...AND THEN THERE WERE THREE...

Tony Banks: The one I find least satisfying? I tend to like everything. 'Genesis to Revelation', I don't tend to rate that very highly, it's got some good moments on it. If you want one from a later period then one that I find the least satisfying would have to be 'And Then There Were Three', although it's got two or three songs that I love on it. As an overall thing it doesn't quite get there.

Mike Rutherford: I agree with 'And Then There Were Three', barring a couple of tracks. It was the album on which we decided not to do any long songs in the same way as normal and it suffered because I think the contrast between the long songs and the short ones is a great contrast. But I haven't heard it for about 15 years.

When the band members themselves consider this their worst album, you know it is definitely worth investigating, even if it just to validate the band's opinion. Luckily I bought this album the first time (secondhand vinyl) without knowing anything about its supposed weaknesses. Had I heard it was even the band's least favourite, I might have stayed away completely and never bought the remastered CD edition. Hopefully this review will prevent that from happening to some people.

Admittedly, upon first glance, there are some things to raise alarm: the longest track runs for 7 minutes; no Steve Hackett; three Rutherford-only writing credits. But just approach it like this: this is ¾ of the line-up that recorded A Trick of The Tail and Wind and Wuthering within the previous two years. Those albums were great, right? (RIGHT?!) They couldn't have changed that much and suddenly became bad songwriters!

Comparisons can definitely be drawn between this album and the previous two I just mentioned, especially Wind and Wuthering. However, as much as it draws inspiration from previous works, it heads in a new direction which would bring the band to a much larger (and some might say dumbed-down) audience. But that's another discussion. Let's just look at this album for what it is.at face value (hint, hint):

Down and Out (05:27) - a classic Genesis album opener. Energetic, soaring, even angry-sounding. Phil Collins' drumming is so amazingly complex and jaw-dropping, that it just baffles me when people say that this album has no redeeming features whatsoever. On this track, you have to admit, they were still Genesis the Prog Legends. Tony Banks dominates this song, however, from the very first note with the vibrant and spacious keyboard sound. At 03.35, in particular, he launches a wonderfully sinister-sounding solo punctuated by Phil's intermittent bursts of machine- gun drum-fills. This song hardly lets up in intensity for its entire duration. (10/10)

Undertow (04:46) - this is one of those typically melodramatic ballads that Tony Banks is so good at writing (see also: Afterglow, Heathaze). Not much in the way of musical complexity to be found here, but it does have a soaring chorus enhanced by Phil's increasingly confident vocals. (8/10)

Ballad of Big (04:50) - a much more upbeat number with an almost tribal feel to the drumming. Banks is very prominent once again. Mike Rutherford's bass rumbles underneath it all like the pulse of an elephant on heat (or something to that effect.). Sure, this song may be missing that certain something, but it is enjoyable none the less (tip: listen loud) (8/10)

Snowbound (04:31) - the first Rutherford-only composition of the album. Not half bad, really. It can be compared to "Ripples" from A Trick of The Tail. Gentle 12-string guitar verses with a soaring (there's that word again.) chorus with dramatic key changes by both Banks and Collins. (7/10)

Burning Rope (07:09) - the closest thing to an epic on this album. Another Banks composition with a slightly complex and weaving chorus which is just impossible to forget once it sticks with you (and which will probably cause cerebral collapse in someone like Jessica Simpson should she ever attempt to sing it). Some great shifts from major to minor create an ever-changing landscape of sound. Mike Rutherford's guitar solo at 04:02 is very Hackett-esque and pretty respectable, although I can't help but imagine how Hackett himself would have approached it. A short instrumental section follows before the chorus is repeated ad infinitum. Arguably the best track on the album, but I dare say it could have been improved by adding about three minutes to that instrumental section. This song had the potential to be even better than the legendary "One For The Vine" from Wind and Wuthering. (10/10)

So that's the "first side". Pretty good so far, I would say. And it doesn't dip in quality either..

Deep In The Motherlode (05:15) - Mr Rutherford, you spoil us! What a great and strangely underrated track to start the second half! It starts with a veritable explosion of synth which leads into a wicked creeping rhythm. Phil delivers his best vocal performance of the album. The more subdued middle part of the song (02:00 - 03:30) was probably the foundation for the entire first two Marillion albums (which is no bad thing IMHO). Once again Rutherford's bass is the song's gigantic, beating heart. (10/10)

Many Too Many (03:31) - another Banks enormo-ballad T. Nothing very spectacular. It lacks the same heart-stopping impact of Undertow. It just sort of comes and goes, too short to really leave a big impression. The song fades out to the sound of a wistful Rutherford guitar solo. They actually made a (pretty uneventful) music video for this one. (6/10)

Scenes From A Night's Dream (03:30) - one of my absolute favourite short Genesis songs! Some have described it as prog-disco because of the catchy rhythm and perky basslines. Well, I'll tell you one thing: this is one disco I will go to! But, good music aside, this song's lyrics are worth mentioning. It paints a very vivid picture of a sort of dreamworld filled with bizarre things and people. Probably Tony Banks lyrics (the credits don't specify), because he has always been the best with words in this band, IMHO. (10/10)

Say It's Alright Joe (04:21) - another Rutherford composition. The song starts off real gentle and dreamlike, and then shifts up the tempo a bit and adds some portentous keyboards and vocals. It does this twice and then fades out. Once again, it's pleasant enough, but not something to really set the pulse racing. (6/10)

The Lady Lies (06:08) - another near-epic courtesy of Mr Banks. The track has some impressive moments, especially at 00:41 when it sounds like the tape has suddenly slowed down or something, and the keyboard solo starting at 02:39. Phil Collins' drumming just before and during the fade-out reminds me of Neil Peart of Rush's style (particularly on Rush albums from around the same time). As with Burning Rope, I do feel it could have benefited from an extra minute or two of music. (9/10)

Follow You Follow Me (04:00) - the one that divides fans due to its hit single status and its sinister connection to the uber-successful stadium rock Genesis of the 80's. The song itself I find kind of enjoyable. This really is no more commercial than, say, Ripples (from "A Trick of The Tail") - musically speaking. The lyrics, however, are about a girl. And not a mystical girl who stares yearningly into a magical pool - because those would have been acceptable prog lyrics. But it is a plain old love song. Which is a little hard to digest after the obtuse and bizarre lyrics of "Snowbound" and "The Lady Lies". Whichever way you look at it, though, this is definitely not a BAD song by any stretch of the imagination. It's just different. Stay until the end for Tony Banks's short but very melodic synth solo, at least. (8/10)

THE BOTTOM LINE: This album is not nearly as bad as people make it out to be. I do think it is not the greatest introduction to Genesis (that would be "Wind and Wuthering" or "Selling England By The Pound"), but it should be on your shopping list if you've heard those other albums and enjoyed them.

Thank you for your time.

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