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DISCID=7d0c870b,8b0c840b,950c720b
DTITLE=Genesis / And Then There Were Three... (West German ''Target'' Pressing
DTITLE=)
DYEAR=1978
DGENRE=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\nOrigina
EXTD=lly Released March 23, 1978\nCD Edition Released N/A\nRemastered Edition 
EXTD=Released November 29, 1994\nJapanese Mini LP Version Released March 31, 1
EXTD=999\n\nAMG EXPERT REVIEW: Having lost frontman Peter Gabriel and guitaris
EXTD=t Steve Hackett during the preceding three years, Genesis soldiered on as
EXTD= a trio with this 1978 release. They had previously scaled the prog rock 
EXTD=heights in their own very English, literate, and dramatic way, producing 
EXTD=a relatively tuneful and provocative mix out of Tony Banks, Mike Rutherfo
EXTD=rd, and Hackett's architectronic charts; Collins' fluidly sophisticated d
EXTD=rumming; and Gabriel's theatrics. Foreshadowing the band's later incarnat
EXTD=ion as a very pop-friendly, chart-topping outfit, And Then There Were Thr
EXTD=ee straddles the divide between the band's earlier, often times verbose e
EXTD=xplorations and later radio-issue tracks, like 1986's "Invisible Touch." 
EXTD=With Collins' ascendancy not too far off, Banks and Rutherford hold court
EXTD= with impressive ballads like "Many Too Many" and "Snowbound." While a ta
EXTD=d overarching in spots, the sentiment is generally well-framed. Rutherfor
EXTD=d furthers his credibility on the jazz-tinged, barroom ballad "Say It's A
EXTD=lright Joe." When the trio teams up on multi-tempo/mood sides like "Balla
EXTD=d of Big," though, the going gets confusing, with nicely turned bursts of
EXTD= melody often giving way to leaden passages. But somehow they find an una
EXTD=dulterated groove on their first major hit, "Follow You Follow Me," setti
EXTD=ng the stage for the many smashes that would follow. Sure, there are crin
EXTD=ge-inducing guitar breaks and questionable synthesizer textures along the
EXTD= way, but both the Genesis purist and latter-day fan should still find mu
EXTD=ch to enjoy here. -- Stephen Cook\n\nAmazon.com Editorial Reviews\nWhen t
EXTD=he departures of original frontman Peter Gabriel and guitarist Steve Hack
EXTD=ett left Genesis a studio trio of Phil Collins, Tony Banks, and Mike Ruth
EXTD=erford, few could have expected the band to climb to greater levels of co
EXTD=mmercial success. But that's exactly what happened, and Genesis' left-fie
EXTD=ld rebirth as a unlikely pop act began with this album, which introduced 
EXTD=the newly slimmed-down lineup. But that's not the whole story. While the 
EXTD=haunting love song "Follow You, Follow Me" introduced the band to the sin
EXTD=gles charts, elsewhere the group's penchant for accessibly complex compos
EXTD=ition and evocative lyrical dramas is in force on tracks like "Deep in th
EXTD=e Motherlode," "Burning Rope," "Down and Out," and "Ballad of Big." --Sco
EXTD=tt Schinder \n\nAMAZON.COM CUSTOMER REVIEW\nMike's Masterpiece!, May 23, 
EXTD=2002 \nReviewer: Thomas Hill from Austin,Tx  \nThis one joins the ranks o
EXTD=f albums such as Yes's "Drama" as an underrated prog classic. I sometimes
EXTD= think that fans become embittered by line-up changes and can no longer v
EXTD=iew a work objectively. I don't think any prog fan would argue that Steve
EXTD= Hackett's departure from the band left a huge vacancy which in no way co
EXTD=uld be filled by the remaining three members. But they did a pretty good 
EXTD=job trying on this one. It naturally required that Mike Rutherford step t
EXTD=o the plate to help out Tony, and I feel he succeeded! Songs like "Say It
EXTD='s Alright Joe", "Deep In The Motherlode", and particularly "Snowbound" a
