Genesis: And Then There Were Three... (West German ''Target'' Pressing) CD Track Listing

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Genesis And Then There Were Three... (West German ''Target'' Pressing) (1978)
And Then There Were Three... (West German ''Target'' Pressing)\n\nOriginally Released March 23, 1978\nCD Edition Released N/A\nRemastered Edition Released November 29, 1994\nJapanese Mini LP Version Released March 31, 1999\n\nAMG EXPERT REVIEW: Having lost frontman Peter Gabriel and guitarist Steve Hackett during the preceding three years, Genesis soldiered on as a trio with this 1978 release. They had previously scaled the prog rock heights in their own very English, literate, and dramatic way, producing a relatively tuneful and provocative mix out of Tony Banks, Mike Rutherford, and Hackett's architectronic charts; Collins' fluidly sophisticated drumming; and Gabriel's theatrics. Foreshadowing the band's later incarnation as a very pop-friendly, chart-topping outfit, And Then There Were Three straddles the divide between the band's earlier, often times verbose explorations and later radio-issue tracks, like 1986's "Invisible Touch." With Collins' ascendancy not too far off, Banks and Rutherford hold court with impressive ballads like "Many Too Many" and "Snowbound." While a tad overarching in spots, the sentiment is generally well-framed. Rutherford furthers his credibility on the jazz-tinged, barroom ballad "Say It's Alright Joe." When the trio teams up on multi-tempo/mood sides like "Ballad of Big," though, the going gets confusing, with nicely turned bursts of melody often giving way to leaden passages. But somehow they find an unadulterated groove on their first major hit, "Follow You Follow Me," setting the stage for the many smashes that would follow. Sure, there are cringe-inducing guitar breaks and questionable synthesizer textures along the way, but both the Genesis purist and latter-day fan should still find much to enjoy here. -- Stephen Cook\n\nAmazon.com Editorial Reviews\nWhen the departures of original frontman Peter Gabriel and guitarist Steve Hackett left Genesis a studio trio of Phil Collins, Tony Banks, and Mike Rutherford, few could have expected the band to climb to greater levels of commercial success. But that's exactly what happened, and Genesis' left-field rebirth as a unlikely pop act began with this album, which introduced the newly slimmed-down lineup. But that's not the whole story. While the haunting love song "Follow You, Follow Me" introduced the band to the singles charts, elsewhere the group's penchant for accessibly complex composition and evocative lyrical dramas is in force on tracks like "Deep in the Motherlode," "Burning Rope," "Down and Out," and "Ballad of Big." --Scott Schinder \n\nAMAZON.COM CUSTOMER REVIEW\nMike's Masterpiece!, May 23, 2002 \nReviewer: Thomas Hill from Austin,Tx \nThis one joins the ranks of albums such as Yes's "Drama" as an underrated prog classic. I sometimes think that fans become embittered by line-up changes and can no longer view a work objectively. I don't think any prog fan would argue that Steve Hackett's departure from the band left a huge vacancy which in no way could be filled by the remaining three members. But they did a pretty good job trying on this one. It naturally required that Mike Rutherford step to the plate to help out Tony, and I feel he succeeded! Songs like "Say It's Alright Joe", "Deep In The Motherlode", and particularly "Snowbound" are as good as the Rutherford songwriting gets. Read the lyrics while you listen to "Snowbound" and try to pretend you're not personally moved. And then there were the guitar parts on songs such as "Burning Rope" and "Say It's Alright Joe" that represent some of his best studio work. This album has a dark wintry feel created by Banks's lyrical obsession with death, and the sombre depth of the Rutherford songs. There is also a distinct bluesy feel on many of the songs that we never saw before or since that flavors it's unique identity in the Genesis catalogue. This album is the one that truly benefits from the remastering. You now can hear the high-end keyboards clearly, as well as the busy drumming that is another indication of the band's attempt to fill the Hackett void. This album was exhausting for the band members but I truly feel it was their most ambitious effort musically as a trio. It fits in with the other seventies offerings quite well if given a chance. We would never see the fantastic storied songwriting of selections such as "The Lady Lies" again. At least not at that level of quality. Avoid the purchase if you can but "who can escape what he desires"! \n\nAMAZON.COM CUSTOMER REVIEW\nA New Era for Genesis, December 3, 1999 \nReviewer: J O'Malley from New York \nThis is a terrific album in every sense for Genesis. Songs that evoke the early albums with Peter Gabriel to songs that would bring a wider audience to the band in the 1980's.\n\nThe departure of Steve Hackett whose acoustic and textured guitar work was an element that helped to define Genesis' sound on the previous six studio albums is missing here but Mike Rutherford is more than able as a guitarist himself. The drumming of Phil Collins and Tony Banks electric piano and synthisizers really dominate this new sounding album from Genesis.