This is one of their finest tracks on W&W. 14/15 points from me.
TotW 10/21/2024 - 10/27/2024: GENESIS - One For The Vine
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The 1978-80 live renditions [...] fortunately lost ting tong ting stuff that sounded like it had been lifted from kids' TV and grew in its place some reasonably large and hairy cajones.
Testicles in Spanish: Cojones
Drawers in Spanish: Cajones
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Testicles in Spanish: Cojones
Drawers in Spanish: Cajones
I wonder how a Genesis song about a humongous cabinet made up with huge drawers full of hair inside would be like.
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No doubt or second thoughts, this is a 15 points track!
It's probably my favorite album as well. It has the typical Genesis long song structure ("Firth Of Fifth", "The Cinema Show" and later "Home By The Sea" or "Fading Lights"), it has a lot of energy and still featured the younger Phil voice, that I really like a lot!
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I wonder how a Genesis song about a humongous cabinet made up with huge drawers full of hair inside would be like.
Haha, apologies for my typo!
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Testicles in Spanish: Cojones
Drawers in Spanish: Cajones
Potentially embarrassing for Colin Albert Jones when signing in to a Spanish Hotel.
Worse for his brother, Charlie Oscar!
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I remember reading that Tony was inspired by a Michael Moorcock book for the lyrics - I can't remember where I saw that, or which book it was (about a hundred to choose from!) but I remember that it was one I had read. The icy imagery and the parallel universes are typical of Moorcock
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I remember reading that Tony was inspired by a Michael Moorcock book for the lyrics - I can't remember where I saw that, or which book it was (about a hundred to choose from!) but I remember that it was one I had read. The icy imagery and the parallel universes are typical of Moorcock
“The true owners are not the creators; it’s the listeners. They hear everything that’s working. Who needs to know the detail about how difficult it was?” Wind & Wuthering got Genesis through the punk era - but not without a struggleOne reviewer claimed it made Yes and Pink Floyd redundant, but was their last album with Steve Hackett also their final truly progressive work?www.loudersound.comIt was Phoenix in Obsidian
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Interesting article.
"Tony Banks, however, thought it was a strong time for the group. 'It was the time when Steve emerged as being more of an equal contributor to the group than he had been prior to that.'"
I've had basically the same thought about WIND. I think it's odd that Steve would leave the band over not having enough of his ideas used... right after the album that used the most of his ideas.
"'I always loved Unquiet Slumbers, which was especially great on stage,' Rutherford says."
They played that song live??
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Phoenix in Obsidian
I just looked it up. Apparently, Erekosë becomes Count Urlik Skarsol, Lord of the Frozen Keep.
I'm not keen on the song but at least when they took inspiration from this sort of stuff they smoothed it over rather than whacking it in full-on like other more trope-ridden prog bands would.
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"'I always loved Unquiet Slumbers, which was especially great on stage,' Rutherford says."
They played that song live??
Most likely he's getting mixed up and thinking of ITQE. Perhaps understandably to an extent as it was originally conceived as one whole piece - I remember Banks saying they split it so SH got more writing credits.
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Interesting article.
"Tony Banks, however, thought it was a strong time for the group. 'It was the time when Steve emerged as being more of an equal contributor to the group than he had been prior to that.'"
I've had basically the same thought about WIND. I think it's odd that Steve would leave the band over not having enough of his ideas used... right after the album that used the most of his ideas.
"'I always loved Unquiet Slumbers, which was especially great on stage,' Rutherford says."
They played that song live??
Of course, we don't know the exact circumstances of Steve getting his stuff on, perhaps it was such a struggle he couldn't carry on with it. The claim they split USFTS and ITQE to increase his quota does suggest some "creative accounting" to try and pacify him. Still, water under the bridge now, eh?
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12 from me!
It's a good track but I always felt that all other track they did in this style work a bit better, like Firth of Fifth, Home by the Sea, Fading Lights and others.
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They used a lot of Steve's ideas, however they wouldn't want something such as Please Don't Touch. They cancelled the second half of Dance On A Volcano in the live version, they wouldn't want to perform Moonlit Knight any longer, anything that had Steve's wild side in it wasn't welcome. Steve had done a solo album with Mike and Phil on board, he was thirsty for more and yet they were frowning upon his ideas for solo material: he wrote Hoping Love Will Last for a female singer and he was dreaming of working with an orchestra, things he could not do with Genesis, but no, there was no room for solo albums. My guess is Steve felt driven in a corner, he had to get out of the band to unleash his creativity. VOTA and Please Don't Touch (his second album) show him overflowing with ideas, and to be honest, Please Don't Touch wins over And Then There Were Three by miles.
Also, Mike, Phil and Tony had been a working unit in the 5-piece already, within the 4-piece it became more and more clear they were able to do Genesis without Steve. He probably saw this clearer then them. He had to choose between becoming a fifth wheel of the band or going solo, there was no middle path.
At least that's the picture I got. Feel free to correct me.
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They used a lot of Steve's ideas, however they wouldn't want something such as Please Don't Touch. They cancelled the second half of Dance On A Volcano in the live version, they wouldn't want to perform Moonlit Knight any longer, anything that had Steve's wild side in it wasn't welcome. Steve had done a solo album with Mike and Phil on board, he was thirsty for more and yet they were frowning upon his ideas for solo material: he wrote Hoping Love Will Last for a female singer and he was dreaming of working with an orchestra, things he could not do with Genesis, but no, there was no room for solo albums. My guess is Steve felt driven in a corner, he had to get out of the band to unleash his creativity. VOTA and Please Don't Touch (his second album) show him overflowing with ideas, and to be honest, Please Don't Touch wins over And Then There Were Three by miles.
Also, Mike, Phil and Tony had been a working unit in the 5-piece already, within the 4-piece it became more and more clear they were able to do Genesis without Steve. He probably saw this clearer then them. He had to choose between becoming a fifth wheel of the band or going solo, there was no middle path.
At least that's the picture I got. Feel free to correct me.
The pity for me is that if he stayed on for one more album, he would've got his wish for a solo album while staying in the band, because he would've had the same opportunity as Mike and Tony had when Genesis were on hiatus in 1979 when Phil tried to salvage his first marriage.
ATTWT would have benefitted from his added guitar too.
An interesting what if!
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The pity for me is that if he stayed on for one more album, he would've got his wish for a solo album while staying in the band, because he would've had the same opportunity as Mike and Tony had when Genesis were on hiatus in 1979 when Phil tried to salvage his first marriage.
ATTWT would have benefitted from his added guitar too.
An interesting what if!
All true!
Sadly, the benefit of hindsight.
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I'm glad Genesis didn't get stuck in a rut, but if they had done, I'd have been happy for it to be the four man era
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15/15
One of their finest and in my opinion the strongest track on Wind & Wuthering!
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14/15 from me
A wonderful long track. I wonder why they did no try this for one of their later tours...
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Gave the album a listen and observed a common feature in both of Tony's "story" songs (Vine & Mouse's): A dramatic instrumental finale that goes on for almost 2 minutes after the story's finished. That's fine from a purely musical standpoint, but from a narrative one it seems to me kind of like taking a really long time to say "T.....H.....E............ E.....N.....D".
