Genesis ‎ ...And Then There Were Three... Rare 1978 Atlantic Monarch Vinyl NM

$

50

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... And Then There Were Three... Studio album by  Genesis Released 31 March 1978 Recorded September–October 1977 Studio Relight
(Hilvarenbeek, Netherlands) Genre

• Progressive rock 
• art rock 
• pop rock

• David Hentschel 
• Genesis

1. "Follow You Follow Me"
   Released: 24 February 1978
2. "Many Too Many"
   Released: 16 June 1978
3. "Deep in the Motherlode"
   Released: July 1978

...And Then There Were Three... (stylised in all lowercase) is the ninth studio album by the English rock band Genesis. It was released on 31 March 1978 by Charisma Records and is their first recorded as a trio of singer/drummer Phil Collins, keyboardist Tony Banks, and bassist/guitarist Mike Rutherford, following the departure of guitarist Steve Hackett. The album marked a shift in the band's sound, mixing elements of their progressive rock roots with more accessible material, and Collins contributing to more of the group's songwriting.

The album received mixed reviews from critics, but reached No. 3 on the UK Albums Chart and No. 14 on the US Billboard 200. The lead single "Follow You Follow Me" became their highest charting at that point, reaching No. 7 in the UK and No. 23 in the US. The album was certified platinum by the Recording Industry Association of America (RIAA) in 1988 for selling one million copies in the US. To further promote it, Genesis toured worldwide with live guitarist Daryl Stuermer and drummer Chester Thompson, both of whom would become mainstays of the band's touring lineup for the next three decades. The album was remixed in 2007 as part of the Genesis 1976–1982 box set in 5.1 surround sound and a new stereo mix by Nick Davis.

Critical reception

In an April 1978 review for Melody Maker, reporter Chris Welch praised the album as "strong, confident" that is "as good as any they have made in the band's post-Gabriel years". Welch noted the songs have "a sense of purpose" and come with "a remarkably powerful sound", and picked "Ballad Of Big" as his favourite track. A review in The Town Talk praised the group for filling the gap Hackett left "confidently" and picks "Down And Out" as claim of their survival. The rest of the album is "a tapestry of imaginary landscapes filled with the struggling mythic heroes that Genesis has learned to depict so well". Gary Mullinax for The Morning News thought the album sounded little different to Wind & Wuthering and noted the dominance of Banks's keyboards over Rutherford's guitars, with "the same dreamy wall-of-sound music with the same high-pitched vocals" from Collins. He concluded that Genesis succeed at points on the album but thought many songs on it fail to go anywhere, "blending into one another like some sort of hip musak". Charley Walters, writing in Circus, said that despite the exits of Gabriel and Hackett, Genesis have sacrificed "neither direction nor quality". The album, he thought, has "hard, almost ominous" tracks like "Down And Out" and "softer, more melodic" ones like "Say It's Alright Joe", all of which create "a magical, mystical sound that sets them apart from the numerous similar but usually inferior European art-rock ensembles". He names Banks as the one of the trio most responsible for their sound with his "rich" arrangements complemented by Rutherford's restrained guitar work which is "more felt than heard" which worked well to his praise on "Burning Rope". Walters, however, thought Collins's vocals has shortcomings that lacks expansion or breathtaking moments, though is a drummer who can still be melodic. The Globe and Mail opined that "the songs still sound like Tennyson set to music, but it's all done with precision and there isn't a sound which is not beautiful, fat, ornate and quite lush".

Other reviewers were more critical of the album, including Jon Pareles and Village Voice critic Robert Christgau, who said that "without lead guitarist Steve Hackett, the band loses its last remaining focal point; the rest is double-tracking. Hence a sound as mushy as the dread Moody Blues, with fewer excuses." In Crawdaddy, Michael Bloom found Banks's arrangements and keyboard sounds poor, saying the melodies tend to "practically vanish" and "slip through your fingers". He also declared Rutherford's lead guitar playing "unbearably clumsy" compared to Hackett but acknowledged that Rutherford remains a "rare bassist" and his 12-string guitar playing reminded the reviewer of Trespass (1970) and the surrounding period in the band's history. Bloom picked out "The Lady Lies" as Banks's strongest contribution both musically and lyrically, comparing the composition and lyrical message to "One For The Vine" on Wind & Wuthering, and also highlighted "Deep In The Motherlode" as a strong track, but found Collins's singing "uniformly insipid" and concluded that the album is "less of a disappointment than an interminable frustration". In his review for Rolling Stone, he panned Hackett's then-current album Please Don't Touch!, but also said that his ex-band fared even worse, concluding that "this contemptible opus is but the palest shadow of the group's earlier accomplishments."

Retrospective appraisals have also been mixed. In The Rolling Stone Album Guide, J. D. Considine deemed it "a genuine pop breakthrough" that "does hone the playing so that there's less empty flash and wasted energy", while MusicHound Rock (1996) said it "put Genesis on the radio with 'Follow You, Follow Me' but lacked the meaty songcraft and ambitious arrangements of its predecessors".

Track listing

All songs arranged and performed by Genesis.