EXTD=re as good as the Rutherford songwriting gets. Read the lyrics while you 
EXTD=listen to "Snowbound" and try to pretend you're not personally moved. And
EXTD= then there were the guitar parts on songs such as "Burning Rope" and "Sa
EXTD=y It's Alright Joe" that represent some of his best studio work. This alb
EXTD=um has a dark wintry feel created by Banks's lyrical obsession with death
EXTD=, and the sombre depth of the Rutherford songs. There is also a distinct 
EXTD=bluesy feel on many of the songs that we never saw before or since that f
EXTD=lavors it's unique identity in the Genesis catalogue. This album is the o
EXTD=ne that truly benefits from the remastering. You now can hear the high-en
EXTD=d keyboards clearly, as well as the busy drumming that is another indicat
EXTD=ion of the band's attempt to fill the Hackett void. This album was exhaus
EXTD=ting for 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 offerings q
EXTD=uite well if given a chance. We would never see the fantastic storied son
EXTD=gwriting of selections such as "The Lady Lies" again. At least not at tha
EXTD=t level of quality. Avoid the purchase if you can but "who can escape wha
EXTD=t he desires"! \n\nAMAZON.COM CUSTOMER REVIEW\nA New Era for Genesis, Dec
EXTD=ember 3, 1999 \nReviewer: J O'Malley from New York  \nThis is a terrific 
EXTD=album in every sense for Genesis. Songs that evoke the early albums with 
EXTD=Peter Gabriel to songs that would bring a wider audience to the band in t
EXTD=he 1980's.\n\nThe departure of Steve Hackett whose acoustic and textured 
EXTD=guitar work was an element that helped to define Genesis' sound on the pr
EXTD=evious six studio albums is missing here but Mike Rutherford is more than
EXTD= able as a guitarist himself. The drumming of Phil Collins and Tony Banks
EXTD= electric piano and synthisizers really dominate this new sounding album 
EXTD=from Genesis.\n\nThis is a vibrent and diverse sounding Genesis album and
EXTD= unlike a number of their contemporaries, showed they could adapt to the 
EXTD=changes in the music world without abandoning their musical strengths. \n
EXTD=\nStandout songs include Down and Out which is a harsh sounding rocker..S
EXTD=nowbound, a elegant and romantic wintery song.. Deep In The Motherload, a
EXTD= rocker about the getting caught up in the legendary Gold Rush..Many Too 
EXTD=Many, a haunting ballad about a man who's lost his way, Two wonderful son
EXTD=gs that evoke the Gabriel Years..Scenes From A Night's Dream and The Lady
EXTD= Lies. and Follow You and Follow Me..their breakthrough single. \n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nIncredible melodies and arrangments., December 9, 
EXTD=2000 \nReviewer: Greg Meeuwsen from Ewa Beach, HI United States  \nGenesi
EXTD=s held a special place in the hearts of melody lovers during the late sev
EXTD=enties/early eighties. Believe me, if you're a fan of progressive rock an
EXTD=d the only Genesis/Phil Collins you know is "I Can't Dance" or "Sussudio"
EXTD=, please, PLEASE trust me on this and pick up this album or "Wind and Wut
EXTD=hering" or "A Trick of the Tail". The majestic, magical sound of these al
EXTD=bums is almost indescribable, but suffice it to say that these albums are
EXTD= musically adventurous, contain alot of shifting time signatures, and the
EXTD= MELODIES they came up with back then are stunning.\n\n"And Then..." cont
EXTD=ains so many great moments, that it's hard to pick the best, but some of 
EXTD=my favorites include Undertow, Ballad of Big, Burning Rope, Deep in the M
EXTD=otherlode, and The Lady Lies. Honestly, you have to listen to these songs
EXTD= all the way through because just when you think you know where the song 
EXTD=is headed, it'll break into a rapturous chorus over a pounding pedaltone.
