Header
Genesis - Wind And Wuthering CD (album) cover

WIND AND WUTHERING

Genesis

 

Symphonic Prog

4.09 | 1348 ratings

From Progarchives.com, the ultimate progressive rock music website

TGM: Orb
Prog Reviewer
3 stars Review 15, Wind & Wuthering, Genesis, 1977

StarStarStarStar

Wind & Wuthering (along with Trespass) is responsible for getting me into Genesis, even when I, at first, found Selling England By The Pound a little awkward. I've always loved the first two long tracks, but the rest of the album has somewhat worn thin over a good number of listens, and I just don't get anything from listening to the instrumentals. The highlights are, in my mind, preferable to those of A Trick Of The Tail, as are Collins' vocals, which have matured somewhat, and really do make the songs more accessible. A good Genesis starter-album, coupled with something from the Gabriel era, and a good album overall.

Eleventh Earl Of Mar has a great synth opening, a noteworthy organ-drums-bass trio, good vocals from Collins, and a beautiful quiet acoustic-dominated section backed by echoing synths. Lyrically, it just about makes sense, but sounds right. There's an excellent ending with Hackett working over a lush percussion-keyboard canvas, somewhat reminiscent of Hackett's first solo album's closer, Shadow Of The Hierophant.

One For The Vine is probably second or third in my long list of favourite Genesis songs, with absolutely great vocals, very strong lyrics from Banks, which work perfectly over the music. Various keyboards are used in a sophisticated manner, and the talents of all four musicians are well-displayed. Superb instrumental sections, and changes in tempo, and a perfect example of musically realising a concept without letting the concept at all overshadow the music or vice-versa.

Your Own Special Way is difficult to like. I can tolerate and quite happily nod along to the verses. Unfortunately, the opening is utterly terrible, repetitive, with whiny keyboards that I'm not too fond of. The song proper isn't too bad, a decent pop-tinged song, with some of the fairly characteristic Collins drumming that made IKWIL good. The vocals are a little non-distinctive here, but still acceptable, as are the lyrics. The guitar, the harmonies, and the instrumental section are small highlights within the song. If only they'd managed to provide a good opening for it.

Wot Gorilla? is the first of the album's instrumentals, with a tingly percussion opening, suitably silly synths and guitar reminiscent of Hackett's solo album playing along nicely. A real throwback to the instrumentals from The Lamb, listenable, but nothing special.

All In A Mouse's night is another good longer song, though I found it utterly intolerable at first. Compulsive drumming here, great thudding bass, very good vocals coupled with tolerable (if acquired) lyrics. Some distinctive shifts in style, and the tiny, yet vital, electric additions from Hackett and Banks on piano (where the tune is held up by synths) absolutely make the song what it is. An excellent ending, and certainly well worth hearing.

Blood On The Rooftops opens with a memorable acoustic solo from Hackett. The verses are basically a showcase for his acoustic playing, and with small contributions from the rest of the band, while a great bass part from Rutherford particularly shines in the choruses. Collins vocals are again good, and lyrically the nostalgia and very English sarcasm are great.

Unquiet Slumbers For The Sleepers is largely made by the echoing guitars and piano, with a synth over the top that I find somewhat annoying to listen to, and usually try to ignore. It's mostly acting as a lead-up to In That Quiet Earth, which has a great guitar solo, a good bass line, and some interesting drumming. It moves on to a superb, very mobile, slightly heavier section with Collins really standing out. I don't know quite why, but it does feel a little awkward and repetitive, and the lead-up to Afterglow feels a little forced. Afterglow is a very simple song, with minimalistic guitars and a slow drum-beat augmented by a nice mellotron. Typically, not the sort of thing I'd like, but the gradual build-up does work very well, and the emotional vocals, while still not Gabriel, are great. A very good conclusion to the album.

All in all, the album is one that strikes me as a little mixed, and brought down a bit by the instrumentals and Your Own Special Way's opening, but the longer tracks are absolutely stunning. Generally recommended.

Rating: Four Stars Favourite Track: One For The Vine

Edit: Dropped to three stars, mainly by comparison with the previous few Genesis albums. I think it could be missed by someone who isn't a fan of the band up 'til then, but any Genesis fan should head for it after the classic six, whatever their opinion of Trick.

TGM: Orb | 3/5 |

MEMBERS LOGIN ZONE

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).

Share this GENESIS review

>

Review related links

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

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.03 seconds