Wind & Wuthering by Genesis

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Wind & Wuthering by Genesis
Wind & Wuthering by Genesis

Album Released: 1976

Wind & Wuthering ::: Artwork

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1.Eleventh Earl Of Mar7:39
2.One For The Vine9:56
3.Your Own Special Way6:15
4.Wot Gorilla?3:12
5.All In A Mouse's Night6:35
6.Blood On The Rooftops5:20
7.Unquiet Slumbers For The Sleepers ...2:23
8.... In That Quiet Earth4:49
9.Afterglow4:10

Reviews

When lead man and principle creative force behind the band Peter Gabriel left Genesis in 1975 to pursue a solo career, most pundits wrote off the remaining members as amounting to little more than a backing band with no frontman, and therefore no future.

But much to everyone's surprise, drummer Phil Collins (of all people) stepped up to take the reins, and for a while went on to successfully fill the spot vacated by Gabriel (though without Gabriel's penchant for onstage costumery and theatrics).

Collins initially steered the band away from the prog-rock stylings that had been instigated by Gabriel in Selling England by the Pound and The Lamb Lies Down On Broadway, and back towards the more Art Rock leanings of the band's earlier works, like Trespass, Nursery Cryme and Foxtrot.

And thus reconstituted, the band went on to produce one fine album (A Trick of the Tail) - and one slightly lesser album (this one) - both amounting to a continuance of their original sound. Beyond this album though, Collins was to navigate the band away from the 'artier' end of the rock spectrum and towards the mainstream, which is the point at which I lost interest in the band's music, and also where Collins was to subsequently become vilified as epitomising all that was 'bad' about 1980's rock music.

Wind & Wuthering is not an album I own anymore, but a copy recently arrived in the inventory of my business, so it was interesting to revisit it after not hearing it for such a long time. What I find most notable about it still is the rich fullsome production, mostly manifest in the massed ranks of keyboards from Tony Banks (vast arrays of keyboards played by one person being very much in vogue in the mid 1970's ... think Rick Wakeman of Yes, Keith Emerson of Emerson Lake & Palmer, and - to a lesser extent - Dave Greenslade of Greenslade).

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by Reviewer: bluemoon


I don't understand why a lot of people consider Wind & Wuthering to be one of Genesis' best releases - reportedly, even Tony Banks agrees with that sentiment. Mind you, I've also listened to a Tony Banks solo album, and whilst the man is an excellent keyboardist, he couldn't write engaging meaningful music to save his life. So it doesn't surprise me that this is one of his favorite Genesis albums.

Though Wind & Wuthering has its fair share of decent tunes, it's doesn't even come close to capturing the majesty of the band's earlier albums. Those albums were beautiful and colorful, and when I listened to them, I could hear summer scents emitting from my speakers. On the other hand, Wind & Wuthering doesn't have much personality - I listen to it, and it feels limp and cold, and parts of it are plain boring.

Genesis' biggest betrayal was an even greater reduction in texture development, by replacing their haunting Mellotrons and exotic guitar arpeggios from the Gabriel era with dull synthesizer tones. That said, they get things going off in a nice enough way with “Eleventh Earl of Mar” easily my favorite song on this album. Even though the instrumentation is bland and the vocal hooks don't really leap out, it's an exciting experience, with bouncy organ riffs, and of course Collins' drumming provides plenty of tight fills.

After that song however, I really start to shrug my shoulders. “One For the Vine” is a lot like “Eleventh Ear of Mar” except it's slower to develop. It's hardly a terrible song, it's quite skillfully done, but I nonetheless sit through it yawning my head off. Some people have a fondness for “Your Own Special Way”, which is so smoothly arranged and poppy that it sounds a bit like one of Collins' adult contemporary songs from the 1990's. The melody isn't bad, and the loud chorus was certainly needed, but I find it tedious to sit through. It's a six minute song that's more like a three-minute song played twice. Blah.

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by Reviewer: Don Ignacio (blogging at Don Ignacio's Album Reviews)


Did I say Genesis didn't need Gabriel? I take that back - Banks goes all out here, and not in a good way.

There are a couple of good tracks on Wind and Wuthering though. "Eleventh Earl of Mar" is a good uptempo opener (and the album's high point), and the ballad "Your Own Special Way" isn't bad. But that's it really.

"One for the Vine" has some nice guitar and piano work, but not enough interesting ideas considering it goes on for 10 minutes. There's also another 10 minutes or so of instrumental wankery aggegrated in the form of "Wot Gorilla?" plus "Unquiet slumbers for the sleepers..." and "...in that quiet earth".

The rest of the album is simply nondescript.

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by Reviewer: Cole Reviews

Genesis are still very much in prog/rock mode here, although with some changes when compared to their earlier material. The evolution in the band's sound is most apparent with Banks' keyboards, which appear to be absolutely everywhere, making them the most prominent instrument.

Wind and Wuthering is a strange beast actually, full of interesting things, the opening "Eleventh Earl of Mar" especially - a 70's-style Genesis prog/rock song - it doesn't appear to have any clear purpose, although its various sections combine well enough and it does provide for an impressive Genesis-style opener.

That 7+minute number is followed by the nearly 10-minute "One for the Vine", so it's evident from the album's first two tracks that Genesis are still locked into the prog/rock movement despite the changes in their sound.

"One for the Vine" does sport rather attractive Collins vocals amongst the washes of synths, along with the increasingly noticeable drums that Genesis albums were displaying around this time. Still, it's a rather silly and preposterous number, especially when the mellow nature of the tune turns all funky disco around the 5 minute mark.

"All in a Mouse's Night" is enjoyable - I can imagine Gabriel being happy to sing that - I wish he was singing it, as Collins' vocals are kind of weak there, although he does try. But he's still in surrogate Gabriel mode at this point, yet to find his own voice. That would arrive later.

"Wot Gorilla?" follows the overblown and dreary ballad "Your Own Special Way", and opens with another drum showcase. Well, it would wouldn't it? I dunno, the synths also get ever more overwhelming as the album progresses, to the point that they start to get on my nerves quite frankly, being as they are the dominant instrument on every single track.

Quite frankly, I do find the album gets boring. What with all the synths and keyboards and Collins, guitarist Hackett doesn't have much to do, and he did in fact leave the band shortly afterwards.

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by Reviewer: Adrian Denning (blogging at Adrian's Album Reviews)