last part of I know what I like). Maybe we can today, with our ears accustomed to the technical prowess, regret some distance from the voice of Phil Collins, too pronounced a few echoes, but nothing major.

Most importantly, the sound quality is on a fantastic musical quality service. Seconds out one of the few recorded live albums whose interpretations are as good or even better than the studio versions. First, the group was able to compose these concerts in a very balanced between the songs off the albums of Gabriel period and those drawn from the first studio album without Peter Gabriel, the excellent A trick of the Tail. There is even a new song at the time, the beautiful Afterglow, appeared later on Wind & Wuthering.

Of course, Gabriel of the times titles are the most numerous. Cétait a challenge for Phil Collins, drummer of the group, not only to take over from his charismatic singer, but to take pieces become legendary, such as Firth of Fifth, The Carpet Crawl or Suppers Ready. This is just to say that Phil Collins, abandoning his drums sen out with honors. He donned the clothes of new charismatic leader with tremendous talent. With a significantly different tone of voice, clearer and sharper than the hoarse timbre of his predecessor, he brings to each title expressiveness and theatricality of its own, slightly less grandiose but often more poignant. This is by listening to this album as lon begins to regret the path chosen by Phil Collins thereafter. As for the arrangements, they are simply superb. Missing of course the flute (and tambourine) Peter Gabriel (Firth of Fifth), not always advantageously replaced by synths Tony Banks. There are sometimes curious tone choice (intro of Robbery, Assault and Battery, the end of Cinema Show). But the sound of the keyboards is clearer (not only because of the sound recording) and guitar much more present not only on the solos and riffs, but also in the bottom rear, building a kind of wall of its light even sometimes vaporous. A title, especially, brings all these ingredients, excluding battery Chester Thomson delivers a great performance, this is Suppers Ready, I find (purists will scream) better than the studio version of Foxtrot! It's probably 25 years I know this record and I resssens always the same thrill on the last sections of the pieces when Phil Collins sings in full voice, with the rise of all instruments

The live ends in apotheosis, chained, very aggressive Dance on a Volcano and Los backing, securities that, for the first, opened the album A Trick of the Tail, and for the second clôturait. On the latter, here, Chester Thompson and Phil Collins vying for power and virtuosity on drums.

It can only be nostalgic for this period (even if we do not experience it live as this is my case), masterfully illustrated by this concentrated Doeuvre progressive leaders. Because soon they were no more than three