imported>Miklogfeather: Formatting of studio name in infobox. Small text should not be used in infoboxes per MOS:SMALL

2025-12-21T09:01:14Z

Formatting of studio name in infobox. Small text should not be used in infoboxes per MOS:SMALL

← Previous revision		Revision as of 09:01, 21 December 2025
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	\| recorded = September–October 1977		\| recorded = September–October 1977
	\| venue =		\| venue =
	\| studio = Relight ~~Studios~~<br /~~><small~~>([[Hilvarenbeek]], [[Netherlands]])~~</small>~~		\| studio = Relight<br />([[Hilvarenbeek]], Netherlands)
	\| genre =		\| genre =
	* [[Progressive rock]]		* [[Progressive rock]]
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	=== Background ===		=== Background ===
	In July 1977, the Genesis line-up of drummer and vocalist [[Phil Collins]], keyboardist [[Tony Banks (musician)\|Tony Banks]], bassist [[Mike Rutherford]], guitarist [[Steve Hackett]], and touring drummer [[Chester Thompson]] completed their tour in support of their eighth studio album, ''[[Wind & Wuthering]]''. The band proceeded to edit and mix their second live album, ''[[Seconds Out]]'', in August 1977, during which time Hackett left the band to pursue a solo career.<ref name=melodymaker1978/> Already having released one solo album in 1975, ''[[Voyage of the ~~Acolyte\|Voyage Of The~~ Acolyte]]'', Hackett had become increasingly frustrated by the band's lack of interest in his ideas. Further, since Genesis had recently performed at [[Madison Square Garden]], Hackett felt the group had reached its pinnacle and thus he had no reason to continue performing with them.{{sfn\|Bowler\|Dray\|1992\|p=138}} His departure was not made public until 8 October, when Collins, Banks, and Rutherford were promoting ''Seconds Out''.<ref name=nme1977>{{cite journal\|url=http://thegenesisarchive.co.uk/hackett-leaves-genesis-new-musical-express-8th-october/\|title=Double elpee recorded at this gig, and Hackett leaves Genesis\|author=Unknown\|journal=New Musical Express\|page=3\|date=8 October 1977\|access-date=25 November 2016}}</ref> The trio were confident they could carry on, as they had formed the backbone of several Genesis classics, including the "Apocalypse in 9/8" section of "[[Supper's Ready]]", the instrumental part of "The Cinema Show" and the basics of ''[[A Trick of the Tail]]'' (written while Hackett was working on his first solo album).{{sfn\|Bowler\|Dray\|1992\|p=143}} They also agreed not to hire a replacement for Hackett, choosing instead to perform all instrumental work on their albums themselves going forward.		In July 1977, the Genesis line-up of drummer and vocalist [[Phil Collins]], keyboardist [[Tony Banks (musician)\|Tony Banks]], bassist [[Mike Rutherford]], guitarist [[Steve Hackett]], and touring drummer [[Chester Thompson]] completed their tour in support of their eighth studio album, ''[[Wind & Wuthering]]''. The band proceeded to edit and mix their second live album, ''[[Seconds Out]]'', in August 1977, during which time Hackett left the band to pursue a solo career.<ref name=melodymaker1978/> Already having released one solo album in 1975, ''[[Voyage of the Acolyte]]'', Hackett had become increasingly frustrated by the band's lack of interest in his ideas. Further, since Genesis had recently performed at [[Madison Square Garden]], Hackett felt the group had reached its pinnacle and thus he had no reason to continue performing with them.{{sfn\|Bowler\|Dray\|1992\|p=138}} His departure was not made public until 8 October, when Collins, Banks, and Rutherford were promoting ''Seconds Out''.<ref name=nme1977>{{cite journal\|url=http://thegenesisarchive.co.uk/hackett-leaves-genesis-new-musical-express-8th-october/\|title=Double elpee recorded at this gig, and Hackett leaves Genesis\|author=Unknown\|journal=New Musical Express\|page=3\|date=8 October 1977\|access-date=25 November 2016}}</ref> The trio were confident they could carry on, as they had formed the backbone of several Genesis classics, including the "Apocalypse in 9/8" section of "[[Supper's Ready]]", the instrumental part of "The Cinema Show" and the basics of ''[[A Trick of the Tail]]'' (written while Hackett was working on his first solo album).{{sfn\|Bowler\|Dray\|1992\|p=143}} They also agreed not to hire a replacement for Hackett, choosing instead to perform all instrumental work on their albums themselves going forward.

