WIND & WUTHERING

Genesis' final progressive rock album is (next to Foxtrot) arguably one of their best. After each band member finding their place in A Trick of a Tail, each of them was able to perform at their peak. This album sounds like a mixture of the sounds from their previous album and the Peter Gabriel era. In fact, this album sounds more like the Gabriel era than Selling England by the Pound, which was a little too light and pastoral, despite how fantastic some of its pieces were.

The album opens up with two fantastic slices of Genesis prog. Eleventh Earl of Mar opens in a loud and sinister manner that no one would expect after listening to the soft sounds of A Trick of a Tail. The sinister feeling then disappears and we delve into a Genesis style rock piece. It is easy to tell that Phil has become more comfortable in his role as the vocalist than he was in the previous album. One for the Vine is easily Tony Bank's magnum opus, even better than Firth of Fifth (even if that sounds a bit heretical). The song features everything needed for a progressive rock classic, but for some reason is forgotten in place of other Genesis songs. It is softer in comparison to the previous song (though it does have some more rocking moments), but yet has a special energy within Bank's gentle keys and Phil's voice.

Many prog fans are not pleased with the inclusion of Your Own Special Way, which has a very accessible sound. I personally find it to be a pleasant experience. Though it may be pop, it is good pop, which can't be said about most pop music or even the pop music Genesis would soon produce. Wot Gorilla? a fun little instrumental. Though it did take the place of Hackett's Please Don't Touch, the feel of that song would seem out of place after the previous song, so there is no grudge here, only enjoyment.

While All in a Mouse's Night may not be Bank's best piece (especially in comparison to OFTV), but is an enjoyable, keyboard dominated piece with absurd lyrics that easily remind one of the humorous and sarcastic lyrics that were often featured in Peter Gabriel's lyrics. Blood on the Rooftops opens with a wonderful Spanish-influenced guitar that could only be played by Hackett. Like before, the lyrics remind of something that would be written by Gabriel; sarcastic yet melancholic at the same time. That with a mixture of a rock and classical sound easily make an enduring classic.

The album closes with a spectacular mini-suite. Unquiet Slumbers for the Sleepers' begins quietly but slowly begins to build up and lead into 'In That Quiet Earth, a highly energetic instrumental rock piece. After the intensity, the album allows the listener to relax with Afterglow. Written in a improvisational way by Banks, this song has a genuine pop-prog rock feel to it that would fortunately become a classic for the band even into the eighties.

Unfortunately, Hackett would soon become frustrated with the band for pushing away the pieces he was writing. Hackett would soon leave, and his departure would be more of a crushing blow to Genesis than it was when Peter Gabriel left the band. Listening to this album is bittersweet, knowing that Genesis would never produce another progressive rock album again and that they would succumb, probably the worst out of their contemporaries, to the pop atmosphere of the eighties.

Five stars for finishing powerfully.