Progarchives, the progressive rock ultimate discography
Genesis - Wind & Wuthering CD (album) cover




Symphonic Prog

4.10 | 1906 ratings

From, the ultimate progressive rock music website

Per Kohler
5 stars Sitting with my completely worn-out Swe-Eng dictionary(the spine is missing) in hand, I look in vain for title word "Wuthering". It comes as no surprise really; I know since long time that the expression is a rareness. A British English teacher, on English soil, once informed my class that it's solely found in book title "Wuthering Heights". It fell on my lot to modestly inform about an album called "Wind & Wuthering". Not only once, I had to repeat myself on a few occasions before I got any reaction. Finally I managed to convince teacher and surroundings. I purchased the single 'Your Own Special Way/It's Yourself', brought it to school and used it as proof of my statements. For safety's sake, along with bible book/old testament 'I Know What I Like'. Anyone had the opportunity to mention a 20-year old Miss Bush too, but it never happened. This occurred in the early eighties, the single 'Abacab' was prevalent on the air. Not presented as Genesis but rather Phil Collins & Genesis. If you had mentioned the horn section of Earth & Wind and Fire around Christmas time 1976, and associated them with an ascetic Genesis; people would have looked strangely at you. Who could've blamed them? 1976 was Christmas time for Genesis fans indeed. Santa Claus delivered the second studio album in one year; W & W was released just 10 months after A Trick of the Tail.

Although the latter was recorded in '75, the following year became record holding. Bill Bruford joined on stage for the Trick tour(didn't they retain the five piece format?). This particular line-up was only to last for a limited period. The ex-Yes/Crimso drummer didn't lack the technical ability but he lacked the ability to find out how and where to utilize this gift. At least in Genesis. Just like Collins, Bruford is for sure a highly esteemed percussionist. Bill is actually more often mentioned among drummers than colleague Collins. The reason for this is obvious; William and his Earth Works explored the development of the jazz sax, Phillip turned Abba-Annifrid into an international solo star. Bruford has never been associated by the multitude of pop projects like Collins has. That's more current for the puritan. Phil's diversity and adaptability isn't accepted in every party. Moreover, it isn't known in every party either. 'One More Night' doesn't automatically enter the world of Buddy Reich and Big Band. The duo Bruford/Collins performed the dual drum break leading into 'Los Endos', and that was the ends of their collaborative work. Bruford's stay only lasted for one tour. Even if this agreement had been set up in advance he didn't amalgamate with the Genesis family as well as in the case of Yes. Despite that the deputy here voluntarily cut of the ties after Close to the Edge, Bill was still warmly welcome to participate on many side projects. It doesn't necessarily mean that there was a rift in the lute between both parts in the Genesis camp, but the deft percussionists name was never to grace the instrumentation list of a Hackett album. Neither Rutherford nor Banks. Finally, one cannot avoid making comparisons with a certain Patrick Moraz. What about the free-form jazz excursions on Relayer transmitted to the boy's choir gentle Moody Blues? Eh? That wouldn't work very well. Somehow Patrick and the Moodies managed to overcome this huge barren gap. They remained the song band they always were.

Was Bruford ever a member of Genesis? Or did he just play with them? It depends on who you ask. Some folks, mainly outside the path belonging to the statistician, contend that one of the players on supreme 'The Night Watch' both toured and recorded with equally or even higher ranked band Genesis. The casual spectator who happened to attend the first post Gabriel tour. Pro writer included. Not everybody studied the inner sleeve of the TRICK album under the magnifying glass. So just let them stay in their belief. In a conceptual world not less beautiful than yours and mine. Bruford's case is by no means unique. In a major music magazine way into the eighties one could read: 'Genesis guitarist S. Hackett is out on solo tour?' Not ex-guitarist, but guitarist. Bill did finally team up with a former Genesis member on Revisited 1, but that was probably a pitch from a base salesman. Or did they leave Genesis after all? Now all that's missing is that Gabriel still uses Foxtrot costume and tells stories in between songs. Great, Phillips/Rutherford will have ample time for the elaborate 12-string tuning.