EXTD= \n\nThis is progressive rock of the highest order and some of these othe
EXTD=r reviewers who dismiss it as pop cannot have listened to the same album 
EXTD=(The one exception being Follow You Follow Me). Check it out and listen a
EXTD=ll the way through. You'll be rewarded in spades. \n\nHalf.com Album Cred
EXTD=its\nDavid Hentschel, Producer\nGenesis, Producer\nGenesis, Producer\n\n\n
EXTD=Album Notes\nFull title: ...And Then There Were Three.\n\nGenesis: Phil C
EXTD=ollins (vocals, drums); Mike Rutherford (guitar, bass); Tony Banks (keybo
EXTD=ards).\n\nEngineers: David Hentschel, Pierre Geoffrey Chateau.\nRecorded 
EXTD=at Relight Studios, Hilvarenbeek, Holland.\nAll tracks have been digitall
EXTD=y remastered.\n\nWhen guitarist Steve Hackett left Genesis for a solo car
EXTD=eer after touring behind 1977's WIND AND WUTHERING, he was the second maj
EXTD=or defection the group had suffered in as many years. Instead of helpless
EXTD=ly disintegrating, the remaining trio circled the wagons and bounced back
EXTD= with the solid AND THEN THERE WERE THREE. \n\nRather than employ any out
EXTD=side studio musicians to take up the slack, Tony Banks, Phil Collins, and
EXTD= Mike Rutherford instead played every instrument themselves. Resolutely r
EXTD=eflective throughout, this 1978 release finds Genesis populating its song
EXTD=s with a broad range of characters. Among the more memorable ones are the
EXTD= fast-talking record exec on "Down and Out" (a song that could be constru
EXTD=ed as a veiled swipe at the departed Hackett) and the larger-than-life ca
EXTD=ttle-driving cowpuncher on the synth-soaked "Ballad of Big." Although the
EXTD= songs on this record are more concise than Genesis' earlier, conceptual 
EXTD=work, the band still retains the gift of capturing moods. The breathtakin
EXTD=g "Snowbound" perfectly encompasses the feeling of stepping outside into 
EXTD=a freshly minted snowfall. An air of yearning runs through "Follow You Fo
EXTD=llow Me," a romantic yarn that also became Genesis' first American Top 30
EXTD= hit.\n\nMojo (03/01/2001)\n...11 comparatively short tracks written larg
EXTD=ely in isolation. One of the few group efforts, 'Follow You, Follow Me', 
EXTD=becomes their first US hit.\n\nROLLING STONE REVIEW\nSteve Hackett has le
EXTD=ft Genesis as far behind as he can. To pursue a career as a songwriter, h
EXTD=e's abandoned all of his old band's epic devices, but his wonderful orche
EXTD=stral guitar playing, which once governed his subtle use of effects, has 
EXTD=unfortunately evaporated in the baldness of his new material. Hackett's g
EXTD=uitar is still engaging at times: the reverberant acoustic picking that o
EXTD=pens "Narnia" is sprightly and eager to please, and it carries the song's
EXTD= rinky-dink arrangement. But the thick fuzz tone of "Racing in A," the cl
EXTD=assical sentiment in "Kim" and the drecky genre parodies that make up sid
EXTD=e two are examples of mere excess.\n\nHackett has written verses, choruse
EXTD=s and a few guitar solos but no developments, counterpoints or lasting me
EXTD=lodies. His worst offense is trying to assume colloquialisms and dialect 
EXTD=jokes in the name of the blues. It's really funny when guest vocalist Ric
EXTD=hie Havens, no Uncle Remus, sings every one of them with perfect diction 
EXTD=and knocks them all flat.\n\nGenesis fares even poorer musically....And T
EXTD=hen There Were Three... lumbers about in a pea-soup fog of electronics, t
EXTD=wists through a maze of odd tempos and dropped beats and ultimately spend
EXTD=s itself in gratuitous effects. The melodies have never been less substan
EXTD=tial, while the songs revel in pettiness and two-bit theatricality. In sh
EXTD=ort, this contemptible opus is but the palest shadow of the group's earli
EXTD=er accomplishments. Not only is the damage irreversible, it's been widely
EXTD= endorsed: ...And Then There Were Three...is Genesis' first U.S. gold rec
EXTD=ord. (RS 271 -- Aug 10, 1978)  -- MICHAEL BLOOM
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