When several of Steve Hackett's songs for Wind & Wuthering
were left off the album at the insistence of the other band members, he left the band in frustration to embark on a successful (and frequently awesome) solo career. That left Genesis as a trio, a trio that their legions of fans would come to know best.
And Then There Were Three
is also recognized as Genesis' final progressive rock album - their 1980 follow-up Duke
had much more of a pop flavor to it. And thank heavens they switched to pop music, because I don't think I could've taken much more of their progressive rock. Granted, this isn't the worst prog album on the face of the planet (and in fact I think it's better than many people give it credit for), but it's pretty clear after listening to this record that Genesis needed a change of pace.
They went from creating some of the most fascinating pieces of progressive rock ever recorded, to boringness like “The Lady Lies”. It's a song that's put together well, laden with quiet dramatic parts that escalate into crescendos, and Collins does what he can to carry the material reasonably well. But I've listened to that song at least a dozen times and tried to get into it, but I just can't seem to.
Genesis' previous prog-pieces, such as “Dancing With the Moonlit Knight”, were the musical equivalent of a roller coaster - they took me on an exciting journey through all their twists and turns. “The Lady Lies” is also like a roller coaster, but it seems like I'm watching it from a distance rather than on it - Collins' melody at the beginning, even though he performs it warmly and sweetly, never hooks me in. The chord progressions are sophisticated but souless. The instrumentation is textured, but never enchanting, with Tony Banks playing ho-hum patterns on his organ, synthesizers, and piano. The bombastic chorus is loud but distant.
by Reviewer: Don Ignacio
(blogging at Don Ignacio's Album Reviews