And then they were four. Once again. Wind was the first Genesis album ever to be recorded abroad. After the fine sales of TRICK(and accordingly an increased interest from the collector of tax arrears!), it became tempting to make a jump across the channel. To record abroad meant a healthy 25% tax deduction. Holland is firmly placed on the art map via the palette of Van Gogh, Rembrandt and Vermeer. Now they have the privilege to house English art rock super stars Genesis. The tulips bowed in their autumnal coats. They begged for plantation in the Royal Garden at Kew. To gossip in flower language with the stately hogweed. Historically seen, neighboring Belgium just a stone throw away would've been a more proper location to record in. Just remember where Trespass amazed everybody and went no 1 while the rest of the world was in a deep the Sleeping Beauty slumber. Genesis did not resume their Anglomania until the next decade.

Some bands/artists have admitted that the loss of your own bed, home ground and mother's meat balls could have a volatile effect. Plus the unfamiliar technical surroundings in a studio. It is, or can be, a venture. The incidents are almost as many as there are artists. Sir Elton could just as well have chosen his tiled bathroom to record in instead of a time consuming flight to Jamaica. Ken Hensley of U.H. commentated the lucrative foreign recordings he and his band undertook in the seventies. ? 'What money? I never saw any'. It was Chateau D'Epreciation. One could go on and on here and easily fill an entire article. Or a minor volume.. There's not much that indicates that Genesis were affected by mishaps during their recurring overseas sojourns(three band two solo efforts). It went reportedly as smooth as a parent-teacher meeting at the boarding-school. By a combination of planning, common sense and a crumb of luck. 10 cc preferred Stockport to record in whereas Genesis headed for tax haven Stockholm(Duke). Sleeping in the room next to the igloo watching the breathtaking northern lights. Where polar bears are roaming the streets in search for a light meal. The arctic winds were chilly, but the merry sales of 'Misunderstanding' thawed out every frozen soul. By the aid of Abbas sovereign equipment. Face Value, finally, was by the way a homemade product of the UK. That's exactly what Abacab became.

Mighty opening title 'Eleventh Earl of Mar' is credited to Banks/Hackett/Rutherford. The writing cake on Wind is partly differently distributed than on TRICK. Uppermost we find Tony Banks as usual. What separates WW from TRICK is that Hackett has overtaken Rutherford's position as no 2. The lyric of 'Earl' is just like in the case of 'Entangled', inspired by an art work from spouse Kim Poor. Rutherford gave a helping hand to the final shape of the texts, or even more. 'Down and Out' on following album was credited to Collins/Banks/Rutherford. The allusion is obvious. The point is that Hackett wrote more on 'Earl' than Collins did on the latter. It doesn't automatically give the guitarist first position but could have done with same generosity. In a band like Genesis where every measure is more or less mathematically calculated it does have importance. Stephen was compensated later on the record. Was it enough??

'Earl' is a splendid and solid piece of work from a steadfast established unit in the prog world. Bubbling over with high spirits. Broad Hammond chords, fat punchy bass lines. If the drummer earlier on was held under any kind of restrictions now he's out on free pasture. Both in touch, audibility and fervent playing zest. Why would he, Collins, spend an eternity just 'playing along' to the others? There's little logic in it. On 'Earl', Phil turns Bonzo into a blessed drum-major of the Salvation Army. 'Earl' has the exacting and heavy task to compete with everything from 'Looking For Someone' up to 'Volcano'. Not the easiest thing to be faced with, but it does so with honour. Once I lent WW to a guy whose musical taste was distant from the symph scene(50/60's pop). I would never expect it, but he was positive about first song(plus 'Afterglow'). That leads to following conclusion; the opening tune is accessible in its density of progressive elements. So a slightly reworked, edited version of 'Earl' on a single release? If it sounds farfetched then what about 'Roundabout' from Fragile? In this case it went tremendously well, so don't judge the book by the cover. In spite of/thanks to/ the fact that 8:40 became less than 3:40(world record in editing? 40% of the original remained. With correspondent cut of 'Earl' you'll get a catchy three minute single A-side). Tull's 'Living in the Past' goes in very odd 5/4 time(it went no. 11 in Sweden). The finest singles are hiding where you least expect 'em to.

For the first time since 'Hairless Heart' there's some audible six string acoustic. More than two long year's absence. This is softwood for the composition, just as it is for Genesis. Rank, fragrant vapour from the early morning fir forest. You can almost touch the sticky resin with your fingertips. The preceding electric guitar solo is the most upfront and expressive playing in this field since 'Supernatural Anaesthetic'. The language it supplies is that Wind creatively belongs to Hackett just as much as anybody. The electric returns, wakes us up from the house of dreams. Accompanied by some spacey tape-loop vocals. Like all vocals on the record, performed by Collins. Genesis of 1976 year's issue doesn't consist of a long series of Shulman or Wilson brothers; rather it has become an ELP lonely voice. But you don't always chose, you are given a certain capacity. Collins/Noel McCalla had done much more potent duets than any of them by themselves. Live of course but likewise in the studio. An exciting train of thought. Be happy with drum collaboration Collins/Thompson, it will do just as well onstage in the absence of a similar vocal duo.

