|
WIND & WUTHERINGGenesisSymphonic Prog4.12 | 2307 ratings |
From Progarchives.com, the ultimate progressive rock music website
CVoss
like
|
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 |
MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). Social review commentsReview related links |
|