	=== Writing and recording ===		=== Writing and recording ===
	Rehearsals began at [[Shepperton Studios]] and lasted for around six weeks.<ref name=radioone/> In September 1977, the remaining three members returned to Relight Studios in [[Hilvarenbeek]], [[Netherlands]] to write and record their new album, the same venue as used for the ''Wind & Wuthering'' album.<ref name=CDS4010/><ref name=sounds1978>{{Cite magazine\|title=Genesis Track By Track\|magazine=Sounds\|first=Hugh\|last=Fielder\|date=1 April 1978\|access-date=29 April 2015\|pages=17–18\|url=http://thegenesisarchive.co.uk/sounds-1st-april-1978-genesis-track-by-track/}}</ref>{{sfn\|Bowler\|Dray\|1992\|p=144}} The group wished to record in a new location, but they could not find a studio that fit their needs and did not wish to travel too far from England. Rutherford wished to remain in London, but noted recording abroad was their "one tax concession".<ref name=sounds1978/> Joining the group was audio engineer and co-producer [[David Hentschel]] who had worked on the band's past two albums. Genesis also shared production duties and are credited on the album's sleeve.<ref name=CDS4010/> According to Rutherford, the material was recorded in two weeks.<ref name=sounds1978/> The band considered auditioning for a new guitarist or utilising a studio guitarist for the album, but Rutherford felt confident enough in his skills to take on the lead guitar parts himself, feeling he would enjoy the challenge of doing so.<ref name=sounds1978/>{{sfn\|Bowler\|Dray\|1992\|p=143}} Banks noticed recording as a three-member band was an easier and more pleasurable experience than before as each member had a clearly defined role, which reduced the risk of personnel clashes along the way.<ref name=melodymaker1978/>{{sfn\|Bowler\|Dray\|1992\|p=144}} Rutherford became aware that with three members, the basic tracks came across as sparse and not so easy to understand until the overdubs were recorded on top of them.<ref name=sounds1978/> Following the recording, the group mixed the album at [[Trident Studios]] in London.<ref name=CDS4010/>		Rehearsals began at [[Shepperton Studios]] and lasted for around six weeks.<ref name=radioone/> In September 1977, the remaining three members returned to Relight Studios in [[Hilvarenbeek]], Netherlands to write and record their new album, the same venue as used for the ''Wind & Wuthering'' album.<ref name=CDS4010/><ref name=sounds1978>{{Cite magazine\|title=Genesis Track By Track\|magazine=Sounds\|first=Hugh\|last=Fielder\|date=1 April 1978\|access-date=29 April 2015\|pages=17–18\|url=http://thegenesisarchive.co.uk/sounds-1st-april-1978-genesis-track-by-track/}}</ref>{{sfn\|Bowler\|Dray\|1992\|p=144}} The group wished to record in a new location, but they could not find a studio that fit their needs and did not wish to travel too far from England. Rutherford wished to remain in London, but noted recording abroad was their "one tax concession".<ref name=sounds1978/> Joining the group was audio engineer and co-producer [[David Hentschel]] who had worked on the band's past two albums. Genesis also shared production duties and are credited on the album's sleeve.<ref name=CDS4010/> According to Rutherford, the material was recorded in two weeks.<ref name=sounds1978/> The band considered auditioning for a new guitarist or utilising a studio guitarist for the album, but Rutherford felt confident enough in his skills to take on the lead guitar parts himself, feeling he would enjoy the challenge of doing so.<ref name=sounds1978/>{{sfn\|Bowler\|Dray\|1992\|p=143}} Banks noticed recording as a three-member band was an easier and more pleasurable experience than before as each member had a clearly defined role, which reduced the risk of personnel clashes along the way.<ref name=melodymaker1978/>{{sfn\|Bowler\|Dray\|1992\|p=144}} Rutherford became aware that with three members, the basic tracks came across as sparse and not so easy to understand until the overdubs were recorded on top of them.<ref name=sounds1978/> Following the recording, the group mixed the album at [[Trident Studios]] in London.<ref name=CDS4010/>