Second track on WW, the ten minute long 'One For the Vine', is written, directed and edited by Tony Banks. The result seen through the cine-projector took about 12 months to finalize. Recorded from every possible angle. From slow motion speed to graciously rapid movements. The intro, the silent film tinkling piano is highly evocative. First night on the enclosed garden party, solely for the chosen 'crème de la crème'. For a keyboard lover, there's a lot to get one's teeth into. 'Vine' doesn't belong to the same school of cohesive writing as 'Mad Man Moon'. You must constantly be prepared for the unexpected. Not the conventional verse/chorus/solo but a myriad of ideas thrown in. A slice of Beatles pie with cloudberry jam between 6: 20 ? 6: 35. The piano stretching from 3, 07-3, 30 is so tasty that you regret that it's over far too quickly. Here one will sip at a vintage sherry with one's partner at table and just pretend that time stands still. One of the master passages on 'Vine'. In reality far too limited to be on display for a mere 20 seconds. But that's the nature of the song. You won't detect the cloud that's passing by above your head again either. That's god's gift to us humans. A fast, fleeting glance at the power of the almighty's hand. The intro is repeated at 4:30 and followed by a Man-Erg like outburst. That's Van Der Graaf G. in their most assertive voice. Possibly it inspired their Charisma label mates to trample upon this impetuous path. It will transform the most musically indifferent, no one is left unmoved. It's so brisk and lively that you prefer to indulge it in the evening after dinner. Definitely too vivacious for the morning assembly. Amazingly, both Generator/Genesis released two high quality albums in the course of 1976. What did they put in the well-water in those days?

Concluding piano part seems detached from the intro. Maybe because it's already distant in time. Let's define 'Vine' as a composition of open and free character. It makes you think of 'The Lady is Lies' which is structured in a similar way. Why people are less keen on the last mentioned is most likely a psychological blockage. A three piece can't match a four piece. The Gabriel era faithful turned down the four piece band, the Hackett era loyal had no intention to act differently. The 'Three' album is a pop album and that's that. The lyrics on 'Vine' are not penned by P. Gabriel simply because he's not here. Gabriel is definitely a stronger lyric writer than T. Banks. In the same way as Banks is the most clever keyboard player of the pair. On TRICK it worked out well despite the absence of the ex-front man. Logically it won't remain on the same level in the long run. Of the six vocal tracks on WW at least half of them would benefit from Gabriel's helping hand. Why bother about past history? If you know the history it's easier to foresee and search the future. When the cat is gone the mice will play. Phil Collins is his replacement on vocals, reaching some falsetto like Bee Gees vocals. This measure was repeated on 'I'm not Moving' some five years later. In the more radio friendly format 2: 35. The performance of 'Vine' turned out better live than in the sterile and lifeless studio. The version on Three Sides Live(British issue) is more distinct and clear-cut. If you crave for Hammond/mello just look for earlier bootleg versions.

Some define Michael Rutherford's 'Your Own Special Way' as a ballad(prog ballad..Ugh). Technically there's nothing wrong in this cut-and-dried term, but there are other criteria. It imparts associations with genres that are better kept at a distance. Could you imagine the decorous audience at a symphony/classical concert just suddenly waving their arms with a lighter, or later on a cell phone? It simply doesn't belong to the musically intellectual. Just as likely as if the orchestral member would set fire to her/his Stradivarius. So why would it be more viable here? Let's instead call it an airy and easy-going love song. Which in itself is enough profane. As you're used to beat time with your foot in 7/8 or 7/4 you feel almost embarrassed by its unabashed amorous theme in straight time signature. Normally such fleshly human desires are poetically rewritten, but here it stands right before your eyes in its naked candour. Genesis musical influence on other bands has been analyzed, so what about the lyrical? Canadian SAGA didn't even dare to mention 'she' or 'her' in their lyrics for a very long period. Not until sixth album Behaviour, stationed half way through flip side, came the true 'Promises'. For fear of being singled out as, let's say, 'poems for the cave-dweller ahead of the theatrically exalted'. Nothing depreciatory about the fair sex but there are more banal love songs than grain of sand in the Sahara desert. Adam came first; Eve had to wait behind the scenes. Sadler and co. upheld this discipline in true spirit of Genesis. A cover version of 'Solsbury Hill' is to be found on a collection. Some listeners may seriously take offence at its synonym 'her', but calm down; it's only an illusion. 'Special' is a stark contrast to previous 'Earl' and 'Vine'. Starting out with Mike himself on 12-string chords, with Hackett following on the electric. Collins is thriving with his multi-tracked vocals(a one man choir). Romantic in its musical sentiment, fitting for the couple in the moonlit slow moving gondola. The central instr. section was removed from the evident single-release.

