When Phil Collins left Genesis in 1996, most fans (and probably the frontman himself) assumed the band was finished. Their 14th album, 1991’s We Can’t Dance, functioned as a perfect swan-song, summarizing the band’s disparate strengths — and the subsequent five-year silence suggested retirement was nigh. But Tony Banks and Mike Rutherford were determined to carry on, recruiting Scottish alt-rock vocalist Ray Wilson and a pair of studio percussionists to fill that massive void. The concept was promising: Armed with the fresh mystery of Wilson’s smoky voice, and without needing to bend toward Collins’ pop-minded input, Genesis seemed primed to re-examine their prog roots. But the resulting LP, 1997’s Calling All Stations, is neither here nor there: heavy on texture but light on virtuosity, sonically accessible but melodically flat. Select moments cut through the tedium: the expansive art-rock of “The Dividing Line,” buoyant lead single “Congo.” But on the whole, the overlong, underwhelming Stations is an anti-climactic end to a legendary career.