...AND THEN THERE WERE THREE...

It seems the year 1978 wasn't a great one for Prog-Rock, but still, this Genesis release was a perfect compromise of accessible shorter songs, along with technical prowess and dynamic flair. In some ways, ATTWT features the most incredible, tight playing to be found on any Genesis album (yeah, it's taken a lot of gall to say that....) - Collins is ALL OVER his drum-kit and manages to sneak in many odd-metres, his vocals becoming more confident, although at times he seems to struggle with his high notes. Tony Banks' ARP synth is surely working over-time (but he uses at least 7 other keyboards to give it a rest), and Mike Rutherford does an admirable job with his Basses and Bass Pedals, also taking a risk with becoming lead- guitarist - not an easy thing to do after Master Hackett. This time around we only get 2 longer pieces in 'Burning Rope' (just over 7 mins) and 'The Lady Lies' (just over 6 mins) - both Banks' compositions and they show-off the powerful potential of this 3-piece ensemble (and I don't mean a lounge chair, recliner and coffee table, either !!). In other cases, 'Down and Out' is an intense 5 minutes, full of fast-paced rhythmic jerkiness (the main theme being in 5/4), 'Undertow' is superb, emotional and quite moving, 'Ballad of Big' with its cowboy legend lyrics is full of abrupt tempo changes from verse to chorus and convincing imagery, it holds together quite well, 'Snowbound' is a soft ballad and breaks up the tension a little. 'Burning Rope' finishes up the first half in a colossal way. PhilCo's drum kit must've been huge at this stage !! The rocking 'Deep In The Motherlode' has never been a favourite of mine, but the softer mid-section is pretty good, 'Many Too Many' is another little ballad, with quite a standard melody, but it is just so beautiful. 'Scenes From a Night's Dream' is quirky, kind of cheezy but still fun. 'Say It's Alright, Joe' is another of the amazing tracks on this album, alternating between soft, nimble verses, and loud intense choruses. 'The Lady Lies' starts out with quite a 'slinky' melody (something akin to a strip- tease, I imagine) with Banks bouncing along gleefully on his Hammond, great vocals (and drumming) from Phil, awesome synth solo and riff during the instrumental passage, and some terriffic Bass playing. The Piano work is also noteable. Rounding off the album is the hit single 'Follow You, Follow Me', which is commercial, but Banks' keyboards save the day with this one. For me, this is the last truly 'progressive' album from Genesis (although they paid 'lip service' on subsequent releases) and deserves a full 4 stars.