On what basis is 'Special' included on Wind? It's not question about whether it's capable or not, but don't forget that we've reached the second half of the seventies and the music scene is never static. Is WW the first Genesis album where the track choice is based on other factors than pure artistic? That's not unthinkable. It was under all circumstances not the last. On the Duke album, Mike's high above standard 'Open Door' was swept aside in favor of a so called tractable song(cautiously speaking, a minor false step). 'Open Door' could seriously have competed with a 'Blood on the Rooftops', but became a much less reachable b-side. A similar case on Wind where 'Inside Out'(written by Mike/band) was dislodged to Ep 'Spot the Pigeon'. Rutherford's input on WW is underdeveloped both in writing and sounds; 'Inside' should've evened out some of these shortcomings. Not necessarily at the expense of 'Special' of course. 'Inside Out' is too prominent to be left out from the mother record. Nobody disagrees on musical grounds. The 12-string sound is talking to you; just come and grab me; it might be your last chance. Hackett's electric ought to be a hint to a certain S. Howe. An early incarnation of GTR. - So where's the pigeon(?), I was once asked by an Englishman. Spot the winged creature on the cover of Wind was a lot easier, but 'Inside Out' failed to make it onto that particular album.

At the time of WWs release, when everybody were eating Christmas porridge with fruit sauce, P. Gabriel's debut is still not out but only a number of weeks away. What if it's filled to the brim with saleable stuff? Would the foursome take the risk of being overtaken by one single ex-band mate? Rutherford knows at least partly what's in the offing as he could eavesdrop during the demo recording. So it's 'Your Own Special Way' against 'Solsbury Hill'. Probably not match of the day but still there ought to be some competition behind closed doors. Wind and Gabriel 1 were both recorded about simultaneously far away from Nursery Cryme land, during very different circumstances. Why wouldn't there be competition between Gabriel and group? Which talented golf player wants to be no. 2? Which cricket team dream about silver cup in tournament? All band members, past and present, are in their mid twenties. Transitional years between youth and adulthood, there are still things to be proved. From now on the singles were as luminous as the albums they were culled from. So where is second single 'Modern Love' to be found on WW? We suspect that it ended up on the three tracks Ep in form of 'Match of the Day'.

If 'Special' was a contrast so what about track no. four? 'Wot Gorilla' might be lacking in size and length compared with 'King Kong'. Not only a feature film but also a monster track by F. Zappa, even though there are other options from where the title was chosen. Possibly the Genesis drummer already had a glance at Chester Thompson. The latter, who in common with Bruford is placed in the fusion department, would become new live drummer. He was to last longer than his predecessor. Here you can talk about 'a permanently present non-member of the band'. 'Gorilla' was entirely performed by Collins though. Its intro with strong sounding tuned appendages to the drum kit is as fresh for your ears as the piano intro to 'Vine'. One could assume that percussionist extraordinaire Jamie Muir(of Larks Tongues in Aspic fame) had been drafted to the Genesis ranks. Unlike The Flower Kings a while later, who copied Crimson note by note and brought in uninhibited showman Hasse Bruniusson, Genesis continued with a lone drummer in the studio. Phil Collins himself knows just as many percussive tricks as Muir did, even though it's normally not what you associate with his playing. Then why wasn't the tune even more specialized in this direction? The synth lead, bass-pedals and ghostly guitar aren't at all lacking in attraction but it carries a dignity of things you've experienced before(just repeat side A). Congas, crotales, glockenspiel, marimba, triangle, tubular bells, xylophone?In the same manner as keyboard and guitar textures en masse on many other places, like 'Mad Man Moon' and 'Entangled'. The three minutes of 'Gorilla' is something Collins has saved up to. But his technical skill on the vibraphone, which isn't to be trifled with, remains hidden on underground bootleg recordings. 'Wot Gorilla' was tested live but only a minimal number of times. On the very first night of the tour.

