And Then There Were Three: Genesis

SteveG wrote: What's your take on this so called "transitional" album by Genesis. It's one of my favs and I think it gets a bad rap by Genesis fans. It was one of the last few they did with producer David Hentschel and I almost consider him part of the band for the great production work he did on this album.

Genesis never ceases to amaze with their constant surprises and musical evolution. Considering the loss of Peter Gabriel and then Steve Hackett this album didn't disappoint. I can't think of any other band that has been as successful in transitioning from being one of the leaders of prog to becoming a successful band outside of prog. Whether you like Genesis or not their sold-out world tours in some of the biggest venues is the proof in the pudding.

Kati wrote: Dellinger wrote: Kati wrote: I  do not what to say here above to be honest. this seems fruitless. The Wall and Animals is Waters and wow pros and cons of hitchhiking plus amused to death, these, two of my overall best albums to date! About Animals, it IS one of my favourite PF albums (No 2, or perhaps even tied at No 1 with Wish you Were Here)... however, even though the band members themselves have spoken about how Waters control over the band was tightening by then, I don't totally buy the idea that it was an album totally dominated by him... yet. Yeah, he is the only writer on almost all the song... but that's almost, and thee one song he shares credits is Dogs, which takes almost half the time of the album, and for me is the very best song on the album, and as far as I understand musically was mainly a Gilmour song (but as often happens with Pink Floyd, Waters gets a share of the writing credits on most songs because of the lyrics... so it is difficult to actually know in which songs he actually contributed to the music). As for The Wall... it's a great album in it's own merit, but it's still a step down from the previous albums for me, and indeed the best song in it for me is Comfortably Numb... once again, co-written with Gilmour (suposedly once again, the music being mainly by him). As for Waters solo albums, they do have some really nice songs, but it shows he needed some help to make them really great albums (except for Amused to Death, which is indeed his best solo album... but even that one has a few weaker songs... and in some guitar solos, I really wish Gilmour had been there to make them really special). Dellinger, I understand why you said that, but aww I do not think the same, Roger Water was brilliant at writing lyrics and overall show and music production. Here is a fact, Endless River, the last and only vocal track is not as good in my opinion to the rest of the instrumental tracks. Also Amused to Death with Jeff Beck among others is indeed a brilliant album but that was not the only brilliant album, pls have a listen to this album (Eric Clapton n guitars here, never been a fan of his before this) the guitar tune kills me here awww Roger Waters - 5:06AM (Every Strangers Eyes) - https://www.youtube.com/watch?v=f6_RnKjKLJ0 xxxxx

About The Endless River, I completley agree about the last song, indeed a shame they ended their career with a rather weak song. Still, I think the worst of the album was the one with the sax player... indeed it shows the best sax player for Floyd is Dick Parry. But, we already knew that most of the time Pink Floyd had trouble with lyrics without Waters (still, louder than words for me is a bad song not only because of it's lyrics, but the music itself is weaker than on the rest of the album). And indeed there are some wonderful guitar moments on Amused to Death and Pros and Cons (Every Strangers Eyes is indeed a wonderful song, and not only because of it's guitar playing)... but Gilmour is perhaps my favourite guitar player overall, so I would like the guitarplaying, and actually the melodies too, better on the Pink Floyd albums without Waters than on the Roger Waters solo albums.

It certainly seems to polarise opinion about the band and serves as (blank) ammo from the nay-Sayers of their irreversible transition from Prog to Pop (as if the latter were an airborne virus that wipes out kittens). I enjoy parts of the album for what they are: extremely memorable and accomplished slices of succinctly constructed rock music that could appeal to Rock, Pop and Prog fans irrespective of their own 'brand' loyalties. Given the demographic of PA it won't be lost on some of you that 'And Then There Were Three' is their accountant's favorite album. Of all the 1st Gen Prog heavyweights, it was Genesis who were most adept at slimming down, shedding bulk, learning to fight in the clinches and the value of left/right hooks to floor their opponents. Notwithstanding the foregoing, I suspect most folks who profess to loathe the album do so principally because they believe Phil Collins would have made the perfect punch bag at the gym.


Edited by ExittheLemming - April 21 2015 at 09:46

Flight123 wrote: 'Then' is a rather dark album.  I went to see Genesis at Knebworth in 78 and if I recall, they hardly touched this album live apart from a stonking 'Motherlode' and 'The Lady Lies'.  Famously, the last Genesis album on which Banks used a Mellotron.

I think they also played Burning Rope and maybe Follow you follow me at Knebworth 78. I wasn't there but had a bootleg i the 80's. I was only 8 in 78...

I don't think Banks used a mellotron on ATTWT either. Can't be certain but I thought he deliberatey dumped the tron for that album, but used a synth to get the string sounds. It was part of their 'leaving the past behind' strategy.

Tony did use a mellotron on the album. It's just so buried in the mix on the track Many Too Many I've NEVER been able to hear it myself. He claims it is there though. It's used on his first solo album very sparingly as well so it is probably there and he did use it on the 1978 tour and early 1980s dates.

Edited by fudgenuts64 - April 21 2015 at 12:55

Everyday - is progressive, Please-don't touch is progressive - Defector is progressive - a lot of Hackett's work is in keeping with his prog-roots - I find this broad sweep of the Collins money-grabbing brush (I think he would understand the pun) disturbing !!!

fudgenuts64 wrote: Tony did use a mellotron on the album. It's just so buried in the mix on the track Many Too Many I've NEVER been able to hear it myself. He claims it is there though. It's used on his first solo album very sparingly as well so it is probably there and he did use it on the 1978 tour and early 1980s dates.

Indeed - Tony stated in an interview that he doubled the 'tron with a string-synth to make the sound 'fatter', but buggered if you can discern it. Also, I'd swear there's a faint 'tron in the background of Undertow - listen *very* carefully around the line 'And we're safe in each others embrace...' I'm sure it's some 'tron. I ran the thought by Planet Mellotron's Andy Thompson, and he agreed, though it may as well not be there.

dr wu23 wrote: 9 pages to discuss/analyze ATTWT....? Just curious, but has this much time ever been spent on discussing any of the early Genesis albums... you know,,,, the good ones....?

dr wu23 wrote: 9 pages to discuss/analyze ATTWT....? Just curious, but has this much time ever been spent on discussing any of the early Genesis albums... you know,,,, the good ones....?

dr wu23 wrote: 9 pages to discuss/analyze ATTWT....? Just curious, but has this much time ever been spent on discussing any of the early Genesis albums... you know,,,, the good ones....?