	Banks (four songs) and Rutherford (three songs) remained the dominant songwriters, with the remaining songs being one from Banks and Collins, and three tracks written by all three members.<ref name=sounds19780225>{{Cite journal\|title=Genesis: LP, world tour, book from the survivors\|journal=Sounds\|author=Unknown\|date=25 February 1978\|access-date=25 November 2016\|page=6\|url=http://thegenesisarchive.co.uk/sounds-25th-february-1978-albumtourbook-news/}}</ref> Collins had settled down with his wife and two children in South Ealing, and did not find much time to bring new songs to the sessions.{{sfn\|Bowler\|Dray\|1992\|pp=146–147}} Rutherford later said he was impressed the group wrote "Follow You Follow Me", as they had had difficulty in the past writing songs that worked within a four minute framework.<ref name=ucr>{{cite journal\|url=https://www.pressreader.com/uk/classic-rock/20170720/281642485217493\|title=The Stories Behind The Songs : Genesis\|first=Paul\|last=Lester\|journal=Classic Rock\|date=20 July 2017\|access-date=16 April 2018}}</ref> The majority of the album was formed of pre-written songs, not ones developed from jams and improvisations.{{sfn\|Bowler\|Dray\|1992\|p=144}} Collins later thought the album lacked "rich, jazzy pieces" like "Los Endos" from ''[[A Trick of the Tail]]'' with its merging of rhythm and melody,<ref name=melodymakeraug1978/> but he could not contribute such ideas as it was difficult to play the drums in his flat in [[Ealing]] with his wife and two children.{{sfn\|Bowler\|Dray\|1992\|p=146}}{{sfn\|Bowler\|Dray\|1992\|p=147}} The group were still growing in popularity in the United States and despite "Follow You, Follow Me", did not have a hit single, which Banks later admitted was a struggling point for them.<ref name=melodymaker1978/> The original album track order swapped "Undertow" with "Many Too Many" and "Scenes from a Night's Dream", before it was changed as the band felt it flowed better.<ref name=sounds1978/>		Banks (four songs) and Rutherford (three songs) remained the dominant songwriters, with the remaining songs being one from Banks and Collins, and three tracks written by all three members.<ref name=sounds19780225>{{Cite journal\|title=Genesis: LP, world tour, book from the survivors\|journal=Sounds\|author=Unknown\|date=25 February 1978\|access-date=25 November 2016\|page=6\|url=http://thegenesisarchive.co.uk/sounds-25th-february-1978-albumtourbook-news/}}</ref> Collins had settled down with his wife and two children in South Ealing, and did not find much time to bring new songs to the sessions.{{sfn\|Bowler\|Dray\|1992\|pp=146–147}} Rutherford later said he was impressed the group wrote "Follow You Follow Me", as they had had difficulty in the past writing songs that worked within a four minute framework.<ref name=ucr>{{cite journal\|url=https://www.pressreader.com/uk/classic-rock/20170720/281642485217493\|title=The Stories Behind The Songs : Genesis\|first=Paul\|last=Lester\|journal=Classic Rock\|date=20 July 2017\|access-date=16 April 2018}}</ref> The majority of the album was formed of pre-written songs, not ones developed from jams and improvisations.{{sfn\|Bowler\|Dray\|1992\|p=144}} Collins later thought the album lacked "rich, jazzy pieces" like "Los Endos" from ''[[A Trick of the Tail]]'' with its merging of rhythm and melody,<ref name=melodymakeraug1978/> but he could not contribute such ideas as it was difficult to play the drums in his flat in [[Ealing]] with his wife and two children.{{sfn\|Bowler\|Dray\|1992\|p=146}}{{sfn\|Bowler\|Dray\|1992\|p=147}} The group were still growing in popularity in the United States and despite "Follow You, Follow Me", did not have a hit single, which Banks later admitted was a struggling point for them.<ref name=melodymaker1978/> The original album track order swapped "Undertow" with "Many Too Many" and "Scenes from a Night's Dream", before it was changed as the band felt it flowed better.<ref name=sounds1978/>
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	"Down and Out", one of the three tracks written collectively, was created during the band's rehearsals. Thompson found its more complex [[time signature]] difficult to reproduce on stage at first as Collins could not explain the riff and rhythm which Rutherford noted merely "added to the confusion".<ref name=sounds1978/> Collins wrote the lyrics, which concern American record labels who drop artists when they are no longer in fashion; the chorus is spoken from the artists's view and the verses from the label.<ref name=radioone>{{cite interview\|url=http://www.twronline.net/issues/twr23/twr23_radio_interview_1978.htm\|title=Views From the Three – Phil Collins and Mike Rutherford radio interview\|date=March 1978\|publisher=BBC Radio One\|access-date=28 July 2018}}</ref>		"Down and Out", one of the three tracks written collectively, was created during the band's rehearsals. Thompson found its more complex [[time signature]] difficult to reproduce on stage at first as Collins could not explain the riff and rhythm which Rutherford noted merely "added to the confusion".<ref name=sounds1978/> Collins wrote the lyrics, which concern American record labels who drop artists when they are no longer in fashion; the chorus is spoken from the artists's view and the verses from the label.<ref name=radioone>{{cite interview\|url=http://www.twronline.net/issues/twr23/twr23_radio_interview_1978.htm\|title=Views From the Three – Phil Collins and Mike Rutherford radio interview\|date=March 1978\|publisher=BBC Radio One\|access-date=28 July 2018}}</ref>