The mile long classical intro is a pleasant mix of sober tabernacle mood, Bach tonality and misty meadow land(have a look at the cover). It has become a trademark in its field of no less importance than the acoustic in Beatles song 'Blackbird', or prime leaden folk piece 'Stairway to Heaven'. As you know we're into 'Blood on the Rooftops'. We have reached the heart of the album, up at the Wuthering Heights. Hackett's composing pencil is sharpened. Modern classical music isn't placed under popular music in your local record store but in some cases it ought to be. Still, not everybody has figured out that Hackett belongs to this era of Genesis. I bought the printed music to Trick/WW with venetian blinds on the cover with a blue sky beyond. Remarkably, there were large photos of Banks/Collins/Rutherford inside, but Hackett was clearly missing. I could play the guitar intro on the piano, but people on this level couldn't understand that the trio period was a part of the future. 'Rooftops' is meticulously arranged with not least T. Banks on an array of keys; grand piano, oboe like synth and string machine. 'Rooftops' is the starting point where Banks' respect for Hackett's writing has reached the same level as for Rutherford. It's nothing less than a mark of honor. A platform for a future collaboration between three strong writers. As it turned out; it was the beginning of the end. But a beautiful end.

To analyze the content of 'Rooftops' becomes more than a song title on Wind or a Genesis tune in general. It is music history. Co-written with Collins, not only a fine piece of music; the lyrics parade the highest position. Down-to-earth, anti-fantasy, ordinary weekday; but all seen through the artistic lens. Just like in the case of the album cover, it's coulored by how you grasp the music. They become the caftan on the emperor or in this drama the boiler suit for the manual worker. There's no medieval poetic haze but instead a prosaic industrial fog. 'Rooftops' and 'Entangled' alone comprised enough glory to secure a vigorous solo career. To some extent owing to the great language handling.

The keyboard strings on 'Rooftops' aren't really arranged, they are orchestrated. Banks does his best to imitate an orchestra, encouraged by Hackett. Logically they were written with real strings in mind. Hackett wants to lay real strings so why isn't he allowed to? You can compare a group with a limited company. Every stock holder owns a certain amount of shares. Can you compute how the leverage is allocated among the quartet? 1. Who formed the band and set musical course of action? 2. Who did the years of hard struggle, all toil and moil up to Nursery Cryme? 3. Who did the majority of the writing on milestones Foxtrot and The Lamb? Tony Banks is chairman of the company Genesis, followed by vice chairman Mike Rutherford. Hackett/Collins are both, so far, minority share holders. That's how it works. Banks has the mandate to say 'Yes' or 'No'. Some question naively and unknowingly Banks' big part of the writing and influence but he hasn't a big part at all. It's just illusory. Actually he could've claimed an even larger portion of the composing based on earlier mentioned band laws. Over and above the invisible 'all titles done by all' ideology. Besides, Hackett recorded Voyage of the Acolyte on his own. Depending on how you look at it, this material belongs to firm name Genesis. Hackett capitalized to a great degree on fame earned from his time in the band. So if anyone thinks that Banks did an Acolyte within the group, there's little reason for the latter to feel ashamed. With a fair distribution of the royalty money, the others should just have bided their time and awaited right opportunity to strike. The red carpet will be unrolled only for the one with patience.

