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Genesis - Wind And Wuthering CD (album) cover

WIND AND WUTHERING

Genesis

 

Symphonic Prog

4.09 | 1315 ratings

From Progarchives.com, the ultimate progressive rock music website

NetsNJFan
Prog Reviewer
4 stars With A TRICK OF THE TALE (1976), Genesis marched on as a quartet after the shocking departure of Peter Gabriel in 1975. Surprising to critics and fans, it was a great album, and is considered to be one of their finest. Less than a year later, the group released its follow-up, WIND & WUTHERING. While A TRICK OF THE TAIL assured fans Genesis could go on sans Gabriel, WIND & WUTHERING cemented this. This album is more synthesized and more progressive than its predecessor, and is also much less pastoral. It reflects the autum/winter feel of its grey, foggy cover (very English). Many of these songs are Genesis classics, but this album is usually underrated and ignored. Tony Banks and his keyboards still dominate throughout, but Steve Hackett's guitar manages to play a prominent role. Phil Collins' singing is also much more confident on this album, an improvement over A TRICK OF THE TAIL. This is the last purely progressive release by Genesis, and is also their last essential album. Guitarist Steve Hackett would leave in 1977, and Genesis would quickly turn to pop. The album begins with Hackett's guitar, leading into the wonderfully progressive tale/song, Eleventh Earl of Mar. As an opener, this is just as strong, and more complex, than Dance on a Volcano. It has excellent lyrics, and benefits from the writing talents of all five members of Genesis. This song stands as one of Genesis's finest songs, from any era. The drumming and keyboard work are standouts on this fabulous track. One for the Vine is a divisive track for Genesis fans. Some detest it as ten minutes of Tony Banks' bland, self-indulgence ... other consider it essential. I fall in the latter category. It meanders slowly, but beautifully, to the midway point where it erupts in a circus of sounds, featuring excellent synthesizer work. It then calms itself, and winds down. This track, lyrically, is a gentle sequel to The Knife, off of TRESPASS (1970). Mike Rutherford's blatantly commercial ballad, Your Own Special Way is the weak point of this exceptional album. When compared with the groups later pop hits (i.e. Invisible Touch, Anything She Does), this is a fairly good song. Sadly, it points to the not-to-distant commercialization of Genesis's sound. Nonetheless, it is enjoyable, and features some good piano. Wot Gorilla? is a short and jazzy instrumental, reminiscent of Collins' Brand X work. All in a Mouse's Night is a silly "Tom& Jerry" themed track. It features clever enough lyrics and interesting tempo-changes. It is clearly an attempt to replicate the humor of the Gabriel days (i.e. Harold the Barrel), and does so somewhat successfully. Unfortunately, Collins' voice could never match the theatric emotiveness of Gabriel. Blood on the Rooftops quietly is a gem, and features brilliant classical guitar work from Hackett. The next too tracks are instrumentals, and show just how talented these musicians were. "In That Quite Earth ... sounds very similar to Steve Hackett's solo work on VOYAGE OF THE ACOLYTE (1975). The chaos of this track segues seamlessly into the gentle Banks' ballad, Afterglow. This track is a pop styled ballad. Tony Banks' wrote excellent lyrics for it, and Phil Collin's vocals give it unexpected punch. It is a nice gentle end to a very enjoyable album. This album is highly recommended to fans of early Genesis, but many find it to be an acquired taste - Four Stars.

NetsNJFan | 4/5 |

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