Phil Collins Called This Genesis Album Forgettable

By the time Phil Collins became a global pop icon, he had already spent years building his reputation inside Genesis. For many listeners, that earlier period carries a different kind of weight—less commercial, more exploratory, and often more personal. It’s where Collins sharpened his instincts as both a musician and a songwriter.

His journey with the band wasn’t static. From the early progressive era to the streamlined sound that followed, Genesis went through major shifts in identity. Collins was at the center of that evolution, stepping into bigger roles as the lineup changed and the music gradually moved toward a wider audience.

Yet not every chapter from that era holds the same meaning for him. Looking back, Collins has openly admitted that one particular album never quite clicked—musically or emotionally. In fact, he’s gone as far as calling it forgettable.

A Band in Transition

The turning point came after Peter Gabriel left Genesis in 1975. His departure forced the band to rethink everything, including who would take over as lead vocalist. Collins, originally the drummer, stepped forward and proved he could carry that role with confidence.

Albums like A Trick of the Tail and Wind & Wuthering showed that Genesis could still thrive without Gabriel. They retained much of their progressive identity while gradually tightening their songwriting. There was a sense of balance during this period, even as the band adjusted to its new structure.

That balance didn’t last long. When Steve Hackett left in 1977, Genesis was reduced to a trio—Collins, Tony Banks, and Mike Rutherford. The dynamic shifted again, and this time, the changes would directly influence the direction of their next album.

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The Album Collins Couldn’t Connect With

That next release was And Then There Were Three (1978), the first album recorded as a trio. On paper, it marked a fresh start. In reality, it became the record Collins would later describe as his least favorite.

Despite its success—including the hit “Follow You Follow Me”—Collins felt detached from the material. He described the songs as short and somewhat inconsequential, lacking the depth he would later bring into his songwriting. For him, the album didn’t reflect who he was becoming as an artist.

Part of that disconnect came from his limited contribution at the time. While he added ideas and lyrics here and there, he hadn’t yet fully stepped into the more personal, direct writing style that would define later works. Compared to what followed, the album felt like a transitional effort that never fully landed.

Personal Struggles Behind the Music

Beyond the music itself, Collins’ feelings about the album were shaped by what was happening in his life. He has admitted that it wasn’t a particularly happy period, and that emotional distance found its way into the record.

At that stage, Genesis was still rooted in its earlier storytelling approach—often abstract and layered. Collins, however, would soon lean toward something more straightforward and personal. That shift hadn’t fully happened yet during the making of And Then There Were Three, leaving him caught between two styles.

Looking back, it’s clear that the album represents a moment of in-between. It bridged the gap between Genesis’ progressive past and their more accessible future. For listeners, it still holds value—but for Collins, it remains a record that never quite felt like his own.