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Genesis - Wind & Wuthering CD (album) cover




Symphonic Prog

4.10 | 1911 ratings

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4 stars I find Wind and Wuthering to be an enjoyable and entertaining record, the last with Steve Hackett, and his swan song is rather nice. Compared to A Trick of the Tail, where his guitar seemed more muted than usual, he has a profound impact on the final product. "Eleventh Earl of Mar" is an darkly majestic opener, and among my favorite Genesis songs; the song moves like a story, Mike Rutherford's bass is at its peak, and Hackett has a slashing guitar solo midway through. Still, keyboardist Tony Banks continues to be pivotal to the band not just for his instrumental talents, but his songwriting, exhibited on the ten-minute epic "One for the Vine." Rutherford's "Your Own Special Way" seems to be the number which gets dumped on most frequently, but I find it to be a rather pleasant love song, and more intellectual than other counterparts the band would produce during its pop phenom period. Phil Collins, who also gets dumped on for "ruining" the band, proves that while he may not have the vocal power, he makes up for it emotionally. "Wot Gorilla" is an instrumental that sounded cool to me at first, but it faded bit by bit each time I heard it, and Banks' keyboard melody actually becomes rather annoying. "All in a Mouse's Night" has lyrics that seem inane at points, but Banks still is using this as a Tom and Jerry piece. I love Hackett/Collins "Blood on the Rooftops," which is very English, but very beautiful in the melancholy sort, with Hackett's classical guitar intro leading into a new story of the changing times..."Helen of Troy has found a new face again." The final three numbers (on CD) are meant to be listened to together. Hackett/Rutherford's "Unquiet Slumber for the Sleepers..." has such a setting to it, as if drifting into the night for a good two minutes plus. This leads into "...In That Quiet Earth," where Steve Hackett's electric guitar melody and warp solo drive the first half of the instrumental, along with Collins' rapid-fire drumming (some of his best since Lamb Lies Down on Broadway). Hackett turns over to a pre-grunge rhythm guitar in the second half, as Tony Banks synthesizer solo can be rather creepy. This all leads to Bank's love number (and the album finale) "Afterglow," a brilliant song lyrically with a great harmony vocal arrangement. The latter number isn't loaded musically, but it's a decent way to close things. Overall, Wind and Wuthering was a sign, despite it's greatness, that this was all going to end soon. Steve Hackett would leave with his axe, and the band would further the pop transition. However, I don't think the band ever died out, despite the constant criticism for selling out. Here is an essential release for those that enjoy the progressive-era works by Genesis.
CVoss | 4/5 |


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