It's the same rules in many other bands, but there's one of special interest. To quote Jon Anderson: - 'In a group you follow a certain path'. In the case of Genesis this path happens to be a string-free path. (As you have noticed the diversions from the main subject in this article are many and in a way you're not used to. Basically it's about association value. Like an interdisciplinary paper). The lack of success on debut From Genesis to Revelation paved the way for this conviction. You are free to compare with early YES procreation Time and a Word. Peter Banks wasn't the least bit more impressed than Tony Banks with the inflated sounds from without. A decade or so went by for both bands, and enter Tormato and of course WW. The returning solo star Wakeman proposed string arr. on a couple of tracks on Tormato, and it was thumbs up. Front man Anderson in YES adopts the same position as Banks does in GENESIS. Consequently he could've made 'thumbs down'. He did not. Actually it's a stroke of genius. You have probably listened to 'Madrigal'(Wakeman/Anderson), more than once without even reflecting about its string inclusion. That's a positive sign, it just exists. As purified and imperceptible as the breath of the birch tree. It's not washing you away like the fall of man but scaled to a limited pencil of rays. 'Onward' shares the same high purity ideal, but in a little more projecting role. The superlatives wouldn't have been less clear in the case of Genesis. As frail as the porcelain doll is the string-quartet invited on WW. No one will pass censure on current version, this is the alternative recording. Active, engaged and most of all incorporated in the actual event. A hand-picked selected group of musically aware. Who understand that if the term 'electrified' had been around in the mid eighteenth century it wouldn't have been sinful to adjust the treble level on the amplifier. Who don't treat Genesis as bread and butter but a three-quarter carved statue in need of additional chisel moves. Everybody else would act like an elephant in a china shop; overturn, scratch, trample down. Another option is to hire the practitioners the cousin band here did shortly afterwards. The tranquil section of 'Earl' would be location no 2 for the strings. Then we have placed WW close to the Tormato. Just like YES, with the same cunning temperance. The harpsichordist left YES despite the self-invented success with strings. The autoharpist in GENESIS did also leave, but for other reasons than Wakeman. On solo recording 'Hoping Love Will Last', if you listen carefully, you might find a string arrangement. All things took place that didn't occur in this story.

Hackett lost the battle of his 'Please Don't Touch' but on the other hand he gained space with 'Unquiet Slumbers?' and second section 'In That Quiet Earth'. What was meant to stay within one title was split up in two. Just to offer Stephen some extra credit. The American issue didn't approve of this division and kept it in one piece. Musically a wise decision. It's just as coherent as 'Cinema Show' and still nobody has asked for part 1 and 2 in that case. Hackett left Genesis without any verifiable solo compositions but they all ended up on P.D.T. Enshrouded in a bank of fog, 'Unquiet' moves the project Genesis in a misty and greyish direction. Collins causes a dreamy concert bass drum sound till a snare roll leads into second title. Producer D. Hentschel has a good ear for how to maximize the drum sound. The superior snare sound on 'Earth' is only challenged by the track itself. The originator of Mona Lisa's mischievous smile also invented the switch on the side of the snare drum. So thank the universal genius heartily for your euphonious Genesis disc. Issued 500 years later on. The guitar tone is a record long fermata, that is sustained note lasting for eight whole bars. The bass isn't the centre of your choice of steps or counting. But it pulsates majestically through the artery of the song. Don't say 'We Can't Waltz' because it's fully possible. Guitar effects backward are followed by synth playing forward. The intro of 'Earl'(as 'Volcano' on 'Los Endos') comes back and the synthesizer is laid on concrete hard ground. The aim is to give the six string some well-earned audible space. Hackett isn't a hard rock guitarist. Not more than Spanish maestro Fernando Sor was when he performed ballet Cendrillion in the capital of United Kingdom. That's a compliment of course and not a complaint. Hackett does play the electric guitar but this isn't S.H. His sound creation isn't heavy but the mix turns him in that direction. You can mix a tune in order to enhance, diminish, turn up/turn down, accentuate or put in the background. It is not possible to change musical style through the mix down though. Regarding experimental harder tones, perhaps there were some exchanges of ideas with Peter Gabriel. Listen to qualified 'Slowburn' and come to the conclusion that it's a flirtation with the heavier part of the record buyers. There's even a guest solo guitarist with a reputation in this field to add extra power. Steve Hackett isn't present but in his place a Steve Hunter. At least the four biggest hard rock acts in America during the first half of the seventies were British. There's a presumptive market for a merchant to cash in on. So if Gabriel could, why not art rock band Genesis? It's worth pointing out that music of similar kind in both cases started, and ended, right here. Fernando Sor, by the way, did never light upon author Emily Bronte. The verses of her book had to wait for their dexterous nylon player.

