And Then There Were Three... by Genesis

And Then There Were Three...

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And Then There Were Three...

Features

Audio CD (October 25, 1990)

Number of Discs: 1

Label: Atlantic / Wea

Reader Reviews
This was the first Genesis album I ever owned. It's still a sentimental favorite a quarter-century later, though there are better Genesis albums. Guitarist Steve Hackett had left, and the album was recorded entirely by the remaining members: drummer/singer Phil Collins, keyboardist Tony Banks, and guitarist/bassist Michael Rutherford. This album and "Duke" mark Genesis' gradual transition from progressive rock to the pop of the 80s. "...and Then There Were Three" is lyrically dark, but the music is less ponderous than on "Wind and Wuthering" and the songs are generally kept short. The band plays well but not showily; the only solo of any length is Banks' synthesizer solo in "The Lady Lies". Hackett's role in the band had gradually declined after Gabriel left, and Rutherford is able to fill it capably here (by the time of "We Can't Dance" and "Calling All Stations", his lead skills had atrophied). The first half of the album is full of songs about mortality (and one about fighting over a contract with the record company, which may have felt like the same thing at the time). The best of these is "Burning Rope", one of those Tony Banks songs where he strung together a bunch of stray riffs he had lying around. The ballad "Undertow" is also strong. A cowboy dies in the "Ballad of Big", and a snowman in "Snowbound". The second half includes Rutherford's gold-rush story "Deep in the Motherlode" (along with "Back in NYC" and "In the Cage", one of three Genesis songs that start with the same shuffle-beat bass part), lost-love ballad "Many Too Many", Collins' sprightly "Scenes from a Night's Dream" (a tribute to Winsor McCay's "Little Nemo in Slumberland" comic strip of the early 1900s), the boozy "Say It's Alright Joe", and "The Lady Lies", in which a knight is defeated by a monster posing as a fair maiden. The album ends with the single "Follow You Follow Me", which is so much more cheerful than anything else on the album that it sticks out like a sore thumb. (1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

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