	The band had originally planned to develop and arrange Banks's song "Undertow" further, but its basic track of guitar, drums and piano, coupled with its simple chorus, was strong enough to remain intact. Banks plays a [[Yamaha Corporation\|Yamaha]] [[electric grand piano]] on the track which also incorporates voice loops made by the band that were kept "low-key and subtle" in the final mix.<ref name=sounds1978/> Banks had written a two-minute introduction to the song, but recalled disagreement from the other members as there were enough keyboard parts on the album. The unused section was reworked and later used as ~~a part of~~ "From The Undertow", a track on Banks's first solo album ''[[A Curious Feeling]]'' (1979).<ref>{{cite web\|url=http://www.genesis-news.com/c-Tony-Banks-A-Curious-Interview-30th-September-2009-s351.html\|title=Tony Banks – Interview\|date=30 September 2009\|first=Helmut\|last=Janisch\|publisher=Genesis News\|access-date=16 December 2017}}</ref>		The band had originally planned to develop and arrange Banks's song "Undertow" further, but its basic track of guitar, drums and piano, coupled with its simple chorus, was strong enough to remain intact. Banks plays a [[Yamaha Corporation\|Yamaha]] [[electric grand piano]] on the track which also incorporates voice loops made by the band that were kept "low-key and subtle" in the final mix.<ref name=sounds1978/> Banks had written a two-minute introduction to the song, but recalled disagreement from the other members as there were enough keyboard parts on the album. The unused section was reworked and later used as the theme for the film "[[The Shout]]" and released as "From The Undertow", the opening track on Banks's first solo album ''[[A Curious Feeling]]'' (1979).<ref>{{cite web\|url=http://www.genesis-news.com/c-Tony-Banks-A-Curious-Interview-30th-September-2009-s351.html\|title=Tony Banks – Interview\|date=30 September 2009\|first=Helmut\|last=Janisch\|publisher=Genesis News\|access-date=16 December 2017}}</ref>