Side B opens in full orchestral grandeur, which enlightens us that Banks is just as keen on creating a string sound as Hackett is. The difference is that it's entirely stuck to his private keyboard arsenal. The lyric setting harks back to yesteryear, with character replicas as from 'Salmacis'. Banks accounts for three of the lyrics on Wind. Rutherford at the very most one and a half. Possibly Mike could've done a scrap more. He might have been invited to either 'Mouse' or 'Vine'. Theoretically seen even both of them. The couple did co-writing like 'Light Dies Down' together with a more than acceptable outcome, so why not here? Four eyes see more than two. The subject was entirely detached but nobody would expect a repetition of the Lamb themes after Gabriel's exit. Musically 'Mouse' offers some excellent passages. The verses are among the finest material the record has to offer(0:55 ? 1:50). To be repeated once again. They are simply too good to be forgotten that quickly. Just like earlier mentioned on 'Vine', there's building material here that could've been utilized even further. Had I been in charge I would've tried to lay the solo guitar/instrumental on the same verses. Over and over again till it flows like the cataract. Peter G. had never written the simplified 'Biko' on a day during the mid seventies. Still you don't miss anything. While listening to a piece of prog you have mostly five-six, seven or eight sections. Or even more. Just like storing an entire pop album. It takes analyzing. From 3:50 and onward, synchronized with mentioned lyric setting, it's a children's play to figure out what the song 'Mouse' is meant to convey. This is Tony Banks, and he was more than cautiously involved in the song creation during the quintet era. He never took copyright on a written piece, did no solo outing. This is not nostalgia, but posthumous proof.

'Afterglow' is held high by the band members. It must be, as it's the one and only from WW included on 'Second's Out'. Just like 'The Carpet Crawl', a true Genesis classic. Even the most intricate music ensemble must stop and breathe freely. 'Afterglow' is a necessity on Wind, as a nocturne. The album wouldn't have done without it. Its accessibility makes it no less proggy. It's a part of the total. Hammond, a sleepy bass-pedal and tons of tape-loop vocals. An idea from Mr. Hackett, the voices are not performed live in studio but pre-recorded on tape and just played over and over again. Its structure therefore sounds rather stiff, more like an instrument. It's very high-tech sounding and studio based. It's unclear if other band-members adored invention tape-loop. Perhaps it was a compensation for desired but denied strings. Otherwise, why wasn't it sampled live instead of the regular keyboard? The first sampler synth was out precisely same year. If not on Second's Out so at least on Three Sides Live. Anyhow, listen to Hackett solo if you want to explore tape-loop further. It suits a song well if it's properly dimensioned and mixed. Like all advanced technique; held in check. Or in the words of Brian Eno; to make technology sound human. If you like the sound of cashflow(even outside your own strong-room), then listen to tape-loop intro on 'Money' from Dark Side. Lyrically 'Afterglow' would have retained its ardour whatever lyricist had been here. Inseparable from the music, thematically not very original, but still Banks finest moment on Wind. Where are other songs from same album on Second's Out? As Wind is a definite fave record of T. Banks it's peculiar to find four tracks from Trick and the remainder from the Gabriel era. 'Afterglow' was taken in Da Capo on third live album as well. A little bit strange as only one track was included from subsequent three-piece album.

WW is unique in that way that it's the only seventies album without an official gatefold release on Lp. (Selling England was commonly found in both variations). The fans from Spain were the winners. Their issue was the one and only designed in the traditional way. The inner sleeves looking the same as the record cover on others, with lyrics and instrumentation. The basic idea with foldout is to offer additional artwork/photos or info, otherwise there's limited motive for it. Selling England was Spartan in this regard. An Austrian release was quite original, looking more like a live album with the group photographed on stage. Both of them ought to bring in a decent sum on the record market today. Not only Genesis skipped the gatefold, even Gabriel did so. If you're Croatian by birth you were able to purchase an ex. of So in 1986 with fold out, otherwise Gabriel considered them to be part of the old school. Turgid and introverted as the music of the early seventies. Where a fantasy fanatic could spend hours in hope of unveiling a mystery sign at the expense of a penniless artist. Not fitting for a modernized approach. On the second Gabriel album though there was an additional inlay of considerable interest. It became the gatefold that never occurred. The resemblance to The Lamb stayed on this level.

Time wise the album Wind & Wuthering is becoming a 12 inch version of itself. Past the 50 min limit. If Selling England could have been a double, than Wind should have been the same. Let's make it 75 min not more not less. Frank Zappa released double Tinsel Town Rebellion in spring time '81. It didn't take long before another well-fed double saw the light of day. As any Zappa fan knows, there are even more creative occasions. Zappa isn't Genesis, but if one single composer could muster this, why couldn't Genesis with its multitude of writers? They could easily have done, but a band is not comparable with a solo artist. When Zappa wants to go in a certain direction he can pose a question to anybody, and this anybody is none less than himself. Himself in a band is also everybody else. You are not what you really is. Please Don't Touch landed as far outside Wind as Acolyte did from Trick. The swirl and in perpetuity fresh 'Carry On Up the Vicarage' isn't possible to leave out from any prog event. Hackett sings duet with himself but Collins is just as right in left channel. Runs for 3 minutes but 6 are just as good. Title track P.D.T. was almost a part of the record but excluded in last minute. The drummer tipped the scale, but on the other hand; Collins isn't bringing any Brand X tunes either for Hackett to chose from. "Wot Gorilla' is frequently put in the jazz compartment by reviewers but the resemblance to Brand X is still somewhat limited. Other strong things are possible but you associate them with Kansas singer Walsh, R. Crawford and Richie Havens. The hastily drawn up and rehearsed but nonetheless brilliant And Then There Were Three? It appeared like a bolt from the blue after Hackett's exit. An album title emanating from a renowned novel. If it's unclear, even the title of WW came from similar source. Both Bronte and Christie are female writers emanating from the same kingdom. A co-incidence of interest mainly for a gray facts collector, it seems.

