A popular opinion is that Genesis lost its progressive edge after the departure of original singer Peter Gabriel. Stating that they did after guitarist Steve Hackett left the band would be closer to the truth. His frustration about the diminshing role of his guitar is justified, but still there are notable guitar moments on his final record with the band. As a whole, ‘Wind & Wuthering’ is very much an early Genesis album, on which progressive song structures, lush keyboards and folky passages blend into one atmospheric whole. It might lack a ‘The Musical Box’-like highlight, but it is one of their most consistent records.

‘Wind & Wuthering’ is also more adventurous than its direct predecessor ‘A Trick Of The Tail’. Phil Collins has obviously grown into his new role as the lead singer and as a result, he is allowed to stretch out a little. It is not just Collins who sounds more comfortable on this record though. Keyboard player Tony Banks is quite obviously the main contributor here, but everyone – including Hackett – truly gives their best here, never getting in the way of the composition as most progressive rock bands tend to do.

The album contains Genesis’ first stab at a full-on pop song and though ‘Your Own Special Way’ is expertly written and arranged, it is by far the weakest song on the record. Fortunately, it is offset against instrumental tracks like ‘Wot Gorilla?’ – on which Collins’ drumwork is truly out of this world – and the highly atmospheric diptych of ‘Unquiet Slumbers For The Sleepers…’ and ‘…In That Quiet Earth’. The 10-minute ‘One For The Vine’ sort of switches back and forth between those two extremes and despite a somewhat confused middle section, it turns out to be another strong progressive track in the tradition of songs like ‘Dancing With The Moonlit Knight’.

Hackett’s finest moment on ‘Wind & Wuthering’ surprisingly isn’t defined by his electric guitar, but by his skills on the classical guitar. ‘Blood On The Rooftops’ is an excellent, atmospheric track with fantastic performances by both Hackett and Collins. Opening track ‘Eleventh Earl Of Mar’ is another highlight. It is a light, but still substantial progressive rock song with strong melodies, multiple climaxes and some catchy sections carried by Collins’ excellent vocals. Closer ‘Afterglow’ was the live staple of this record and though it is good, it sort of feels like a reprise of the non-instrumental sections of ‘Firth Of Fifth’.

Despite sort of being the end of an era, ‘Wind & Wuthering’ does not feel like Genesis was running out of inspiration. In fact, it is easily their most inspired record since ‘Selling England By The Pound’ and has moments that exceed the seventies Genesis average by quite a margin. The instrumental tracks are all mindblowing and both “vocal” Hackett compositions are simply excellent. In addition, the album has a very pleasant flow that every other Genesis record seems to lack. As a fan of Hackett, I used to approach the album with caution, but I should not have. This is essential listening for fans of British progressive rock.

Recommended Tracks: ‘…In That Quiet Earth’, ‘Eleventh Earl Of Mar’, ‘Blood On The Rooftops’