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Genesis - Wind And Wuthering CD (album) cover

WIND AND WUTHERING

Genesis

 

Symphonic Prog

4.09 | 1344 ratings

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FromAbove
4 stars Wind And Wuthering was the first Genesis album I listened to, thanks to my father who originally owned it. I must say that this could be dubbed the Genesis "Autumn" album; not for its cover, but also for the overall sound of the album. The album forays into bits of jazz fusion from Collin's future "Brand X" and bits of contemporary mainstream rock of 1976-7. This is also one of the softest Genesis albums there is e.g. the album has its kicks, but you could use this music to help yourself fall asleep (in a good way) or literally meditate listening to it. It is a major improvement over the "where do we go now?" attitude of A Trick of the Tail. Banks presides on top with this album, and there is much less focus on singing with this album, a different turn for Genesis.

Eleventh Earl of Mar opens in a synth-ridden manner, but has a really good drive throughout the song. Several sections of the song involve thick bass lines from Rutherford, while Hackett gets to have a solo or two through out the song. One For The Vine is a real treat on this album, with piano-based themes and a middle section that just blows parts of the album to bits. Really good show from the band and possibly the best song on the album, couldn't say anything better. Your Own Special Way has a flavor of the so called "contemporary" stuff I spoke of earlier, it involves mainly acoustic guitars and a really sugar-coated interlude. There is a good amount of Collin's singing ability on this song as well. Then we have Wot Gorilla? which is another Genesis instrumental, not of the same complexity as Los Endos, but just as good. Side One is done.

All In A Mouse's Night opens up the second half with a strikingly loud synth overtone, which sound very operatic and bombastic. The lyrics and premise of the song are usual prog Genesis and, like Robbery Assault & Battery, has many different vocal sounds to make the song a story. The following Blood On The Rooftops marks the last time that Genesis uses acoustic guitars for a long time. There is a essence to this song that makes it stand out, besides the acoustic solo from Hackett. The lyrics are somber and Collins makes that somberness in the piece flow. Unquiet Slumbers For The Sleepers...In That Quiet Earth can be considered one piece because of their connection musically, not just because of a snare roll. The first section is a building piece, but it is very reminiscent of the work on The Lamb, while the second half is more upbeat, groovy, and rock. The instrumental is as decent as Wot Gorilla? and again one of the few good Genesis instrumentals. Afterglow is definitely Genesis' early hits of mainstream sound, although it contains its proggness. Afterglow is slow in its form and is not really suited to the rest of the album (and could be comparable as the predecessor to Follow You Follow Me)

Even if this is considered that last of the classic Genesis, there are many indicators of the band's transitioning ways. And obviously Hackett couldn't cope with the way the band was behaving now, but thankfully his guitar doesn't go unnoticed in the future on his solo albums. The album is okay to listen to, but over constant listens, there are some things about it that don't click; its not perfect. Seriously, this is a good album, although not the best Genesis has put out. Definitely go out and get it.

FromAbove | 4/5 |

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