- With a Triple Plus (A+++) shootout winning side two and a superb Double Plus (A++) side one, this copy will be very hard to beat
- These two outstanding UK-pressed sides are dramatically more present, dynamic and detailed than you’ve heard elsewhere, guaranteed
- Their Masterpiece is still A Trick of the Tail, the album before this one, but Wind and Wuthering certainly has much to offer as well
- “Wind & Wuthering followed quickly on the heels of A Trick of the Tail and they’re very much cut from the same cloth, working the same English eccentric ground that was the group’s stock in trade since Trespass.”
We have struggled like crazy to find copies of the album that are able to present the music as well as this one does. Most of the pressings we’ve gotten our hands on were a disaster, and that includes everything that does not say Made in England on the label.
These UK sides are livelier, more dynamic, more transparent and more present than practically any other copy we played.
Tubey Magic Is Key
This original British pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What outstanding sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1981
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments (and effects!) having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
- No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the above
Good luck finding sound anywhere close to what we’re offering here for Wind and Wuthering – you’re going to need it. These British pressings don’t come cheap and are often noisy no matter what we play for them, record grading being a bit of a lost art. It’s hard to imagine that we’ll be picking many up in the future, given how few of the pricey copies we shelled out for were even saleable.
Eleventh Earl of Mar
One for the Vine
Your Own Special Way
All in a Mouse’s Night
Blood on the Rooftops
Unquiet Slumbers for the Sleepers in That Quiet Earth
Wind & Wuthering followed quickly on the heels of A Trick of the Tail and they’re very much cut from the same cloth, working the same English eccentric ground that was the group’s stock in trade since Trespass.
But if A Trick of the Tail played like Genesis’ attempt at crafting a great Genesis record without Peter Gabriel, as a way of finding their footing as a quartet, Wind & Wuthering finds Genesis tentatively figuring out what their identity will be in this new phase of their career.
The most obvious indication of this is Mike Rutherford’s “Your Own Special Way,” which is both the poppiest tune the group had cut and also the first that could qualify as a love song. It stands out on a record that is, apart from that, a standard Genesis record, but quite a good one in that regard.