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DISCID=7d0c870b,8b0c840b,950c720b
DTITLE=Genesis / And Then There Were Three... (West German ''Target'' 
DTITLE=Pressing)
DYEAR=1978
DGENRE=Art Rock, Prog Rock
TTITLE0=Down And Out
TTITLE1=Undertow
TTITLE2=Ballad Of Big
TTITLE3=Snowbound
TTITLE4=Burning Rope
TTITLE5=Deep In The Motherlode
TTITLE6=Many Too Many
TTITLE7=Scenes From A Night's Dream
TTITLE8=Say It's Alright Joe
TTITLE9=The Lady Lies
TTITLE10=Follow You Follow Me
EXTD=And Then There Were Three... (West German ''Target'' Pressing)\n\n
EXTD=Originally Released March 23, 1978\nCD Edition Released N/A\nRema
EXTD=stered Edition Released November 29, 1994\nJapanese Mini LP Versi
EXTD=on Released March 31, 1999\n\nAMG EXPERT REVIEW: Having lost fron
EXTD=tman Peter Gabriel and guitarist Steve Hackett during the precedi
EXTD=ng three years, Genesis soldiered on as a trio with this 1978 rel
EXTD=ease. They had previously scaled the prog rock heights in their o
EXTD=wn very English, literate, and dramatic way, producing a relative
EXTD=ly tuneful and provocative mix out of Tony Banks, Mike Rutherford
EXTD=, and Hackett's architectronic charts; Collins' fluidly sophistic
EXTD=ated drumming; and Gabriel's theatrics. Foreshadowing the band's 
EXTD=later incarnation as a very pop-friendly, chart-topping outfit, A
EXTD=nd Then There Were Three straddles the divide between the band's 
EXTD=earlier, often times verbose explorations and later radio-issue t
EXTD=racks, like 1986's "Invisible Touch." With Collins' ascendancy no
EXTD=t too far off, Banks and Rutherford hold court with impressive ba
EXTD=llads like "Many Too Many" and "Snowbound." While a tad overarchi
EXTD=ng in spots, the sentiment is generally well-framed. Rutherford f
EXTD=urthers his credibility on the jazz-tinged, barroom ballad "Say I
EXTD=t's Alright Joe." When the trio teams up on multi-tempo/mood side
EXTD=s like "Ballad of Big," though, the going gets confusing, with ni
EXTD=cely turned bursts of melody often giving way to leaden passages.
EXTD= But somehow they find an unadulterated groove on their first maj
EXTD=or hit, "Follow You Follow Me," setting the stage for the many sm
EXTD=ashes that would follow. Sure, there are cringe-inducing guitar b
EXTD=reaks and questionable synthesizer textures along the way, but bo
EXTD=th the Genesis purist and latter-day fan should still find much t
EXTD=o enjoy here. -- Stephen Cook\n\nAmazon.com Editorial Reviews\nWh
EXTD=en the departures of original frontman Peter Gabriel and guitaris
EXTD=t Steve Hackett left Genesis a studio trio of Phil Collins, Tony 
EXTD=Banks, and Mike Rutherford, few could have expected the band to c
EXTD=limb to greater levels of commercial success. But that's exactly 
EXTD=what happened, and Genesis' left-field rebirth as a unlikely pop 
EXTD=act began with this album, which introduced the newly slimmed-dow
EXTD=n lineup. But that's not the whole story. While the haunting love
EXTD= song "Follow You, Follow Me" introduced the band to the singles 
EXTD=charts, elsewhere the group's penchant for accessibly complex com
EXTD=position and evocative lyrical dramas is in force on tracks like 
EXTD="Deep in the Motherlode," "Burning Rope," "Down and Out," and "Ba
EXTD=llad of Big." --Scott Schinder \n\nAMAZON.COM CUSTOMER REVIEW\nMi
EXTD=ke's Masterpiece!, May 23, 2002 \nReviewer: Thomas Hill from Aust
EXTD=in,Tx  \nThis one joins the ranks of albums such as Yes's "Drama"
EXTD= as an underrated prog classic. I sometimes think that fans becom
EXTD=e embittered by line-up changes and can no longer view a work obj
EXTD=ectively. I don't think any prog fan would argue that Steve Hacke
EXTD=tt's departure from the band left a huge vacancy which in no way 
EXTD=could be filled by the remaining three members. But they did a pr
EXTD=etty good job trying on this one. It naturally required that Mike
EXTD= Rutherford step to the plate to help out Tony, and I feel he suc
EXTD=ceeded! Songs like "Say It's Alright Joe", "Deep In The Motherlod
