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Genesis - Wind & Wuthering CD (album) cover




Symphonic Prog

4.10 | 1837 ratings

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Eclectic Prog Team
4 stars The last in the string of truly great Genesis albums, and the final one with guitarist Steve Hackett, Wind & Wuthering has much great music for a somewhat overlooked work, and I think almost all of it tops the previous album, A Trick of the Tail. The hidden jewel on this album is the standout second track, "One for the Vine." Everything else is more or less excellent, so this album comes highly recommended.

"Eleventh Earl of Mar" Fantastic synthesizer and howling guitar give way to a song that would indicate where this Peter Gabriel-less band was heading. But who cares? It's a killer track, lots of fun, and full of great musicianship. Mike Rutherford's bass incites the listener's head to bob up and down- it can't be helped. Tony Banks's keyboards are phenomenal overall. Hackett does a great job on electric guitar, but his subtle acoustic guitar in the bridge is his highlight without a doubt. Phil Collins's drumming is good, sure, but his spirited vocal performance is not to be missed. This is not my idea of an opener, particularly not this album, but I simply love this historically-based whimsical song. That said, "Eleventh Earl of Mar" is similar in sound to the opener of the previous album.

"One for the Vine" Quite simply one of the best things Genesis ever did, with or without Gabriel. It is a generally unrecognized gem. Hackett's lovely guitar and Banks's piano brings in the main riff, and Collins sings the quasi-spiritual narrative words. The instrumental section in the middle is one of the best pieces of music the men of Genesis have ever constructed, with exceptional drumming and amazing keyboards. Banks and Collins are simply amazing here. Do not miss this song.

"Your Own Special Way" A pretty song laden with acoustic guitar, here is an enjoyable but uncomplicated song. It's a decent piece for dancing, but I don't expect it appeals to most progressive rock fans- but considering Genesis's previous output ("For Absent Friends" and "More Fool Me"), it shouldn't be a problem.

"Wot Gorilla?" Another opportunity for Banks to strut his stuff, he does so in fine style, as this instrumental sounds like something that could've belonged comfortably on The Lamb Lies Down on Broadway.

"All in a Mouse's Night" A cutesy, but otherwise well-performed song about a cat, a mouse, and a frightened woman and an annoyed man, this song has its perks, but is really the weakest and most forgettable track on the album, both lyrically and musically.

"Blood on the Rooftops" A lovely classical introduction by Hackett paves the way for a great song. Banks's synthesizers yield an impeccable result after Collins's gentle vocals. Then things get heavier, and Rutherford's bass stands really out. It has a similar feel and sound as "One for the Vine," and is likewise one of the best on this album.

"Unquiet Slumbers for the Sleepers." Beautiful guitar and atmospheric synthesizers made for a gorgeous, albeit terse, instrumental piece.

".In That Quiet Earth" While the previous section was a quiet, gentle piece of music, this is a riveting performance in 3/4 time that is one of the only places on the album for Hackett to cut loose on his electric guitar. Just before the stellar synthesizer solo from Banks, the band briefly revisits the introduction of "Eleventh Earl of Mar."

"Afterglow" The third piece of this tripartite album ending is a pleasant soft song that compliments Collins's vocals well.

Epignosis | 4/5 |


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