WIND & WUTHERING

Second follow-up album after Peter Gabriel left the band. The lead singer role was filled up by Phil Collins who also sit at drum stools. The band proved that without Gabriel they still could do excellent albums "Trick of The Tail" as well as "Wind and Wuthering". With the launch of this album the music critics believed that Genesis could move along without Gabriel as lead singer. No one would argue with the musical quality of keyboard based opening track "Eleventh Earl Of Mar" (7:41) where the music was composed excellently with basic style of Genesis music. The soaring keyboard sounds at the opening followed with inventive drum works by Phil Collins during opening part is really mind-boggling. Especially when it is followed with a neat and dynamic music flow from start to end. It's a rewarding experience.

Or, how could you challenge the wonderful melody of "One For The Vine" (10:00) with killing keyboard melody at the opening followed with excellent Phil voice that says "Fifty thousand men were sent to do the will of one"? Uughh man . it's really a catcher! The music is very rich in arrangements as it combines with various styles with the unique one just before the interlude part when the music turns into a kind of country. Wonderful!

"Your Own Special Way" (6:18) is a straight forward pop song with excellent melody. It's good when we listen this song as integral part of the whole album as this serves as an introduction to great instrumental outfit "Wot Gorilla?" (3:19) . "All In A Mouse's Night" (6:37) is another wonderfully crafted song with excellent combination of high and low points plus energetic Phil's voice.

"Blood On The Rooftops" (5:27) is a nice song that starts with melodic acoustic guitar that has inspired many groups. Whenever I listen to the opening part, I always remember the intro of "River of Life" of PFM. It shares similar nuance. The remaining tracks serve as trilogy as it should be enjoyed as one song, i.e. "Unquiet Slumbers For The Sleepers... "(2:23) that sets the ambient nuance, followed seamlessly with "...In That Quiet Earth" (4:49) which brings the music dynamically, and the last part is another pop song "Afterglow" (4:12). Notes: the guitar riffs in the middle of "In that Quiet Earth" combined with keyboard solo are really memorable. I especially enjoy when this song is used in the meddley "In The Cage" of the Genesis Mama tour. Awesome!

Overall, it's an excellent addition to any prog music

Progressively yours, GW