...AND THEN THERE WERE THREE...

The most interesting thing about the Genesis and how they changed their sound and how it cost a lot of fans while millions of others who have won - and lots of money with this change. So to complain about? The band was not the only one to change their sound in the transition from 70 to 80 years in order to survive, but they are the perfect representation of the phenomenon that occurs in progressive rock groups of that period - which may be called to the Reign of Terror the progheads.

Now, you look at a guy like me, who grew up hearing things like a bit of progressive metal (Dream Theater, Symphony X, Liquid Tension Experiment), a little Pink Floyd and the pop of the year Yes and Genesis. A strange way to start - or not? - In the prog world. The truth is that I was beginning to unravel the progressive rock a little while (about two years now), but nonetheless I have not stopped loving works such as "90125" and "Invisible Touch" (call me a heretic - I do not care).

That's why my second review on the site (incidentally, PA, thank you for introducing me to so many good bands!) Goes to one of the most infamous albums of Genesis, And Then There Were Three. Like a good proghead, my first review for the album was considered the main work - press Close to the Edge, but the reason I came to this after that I needed this album to defend the unjust accusations that gets read. I mean, is not his fault that the band is beginning its transition to the stylized pop of 80 years and ended with his successor Duke.

Of course, Collins, Banks and Rutherford has its share of blame. They had just lost one who was his most valuable member, Steve Hackett (whose output explains why the suggestive title of this album), which was really the link with the world progressive. Even when their leader Peter Gabriel left in 1975 they still were able to give us two of his best albums, A Trick of The Tail (my favorite album of the band) and Wind and Whutering, but these, although they were really progressive, has suggested a change in the band's sound.

This change which has resulted in ATTWT. People can curse the heavens and earth for this album, but I love him. Seriously, this album shows a different Genesis, but there are still good progressive moments (the opener Down and Out, Burning Rope, Deep in the Motherlode ...), combined with pop ballads - Many Too Many, Follow you, Follow me - the latter must be the nightmare of a fan of progressive rock out there!

But they had to survive. It was really hard to keep the same sound at the time of disco and punk rock. What to expect when you look at a guy like Johnny Rotten wearing a shirt written "I hate Pink Floyd"? The only thing that comes to mind should be: "We need change. Things are not as much as before". The world was no longer so receptive to progressive rock as before, and if there is a rule hard to swallow, but that is (partly) true is: you either adapt or you left behind. That is: either you change or you die. It need not be so. But it was.

I really praise the Genesis for having the courage to change their sound, contrary to his fans. It was not an easy thing, and they paid a high price for it - witness the classification of the albums of the period 1978 -1997 here on the site to get an idea of what I'm talking about - but as I said, it was necessary for them and many others. Obviously, not everything they did during this period is worth listening to - Abacab is proof of that - but I'm a big fan of the band anyway and I love both albums like Selling England By Pound as Invisible Touch. So you that are reading this review, follow my advice, my friend: I listen to this album and his later comment, but without prejudice, with a mind, say, open up you can not continue like or dislike, but hey, you tried at least made ​​an effort.

And Then There Were Three began - or at least represented - a controversial change. I wish everyone understood this as I understand.

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