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Wind & Wuthering 1977 - Genesis Remember...
PETER THOMPSON: As Genesis' press agent since Foxtrot, I felt that the band had really made it in December 1976, just before the release of Wind & Wuthering. I knew it in some bizarre way when I put out a news story about the upcoming tour and it made a big picture in the final editions of the London Evening Standard. Usually, nobody sparks that kind of interest and then they made the whole front page of the Standard just after Christmas - not just the Rock papers. Finally, after years of trying to convince people to go and see the band, the media picked up on them. I mean, as the kind of band which was newsworthy. You could actually say something about them in the kind of daily newspapers that my mother reads.

TONY: When Pete left us, a lot of people felt we had changed. They didn't like A Trick of the Tail and now didn't like Wind & Wuthering and I reckon that the reason for that was much more within their own selves than anything to do with us, because Wind & Wuthering harks back to the early days, it's just the fact that it's a later date. You're really talking about Foxtrot four years on! Wind & Wuthering is an album where I think we brought back some of the melodrama and straight emotion that we had on some of those earlier albums, particularly in songs like '11th Earl of Mar', 'One For The Vine', 'Blood on the Rooftops' and 'Afterglow'. I think I would certainly put those four tracks amongst our best ever tracks and that's four songs on one album.

STEVE: Right now I don't really feel like a fan of Genesis. I don't know, maybe I feel confused because my life seems to be outlined for the next year. We have seven months of touring coming up and I don't really know if I am going to enjoy it. I'd really rather do a solo album.

DAVID HENTSCHEL: Steve has very strong musical ideas, but unfortunately he isn't as much of a forceful personality and that's where I think the friction came really, because he wouldn't put his foot down. But it wasn't nasty at all, all the sessions went really easily, but you could tell that he wasn't really happy.

MIKE: In a sense, Wind & Wuthering was a difficult album. What happened was that Steve got very heavy. He said, 'I want more of my material on' which is never how we work. You choose the material that is the best for the band and that everyone likes the most. So he was unhappy, but in fact in answer to that we tried to help and give him an extra credit on the album. Some of the stuff on Side 2, before 'Afterglow', we actually split up into two titles. The last sort of ten minute section that became 'Unquiet Slumbers for the Sleepers' and 'In That Quiet Earth' were going to be credited as a band composition, but in fact we split it up and put the first section written by Steve and me to give him a bit more and make him feel happier. He got disenchanted actually, frustrated, you know. Basically he wanted to have a solo career to have full control, but at that time maybe it wasn't clear to us, or to him. That's why groups normally split up, because as the musicians mature and develop they need more room and they can't all fit in the band. And that's really the basis for the reason that Peter and later on Steve, left.

PHIL: A lot of Steve's stuff was great, but he wanted a quarter of the album, no matter how good it was and I think that's a dumb way to work in a band context. You can't lay down the rules like that in a band, some material has to wait for its time. Songs like 'A Trick of the Tail' cropped up seven years after Tony wrote it and Steve could have been more elastic. After all, he was the first one to do a solo album and he should have just done another solo album and get his writing frustrations out that way.

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