EXTD=e", and particularly "Snowbound" are as good as the Rutherford so
EXTD=ngwriting gets. Read the lyrics while you listen to "Snowbound" a
EXTD=nd try to pretend you're not personally moved. And then there wer
EXTD=e the guitar parts on songs such as "Burning Rope" and "Say It's 
EXTD=Alright Joe" that represent some of his best studio work. This al
EXTD=bum has a dark wintry feel created by Banks's lyrical obsession w
EXTD=ith death, and the sombre depth of the Rutherford songs. There is
EXTD= also a distinct bluesy feel on many of the songs that we never s
EXTD=aw before or since that flavors it's unique identity in the Genes
EXTD=is catalogue. This album is the one that truly benefits from the 
EXTD=remastering. You now can hear the high-end keyboards clearly, as 
EXTD=well as the busy drumming that is another indication of the band'
EXTD=s attempt to fill the Hackett void. This album was exhausting for
EXTD= the band members but I truly feel it was their most ambitious ef
EXTD=fort musically as a trio. It fits in with the other seventies off
EXTD=erings quite well if given a chance. We would never see the fanta
EXTD=stic storied songwriting of selections such as "The Lady Lies" ag
EXTD=ain. At least not at that level of quality. Avoid the purchase if
EXTD= you can but "who can escape what he desires"! \n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nA New Era for Genesis, December 3, 1999 \nReviewer:
EXTD= J O'Malley from New York  \nThis is a terrific album in every se
EXTD=nse for Genesis. Songs that evoke the early albums with Peter Gab
EXTD=riel to songs that would bring a wider audience to the band in th
EXTD=e 1980's.\n\nThe departure of Steve Hackett whose acoustic and te
EXTD=xtured guitar work was an element that helped to define Genesis' 
EXTD=sound on the previous six studio albums is missing here but Mike 
EXTD=Rutherford is more than able as a guitarist himself. The drumming
EXTD= of Phil Collins and Tony Banks electric piano and synthisizers r
EXTD=eally dominate this new sounding album from Genesis.\n\nThis is a
EXTD= vibrent and diverse sounding Genesis album and unlike a number o
EXTD=f their contemporaries, showed they could adapt to the changes in
EXTD= the music world without abandoning their musical strengths. \n\n
EXTD=Standout songs include Down and Out which is a harsh sounding roc
EXTD=ker..Snowbound, a elegant and romantic wintery song.. Deep In The
EXTD= Motherload, a rocker about the getting caught up in the legendar
EXTD=y Gold Rush..Many Too Many, a haunting ballad about a man who's l
EXTD=ost his way, Two wonderful songs that evoke the Gabriel Years..Sc
EXTD=enes From A Night's Dream and The Lady Lies. and Follow You and F
EXTD=ollow Me..their breakthrough single. \n\nAMAZON.COM CUSTOMER REVI
EXTD=EW\nIncredible melodies and arrangments., December 9, 2000 \nRevi
EXTD=ewer: Greg Meeuwsen from Ewa Beach, HI United States  \nGenesis h
EXTD=eld a special place in the hearts of melody lovers during the lat
EXTD=e seventies/early eighties. Believe me, if you're a fan of progre
EXTD=ssive rock and the only Genesis/Phil Collins you know is "I Can't
EXTD= Dance" or "Sussudio", please, PLEASE trust me on this and pick u
EXTD=p this album or "Wind and Wuthering" or "A Trick of the Tail". Th
EXTD=e majestic, magical sound of these albums is almost indescribable
EXTD=, but suffice it to say that these albums are musically adventuro
EXTD=us, contain alot of shifting time signatures, and the MELODIES th
EXTD=ey came up with back then are stunning.\n\n"And Then..." contains
EXTD= so many great moments, that it's hard to pick the best, but some
EXTD= of my favorites include Undertow, Ballad of Big, Burning Rope, D
EXTD=eep in the Motherlode, and The Lady Lies. Honestly, you have to l
EXTD=isten to these songs all the way through because just when you th
EXTD=ink you know where the song is headed, it'll break into a rapturo
EXTD=us chorus over a pounding pedaltone. \n\nThis is progressive rock
