Wind & Wuthering (1976) – Genesis

Released between December 1976 and January 1977, Wind & Wuthering marked the end of an era for Genesis. It was the last album to feature Steve Hackett before his departure, and it stands as one of the band’s most progressive works, balancing complex storytelling, instrumental prowess, and early hints of their later pop-oriented direction.

The Making of the Album

After the success of A Trick of the Tail, Genesis approached this record with a desire to focus on music they enjoyed, unburdened by external expectations. Recorded at Relight Studios in the Netherlands and completed at Trident Studios in London, the album features artwork by Hipgnosis, reflecting the wistful, atmospheric tone of the music.

Despite the collaborative effort, tension arose within the band. Hackett, who contributed the evocative “Blood on the Rooftops” and parts of the intricate instrumentals Unquiet Slumbers for the Sleepers… and …In That Quiet Earth, was frustrated by the limited inclusion of his other compositions. “I was interested in instrumental music and the balance was shifting more to songs, to simplifying, and I felt that the wackiness was being toned down, maybe in search of a new audience, maybe less elitist and I was maybe more purist than that!,”¹ Hackett said later.

The dominant voice on the album was Tony Banks, credited on six out of nine tracks. Banks admitted, “There was a certain amount of who shouted the loudest and got the most grumpy if their bit wasn’t used, which would be me. I did probably get more on than other people, so you’ve either got to blame or to love me for the music.”²

The Songs

Eleventh Earl of Mar

This dramatic opener recounts the story of John Erskine, a Scottish Jacobite. The complex interplay of instruments mirrors the turmoil of the tale, with Collins delivering an impassioned vocal performance. “It’s quite an awkward track to open an album,” Banks said, “It takes two or three listens before it gets through to you.”³ A heavy, dynamic piece, it combines historical storytelling with Genesis’s characteristic musical complexity.

One for the Vine

A standout track by Banks, this ten-minute epic tells the tale of a Christ-like figure leading a reluctant following. Its layered arrangements and shifts in dynamics make it one of the band’s most celebrated works, earning a place in their live repertoire for years. “I went through all these series of ideas which climaxed in this triumphant kind of march. And a lyric to carry that mood with it. The lyrical idea I got after I’d written all the melody,”⁴ Banks recalled.

Your Own Special Way

Written by Mike Rutherford, this tender ballad served as the album’s single, charting modestly but showcasing the band’s ability to craft concise, emotional songs. “It’s a nice song,” Rutherford said. “We felt maybe this band could do something that would get play on the radio, apart from the long songs.”⁵

Wot Gorilla?

This brief, jazz-infused instrumental is built on a complex drum pattern by Phil Collins. Hackett expressed disappointment that his composition “Please Don’t Touch” was passed over in favor of this track. “‘There was a piece which I had, which eventually I did the year after I left, called ‘Please Don’t Touch’,” Hackett said, “We had rehearsed that as Genesis and we used the same rhythm on another piece which was called ‘Wot Gorilla?’ and I couldn’t for the life of me work out why we’d use that and not the other piece.”⁶

All in a Mouse’s Night

A whimsical tale of a mouse’s escapades, this Banks-penned song adds humor to the album, supported by intricate rhythms and a dramatic fade-out. Collins’s playful delivery contrasts with the intricate rhythms, adding to the song’s charm.

Blood on the Rooftops

A Hackett-Collins collaboration, this piece features a classical guitar introduction and poignant lyrics about modern life’s banalities as seen through the lens of television. In the guitar introduction, Hackett could bring in his admiration for flamenco and blues and composers like Segovia and Bach: “I like the idea of nylon guitar being used with rock.”⁷ Originally being the introduction for a longer song, it was combined with a chorus by Collins and a lyrical idea about a prison breakout. At this time, Collins only wrote bits: “I was married with two kids and I had a piano at home. We were working an awful lot, we were on the road an awful lot.”⁸ The song’s evocative imagery and nuanced composition make it a fan favorite.

Unquiet Slumbers for the Sleepers… & …In That Quiet Earth

These two instrumentals flow seamlessly into one another, showcasing the band’s technical prowess. Hackett’s classical influences shine in the atmospheric first half, while the second bursts into jazzy, high-energy interplay.

Afterglow

Closing the album is Banks’s heartfelt ballad. Written spontaneously, it became a live favourite, often paired with medleys of earlier Genesis material. “‘Afterglow’ was written pretty much in the time it took to play it,” Banks said. “It was a spontaneous piece, something I hadn’t really done before.”⁹

Reception

While Wind & Wuthering achieved commercial success, reaching #7 in the UK and #26 in the US, it faced mixed critical reception. The rise of punk rock led some to view Genesis’s intricate compositions as out of step with the times. Nonetheless, the album remains a favorite among fans for its adventurous spirit and emotional depth.

Live Performances & Hackett’s Departure

The band toured extensively after the release, with Chester Thompson joining as their live drummer. The Wind & Wuthering tour introduced fans to a new visual spectacle, with elaborate lighting and stage setups. The setlists included One for the Vine, Eleventh Earl of Mar, and Afterglow, along with older classics. Hackett’s solo during Firth of Fifth was often a show-stopping moment.

During the band’s 1977 tour, Hackett’s frustration reached its peak. He felt creatively stifled and believed that his ideas were undervalued. Hackett’s eventual departure was a turning point, signaling a shift towards a more accessible sound in subsequent albums.

Legacy

Wind & Wuthering encapsulates a moment when Genesis balanced progressive ambition with evolving accessibility, creating a unique bridge between their past and future.

Tony Banks summed it up: “It’s one of my favourites from the Seventies because it had the most adventurous music and it was pretty easy to make.”¹⁰

Sources

Bowler, Dave; Dray, Bryan (1992): Genesis. A biography. London: Sidgwick & Jackson.

Clarke, Steve, ‘The Genesis Guide to Genesis’, NME (1 January 1977).

Fielder, Hugh; Sutcliffe, Phil, The book of Genesis. (London: Sidgewick & Jackson, 1984).

Genesis on Wind & Wuthering Complete Interview.

GENESIS REUNION 2014: ‘SUPPER’S READY’ & ‘MUSICAL BOX’ THE ‘FIVE’ – STEVE, PETER ,TONY, MIKE, PHIL.

PHIL COLLINS UNFILTERED: TELLS THE FULL STORY OF HIS CAREER TO 1980. A REVEALING 2 HR INTERVIEW.

STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS.

Welch, Chris (2005): Genesis. The complete guide to their music. London: Omnibus Press.

Welch, Chris, ‘Wuthering heights’, Melody Maker (25 December 1976).

Footnotes

1. Interview with BBC Scotland in Bowler & Dray 1992: 137 f. ↩︎
2. GENESIS REUNION 2014: ‘SUPPER’S READY’ & ‘MUSICAL BOX’ THE ‘FIVE’ – STEVE, PETER ,TONY, MIKE, PHIL. ↩︎
3. Clarke, Steve, ‘The Genesis Guide to Genesis’, NME (1 January 1977). ↩︎
4. Ibid. ↩︎
5. Genesis on Wind & Wuthering Complete Interview. ↩︎
6. STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS. ↩︎
7. Ibid. ↩︎
8. PHIL COLLINS UNFILTERED: TELLS THE FULL STORY OF HIS CAREER TO 1980. A REVEALING 2 HR INTERVIEW. ↩︎
9. Fielder 1984: 99. ↩︎
10. Welch 2005: 46. ↩︎