French Pop 2000 magazine from March 1973, translation: "GENESIS AT THE BATACLAN It was in a more than respectably full Bataclan that the famous TV show about rock, Pop 2, one of the few from our beloved ORTF (French Radio and Television Broadcasting Office), offered us its first concert of 1973; I take this opportunity, a little late, to wish you all the best, and let me tell you, if the following shows are of Genesis' caliber, we're not about to be disappointed for Rock '73. Genesis had almost come at the end of '72 as a replacement for Wishbone Ash; we were saddened at the time not to be able to see them again after their convincing show in June '72, fortunately it was only a postponement and, on January 10th, they were here with us. An event in itself after the cancellations of Rory Gallagher, Wishbone Ash, and those scheduled for the end of the month and beginning of February that we also won't see: Amon Düül 2, Crazy Horse (who just lost one of their musicians), and the J. Geils Band, whom Pop 2 filmed in London for their final shows. That's the summary of this end/beginning of the year for Pop 2, but it's time to get to the music with the marvelous Genesis and their fantastic showman singer Peter Gabriel, the latter vigorously supported by Steve Hackett on guitars, Phil Collins on drums, Mike Rutherford on bass, and Tony Banks on keyboards, who will offer us more than an hour and fifteen minutes of their music full of contrasts and subtle breaks The restful sections following moments of intense tension give Genesis a grip through which Peter Gabriel, after announcing the song titles in French, delivers a subtle message that is easily grasped thanks to the visual aspect of the show and his expressive gestures, making the language barrier less noticeable than with other bands. Of course, it's a shame that the audience can't fully understand all the symbolic nuances the band seeks to demystify, but the important element is nonetheless present. This is evident when he leaves the stage and reappears in a long red robe with a fox's head for Foxie (Foxtrot?). The music swells immensely, reaching a lull before the final explosion. There's also the sublime suite "Supper's Ready," which occupies the entire second side of their latest LP Foxtrot, where the solid rhythmic foundation allows the guitarist to launch into admirable solos and for the organist to more fully express his personality, while Peter Gabriel, all in black, truly steals the show. Then he returns, this time dressed in white, while torches of fire erupt on either side, unfortunately losing their impact since the house lights remain on for the recording of Pop 2. For it is in the dark that Genesis' music, as at the Olympia, takes on even greater grandeur, but the attention focused on Peter Gabriel makes it all work nonetheless; he provokes the audience in the front rows by using the microphone stand with a stage presence and exceptional vocals. They've been on stage for an hour now, and their show is coming to an end. The audience, excellent as it is, isn't finished yet, and their performance concludes with a fantastic, very rock-oriented encore, with a big bravo to Genesis and a special mention to Peter Gabriel. A word of advice: if he keeps going like this, it's going to be very painful; the atmosphere of tension he creates, with its stark contrasts, is sure to make new followers of their music. Could they be decadents? What does it matter? Let's leave that word aside; it will prevent the media from once again appropriating our music and Genesis's. Wow! Jacques Leblanc. P.S. To please Alain, in October 1972, I had written, regarding their latest album, Foxtrot, I said it was excellent but wouldn't leave an indelible mark on the world of rock, so let's enjoy it now (basically). It's quite possible that in this judgment, which isn't final (as you can see), I was wrong; let's hope time proves me wrong, that's all I wish for Genesis."

French Pop 2000 magazine from March 1973, translation:

"GENESIS AT THE BATACLAN

It was in a more than respectably full Bataclan that the famous TV show about rock, Pop 2, one of the few from our beloved ORTF (French Radio and Television Broadcasting Office), offered us its first concert of 1973; I take this opportunity, a little late, to wish you all the best, and let me tell you, if the following shows are of Genesis' caliber, we're not about to be disappointed for Rock '73. Genesis had almost come at the end of '72 as a replacement for Wishbone Ash; we were saddened at the time not to be able to see them again after their convincing show in June '72, fortunately it was only a postponement and, on January 10th, they were here with us.

An event in itself after the cancellations of Rory Gallagher, Wishbone Ash, and those scheduled for the end of the month and beginning of February that we also won't see: Amon Düül 2, Crazy Horse (who just lost one of their musicians), and the J. Geils Band, whom Pop 2 filmed in London for their final shows. That's the summary of this end/beginning of the year for Pop 2, but it's time to get to the music with the marvelous Genesis and their fantastic showman singer Peter Gabriel, the latter vigorously supported by Steve Hackett on guitars, Phil Collins on drums, Mike Rutherford on bass, and Tony Banks on keyboards, who will offer us more than an hour and fifteen minutes of their music full of contrasts and subtle breaks The restful sections following moments of intense tension give Genesis a grip through which Peter Gabriel, after announcing the song titles in French, delivers a subtle message that is easily grasped thanks to the visual aspect of the show and his expressive gestures, making the language barrier less noticeable than with other bands.

Of course, it's a shame that the audience can't fully understand all the symbolic nuances the band seeks to demystify, but the important element is nonetheless present. This is evident when he leaves the stage and reappears in a long red robe with a fox's head for Foxie (Foxtrot?). The music swells immensely, reaching a lull before the final explosion. There's also the sublime suite "Supper's Ready," which occupies the entire second side of their latest LP Foxtrot, where the solid rhythmic foundation allows the guitarist to launch into admirable solos and for the organist to more fully express his personality, while Peter Gabriel, all in black, truly steals the show. Then he returns, this time dressed in white, while torches of fire erupt on either side, unfortunately losing their impact since the house lights remain on for the recording of Pop 2.

For it is in the dark that Genesis' music, as at the Olympia, takes on even greater grandeur, but the attention focused on Peter Gabriel makes it all work nonetheless; he provokes the audience in the front rows by using the microphone stand with a stage presence and exceptional vocals. They've been on stage for an hour now, and their show is coming to an end. The audience, excellent as it is, isn't finished yet, and their performance concludes with a fantastic, very rock-oriented encore, with a big bravo to Genesis and a special mention to Peter Gabriel. A word of advice: if he keeps going like this, it's going to be very painful; the atmosphere of tension he creates, with its stark contrasts, is sure to make new followers of their music. Could they be decadents? What does it matter? Let's leave that word aside; it will prevent the media from once again appropriating our music and Genesis's. Wow!

Jacques Leblanc.

P.S. To please Alain, in October 1972, I had written, regarding their latest album, Foxtrot, I said it was excellent but wouldn't leave an indelible mark on the world of rock, so let's enjoy it now (basically). It's quite possible that in this judgment, which isn't final (as you can see), I was wrong; let's hope time proves me wrong, that's all I wish for Genesis."

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