\n\nThis is a vibrent and diverse sounding Genesis album and unlike a number of their contemporaries, showed they could adapt to the changes in the music world without abandoning their musical strengths. \n\nStandout songs include Down and Out which is a harsh sounding rocker..Snowbound, a elegant and romantic wintery song.. Deep In The Motherload, a rocker about the getting caught up in the legendary Gold Rush..Many Too Many, a haunting ballad about a man who's lost his way, Two wonderful songs that evoke the Gabriel Years..Scenes From A Night's Dream and The Lady Lies. and Follow You and Follow Me..their breakthrough single. \n\nAMAZON.COM CUSTOMER REVIEW\nIncredible melodies and arrangments., December 9, 2000 \nReviewer: Greg Meeuwsen from Ewa Beach, HI United States \nGenesis held a special place in the hearts of melody lovers during the late seventies/early eighties. Believe me, if you're a fan of progressive rock and the only Genesis/Phil Collins you know is "I Can't Dance" or "Sussudio", please, PLEASE trust me on this and pick up this album or "Wind and Wuthering" or "A Trick of the Tail". The majestic, magical sound of these albums is almost indescribable, but suffice it to say that these albums are musically adventurous, contain alot of shifting time signatures, and the MELODIES they came up with back then are stunning.\n\n"And Then..." contains so many great moments, that it's hard to pick the best, but some of my favorites include Undertow, Ballad of Big, Burning Rope, Deep in the Motherlode, and The Lady Lies. Honestly, you have to listen to these songs all the way through because just when you think you know where the song is headed, it'll break into a rapturous chorus over a pounding pedaltone. \n\nThis is progressive rock of the highest order and some of these other reviewers who dismiss it as pop cannot have listened to the same album (The one exception being Follow You Follow Me). Check it out and listen all the way through. You'll be rewarded in spades. \n\nHalf.com Album Credits\nDavid Hentschel, Producer\nGenesis, Producer\nGenesis, Producer\n\n\nAlbum Notes\nFull title: ...And Then There Were Three.\n\nGenesis: Phil Collins (vocals, drums); Mike Rutherford (guitar, bass); Tony Banks (keyboards).\n\nEngineers: David Hentschel, Pierre Geoffrey Chateau.\nRecorded at Relight Studios, Hilvarenbeek, Holland.\nAll tracks have been digitally remastered.\n\nWhen guitarist Steve Hackett left Genesis for a solo career after touring behind 1977's WIND AND WUTHERING, he was the second major defection the group had suffered in as many years. Instead of helplessly disintegrating, the remaining trio circled the wagons and bounced back with the solid AND THEN THERE WERE THREE. \n\nRather than employ any outside studio musicians to take up the slack, Tony Banks, Phil Collins, and Mike Rutherford instead played every instrument themselves. Resolutely reflective throughout, this 1978 release finds Genesis populating its songs with a broad range of characters. Among the more memorable ones are the fast-talking record exec on "Down and Out" (a song that could be construed as a veiled swipe at the departed Hackett) and the larger-than-life cattle-driving cowpuncher on the synth-soaked "Ballad of Big." Although the songs on this record are more concise than Genesis' earlier, conceptual work, the band still retains the gift of capturing moods. The breathtaking "Snowbound" perfectly encompasses the feeling of stepping outside into a freshly minted snowfall. An air of yearning runs through "Follow You Follow Me," a romantic yarn that also became Genesis' first American Top 30 hit.\n\nMojo (03/01/2001)\n...11 comparatively short tracks written largely in isolation. One of the few group efforts, 'Follow You, Follow Me', becomes their first US hit.\n\nROLLING STONE REVIEW\nSteve Hackett has left Genesis as far behind as he can. To pursue a career as a songwriter, he's abandoned all of his old band's epic devices, but his wonderful orchestral guitar playing, which once governed his subtle use of effects, has unfortunately evaporated in the baldness of his new material. Hackett's guitar is still engaging at times: the reverberant acoustic picking that opens "Narnia" is sprightly and eager to please, and it carries the song's rinky-dink arrangement. But the thick fuzz tone of "Racing in A," the classical sentiment in "Kim" and the drecky genre parodies that make up side two are examples of mere excess.\n\nHackett has written verses, choruses and a few guitar solos but no developments, counterpoints or lasting melodies. His worst offense is trying to assume colloquialisms and dialect jokes in the name of the blues. It's really funny when guest vocalist Richie Havens, no Uncle Remus, sings every one of them with perfect diction and knocks them all flat.\n\nGenesis fares even poorer musically....And Then There Were Three... lumbers about in a pea-soup fog of electronics, twists through a maze of odd tempos and dropped beats and ultimately spends itself in gratuitous effects. The melodies have never been less substantial, while the songs revel in pettiness and two-bit theatricality. In short, this contemptible opus is but the palest shadow of the group's earlier accomplishments. Not only is the damage irreversible, it's been widely endorsed: ...And Then There Were Three...is Genesis' first U.S. gold record. (RS 271 -- Aug 10, 1978) -- MICHAEL BLOOM
This rock cd contains 11 tracks and runs 53min 8sec.
Freedb: 950c720b
Buy: from Amazon.com

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