The instrumentation list on Wind is more embellished than on Trick. For everybody, but in particular Hackett. 12, a lot of 6-string, plus two brand new additions; Kalimba and Autoharp. Ant Phillips played Dulcimer in 1970; here we find the logical continuation. A symph album without the oddness, or at least unusual, becomes less symphy. Kalimba isn't exactly belonging to the guitar family; actually it's also called thumb piano. So why it's handled by Hackett ought to depend on whose idea it was. Listen where Hackett is indicated as composer if you search for the new instruments. None of them are given any solo spot rather they are inserted in the song structure. If you want naked Kalimba move on to King C. intro Larks Tongues part 1. Emanating from regions close to the African equator where native young women are stylizing their body movements to its sound. There is no reason not to be fond of the Kalimba. The autoharp is widespread and found in styles far from what we got here. Its celestial nature is turned upside down by artists who are blaspheming its name. With Hackett's exit both novelties went out through the door. Rutherford's bass stock includes the common 4- plus 6 and 8 string. Mike was one of the first bassists to put the six string into action. The eight string bass is constructed in a well-known way for a seasoned 12-string(guitar) player. Four pairs of double strings give a hearty sound. For John Paul Jones it fitted like a glove. A different function here, Rutherford doesn't have the same sound pictures to cover. You will pay extra attention to the bass sound on parts of 'Earl', the end of 'Mouse' and instrumentals.

Steinway, the Rolls-Royce of all pianos, found little room in the eighties recordings so we're standing at a crossroad. There's an exclusive scent emanating from 'Rooftops' and it's nothing less than the classy and handmade manufacturing of the Steinway. The mellotron is halfway into the museum. Slow but sure even the old reliable Hammond. Luckily, keyboard player Banks himself wasn't exchanged. It's still him handling the digital synths and el-pianos throughout the eighties tours. Occasionally loaded with sounds from the past. P. Collins drums sounded very good already on Trick but give impression of having taken an additional step up the ladder. The recording team has laced their recording efforts even further at the second try. Wind belongs to a trio of albums where the doubling drummer still is finding his way on the vocals. Phil does what's requested of him from his group associates. That means approved results, but the personal niche hasn't fully appeared yet.

While the year of -77 was taking its first tottering steps the Genesis band was already on the road. Wind was presented in large quantities. Non-album material in form of 'Inside Out' and even 'It's Yourself' found its way to the stage. The more remarkable that 'Rooftops'/'Unquiet' were left out in the cold. 999 fans out of 1000 would've loved to hear them. There is no overproduction that renders them impossible to play. Hackett put the 'Rooftops' intro in his bag and walked out. It became a part of the ac. set on his solo tours. 'Unquiet' remained hidden for decades until the acclaimed revisited tour just recently. Had the guitarist stayed in Genesis, then your ear drums had received the bare acoustic sound on the world tour of -78. From day one and onward. Had Hackett remained in the group, the real string sound had also arrived if not in -78 then approximately around -80. It's a spiral staircase. The sinfonietta from the capital of the Duke recording, founded the very same year, had assisted with pleasure. Up to the size of a Magnification tour. To gossip in music language with the stately symphonic sons. For the delicate task of the recording process we have the all-round string-quartet by the name of Stockholm Strings. Whether they were available at the time or not; today they are in demand by all and sundry. 'Down the Dolce Vita' preceded Genesis with years, a quartets turn has finally arrived. Even if it's a wondrous saga; it is still worthy of your attention.

Per Kohler | 5/5 |


As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password

Share this GENESIS review

Social review comments () BETA

Review related links

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: — jazz music reviews and archives | — metal music reviews and archives