	The lyrics to "Ballad of Big" were written by Collins. The introduction contains a wobbly guitar effect created by Rutherford whereby he rubbed his guitar strings with pieces of metal, giving it a "slightly Eastern strain". The end of the track has Banks and himself duelling between the Yamaha electric piano and his [[Roland Corporation\|Roland]] [[guitar synthesiser]].<ref name=sounds1978/>		The lyrics to "Ballad of Big" were written by Collins. The introduction contains a wobbly guitar effect created by Rutherford whereby he rubbed his guitar strings with pieces of metal, giving it a "slightly Eastern strain". The end of the track has Banks and himself duelling between the Yamaha electric piano and his [[Roland Corporation\|Roland]] [[guitar synthesiser]].<ref name=sounds1978/>
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	\| "Vancouver"		\| "Vancouver"
	\|-		\|-
			\| "Inside and Out"
			\| rowspan="1"\|"[[Follow You Follow Me]]" (US)
	\|}		\|}

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	{{album chart\|Austria\|17\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}		{{album chart\|Austria\|17\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}
	\|-		\|-
	{{Album chart\|Canada\|11\|chartid=4563a\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|~~accessdateJuly~~ 10, 2024}}		{{Album chart\|Canada\|11\|chartid=4563a\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}
	\|-		\|-
	! scope="row"\| Finnish Albums ([[The Official Finnish Charts]])<ref name=FINI>{{cite book\|last=Pennanen\|first=Timo\|title=Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972\|edition=1st\|publisher=Kustannusosakeyhtiö Otava\|location=Helsinki\|year=2006\|isbn=978-951-1-21053-5 \| page= 166 \| language= fi}}</ref>		! scope="row"\| Finnish Albums ([[The Official Finnish Charts]])<ref name=FINI>{{cite book\|last=Pennanen\|first=Timo\|title=Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972\|edition=1st\|publisher=Kustannusosakeyhtiö Otava\|location=Helsinki\|year=2006\|isbn=978-951-1-21053-5 \| page= 166 \| language= fi}}</ref>
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	{{album chart\|Netherlands\|8\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}		{{album chart\|Netherlands\|8\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}
	\|-		\|-
	{{album chart\|~~Germany4~~\|2\|id=5992\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}		{{album chart\|Germany\|2\|id=5992\|artist=Genesis\|album=...And Then There Were Three...\|rowheader=true\|access-date=July 10, 2024}}
	\|-		\|-
	!scope="row"\|Italian Albums (''[[Musica e dischi]]'')<ref>{{cite web\|url=http://www.musicaedischi.it/classifiche_archivio.php\|title=Classifiche\|work=[[Musica e dischi]]\|language=it\|access-date=July 10, 2024}} Set "Tipo" on "Album". Then, in the "Titolo" field, search "And Then There Were Three ".</ref>		!scope="row"\|Italian Albums (''[[Musica e dischi]]'')<ref>{{cite web\|url=http://www.musicaedischi.it/classifiche_archivio.php\|title=Classifiche\|work=[[Musica e dischi]]\|language=it\|access-date=July 10, 2024}} Set "Tipo" on "Album". Then, in the "Titolo" field, search "And Then There Were Three ".</ref>
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	{\| class="wikitable sortable plainrowheaders" style="text-align:center"		{\| class="wikitable sortable plainrowheaders" style="text-align:center"
	\|-		\|-
	! scope="col"\| Chart (~~2014-2024~~)		! scope="col"\| Chart (2014–2024)
	! scope="col"\| Peak<br />position		! scope="col"\| Peak<br />position
	\|-		\|-

imported>Beland: convert special characters found by Wikipedia:Typo Team/moss (via WP:JWB)

2025-06-09T08:43:52Z

convert special characters found by Wikipedia:Typo Team/moss (via WP:JWB)

Show changes

...And Then There Were Three... - Revision history

imported>Miklogfeather: Formatting of studio name in infobox. Small text should not be used in infoboxes per MOS:SMALL

imported>Beland: convert special characters found by Wikipedia:Typo Team/moss (via WP:JWB)