EXTD= of the highest order and some of these other reviewers who dismi
EXTD=ss it as pop cannot have listened to the same album (The one exce
EXTD=ption being Follow You Follow Me). Check it out and listen all th
EXTD=e way through. You'll be rewarded in spades. \n\nHalf.com Album C
EXTD=redits\nDavid Hentschel, Producer\nGenesis, Producer\nGenesis, Pr
EXTD=oducer\n\n\nAlbum Notes\nFull title: ...And Then There Were Three
EXTD=.\n\nGenesis: Phil Collins (vocals, drums); Mike Rutherford (guit
EXTD=ar, bass); Tony Banks (keyboards).\n\nEngineers: David Hentschel,
EXTD= Pierre Geoffrey Chateau.\nRecorded at Relight Studios, Hilvarenb
EXTD=eek, Holland.\nAll tracks have been digitally remastered.\n\nWhen
EXTD= guitarist Steve Hackett left Genesis for a solo career after tou
EXTD=ring behind 1977's WIND AND WUTHERING, he was the second major de
EXTD=fection the group had suffered in as many years. Instead of helpl
EXTD=essly disintegrating, the remaining trio circled the wagons and b
EXTD=ounced back with the solid AND THEN THERE WERE THREE. \n\nRather 
EXTD=than employ any outside studio musicians to take up the slack, To
EXTD=ny Banks, Phil Collins, and Mike Rutherford instead played every 
EXTD=instrument themselves. Resolutely reflective throughout, this 197
EXTD=8 release finds Genesis populating its songs with a broad range o
EXTD=f characters. Among the more memorable ones are the fast-talking 
EXTD=record exec on "Down and Out" (a song that could be construed as 
EXTD=a veiled swipe at the departed Hackett) and the larger-than-life 
EXTD=cattle-driving cowpuncher on the synth-soaked "Ballad of Big." Al
EXTD=though the songs on this record are more concise than Genesis' ea
EXTD=rlier, conceptual work, the band still retains the gift of captur
EXTD=ing moods. The breathtaking "Snowbound" perfectly encompasses the
EXTD= feeling of stepping outside into a freshly minted snowfall. An a
EXTD=ir of yearning runs through "Follow You Follow Me," a romantic ya
EXTD=rn that also became Genesis' first American Top 30 hit.\n\nMojo (
EXTD=03/01/2001)\n...11 comparatively short tracks written largely in 
EXTD=isolation. One of the few group efforts, 'Follow You, Follow Me',
EXTD= becomes their first US hit.\n\nROLLING STONE REVIEW\nSteve Hacke
EXTD=tt has left Genesis as far behind as he can. To pursue a career a
EXTD=s a songwriter, he's abandoned all of his old band's epic devices
EXTD=, but his wonderful orchestral guitar playing, which once governe
EXTD=d his subtle use of effects, has unfortunately evaporated in the 
EXTD=baldness of his new material. Hackett's guitar is still engaging 
EXTD=at times: the reverberant acoustic picking that opens "Narnia" is
EXTD= sprightly and eager to please, and it carries the song's rinky-d
EXTD=ink arrangement. But the thick fuzz tone of "Racing in A," the cl
EXTD=assical sentiment in "Kim" and the drecky genre parodies that mak
EXTD=e up side two are examples of mere excess.\n\nHackett has written
EXTD= verses, choruses and a few guitar solos but no developments, cou
EXTD=nterpoints or lasting melodies. His worst offense is trying to as
EXTD=sume colloquialisms and dialect jokes in the name of the blues. I
EXTD=t's really funny when guest vocalist Richie Havens, no Uncle Remu
EXTD=s, sings every one of them with perfect diction and knocks them a
EXTD=ll flat.\n\nGenesis fares even poorer musically....And Then There
EXTD= Were Three... lumbers about in a pea-soup fog of electronics, tw
EXTD=ists through a maze of odd tempos and dropped beats and ultimatel
EXTD=y spends itself in gratuitous effects. The melodies have never be
EXTD=en less substantial, while the songs revel in pettiness and two-b
EXTD=it theatricality. In short, this contemptible opus is but the pal
EXTD=est shadow of the group's earlier accomplishments. Not only is th
EXTD=e damage irreversible, it's been widely endorsed: ...And Then The
EXTD=re Were Three...is Genesis' first U.S. gold record. (RS 271 -- Au
EXTD=g 10, 1978)  -- MICHAEL BLOOM
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