GENESIS "WIND & WUTHERING" PROMO FIRST PRESS 1977 SD 36-144 RARE EXTRA INSERTS

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GENESIS "WIND & WUTHERING" PROMO FIRST PRESS 1977 SD 36-144 ~ RARE EXTRA INSERTS

GENESIS "WIND & WUTHERING" LABEL: ATCO (ATLANTIC) SD 36-144 RELEASED: JANUARY 7, 1977 RARE U.S. FIRST PRESSING 'PROMOTIONAL' COPY w/ PRESS KIT 'ATCO' PROMOTIONAL BAND PHOTO AND BIOGRAPHY/DESCRIPTION SHEET w/ RARE HYPE STICKER (PURPLE) & DJ TIMING STRIP ON FRONT COVER MANUFACTURED BY ATLANTIC RECORDING CORPORATION (ROCKEFELLER ADDRESS) RECORDED: RELIGHT STUDIOS HILVARENBEEK HOLLAND ~ SEPTEMBER 1976 LACQUERS: PRESSWELL ('PR' IN MATRIX) MASTERED AT ATLANTIC RECORDS ('AT' IN MATRIX) PRESSING PLANT: PRC RECORDING COMPANY RICHMOND w/ PRESSWELL PLATES ('RI' ON LABEL) SLEEVE DESIGN: COLIN ELGIE / HIPGNOSIS
MATRIX (SIDE A): ST-C-763777-RI  AT  PRC  PR
CONDITION:  VINYL: EX    INSERTS: EX- to EX    JACKET: VG+
~~~~~~~~~~~~~~~~~~~~~~~~ I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 45 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I'm offering up this rare original U.S. First Pressing 'Promotional' 'Press Kit' copy of the 8th Genesis album "Wind & Wuthering" from early January 1977 . I got this 'package' way back in my Radio days. It comes complete with the 'press kit' photo and the 2-sided description sheet. The front cover has the rare hype sticker and the clean DJ timing strip. It's a 'regular' First Pressing promo, not a 'white label' promo. I've owned this ever since the Record Company Rep gave it to me back in the winter of 1976/77 and I've taken great care of it for many years. It's in fantastic, clean, original condition and would make a great Genesis record to add to your collection.
See details on Condition below.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Wind & Wuthering was the band's eighth studio album, and their 2nd album after the departure of Peter Gabriel. Their previous album, 'A Trick Of The Tail' had proved that the group could be a success as a four-piece and were not, as many thought, just simply Gabriel’s backing band. 
By now, the lineup of Genesis contained Phil Collins, Steve Hackett, Mike Rutherford, and Tony Banks.
'Wind & Wuthering' is a lush, but powerful Genesis album; full of great songs, packed with excitement, restraint, melancholy and possibility. It's a very detailed album, with many 'Proggy' moments mixed with some classical flourishes.
Tony Banks adds lots of prog sounding synthesizer tones and some mellotron. Phil adds his modern, proggy, fusion-style drumming, and Mike Rutherford adds his pop sensibilities. It's a beautifully composed album that has a flavor all its own and is many Genesis fan's favorite album.
This album is mostly the result of Tony Banks' musicianship. He really stepped up his efforts after Gabriel's departure. His beautiful, flexible, proggy, keyboard work is all over every song, making use of the synthesizer's range of tones, his  melodic piano playing, and some spacey mellotron.
Phil's voice has improved greatly in power and inflection since 'Trick...' and Steve Hackett steps up his role as well, adding his beautiful, distinctive sounds on electric, acoustic, 12-string and Nylon-string guitars.
'Wind & Wuthering' is one of their best records, and their last, truly prog album.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ After Peter Gabriel's departure, the remaining band members developed greater confidence in their own songwriting abilities, and each started creating tunes with their own style and flavor.
Several songs were written during the recording sessions for 'Wuthering' that didn't fit the theme of the album, so these were compiled onto the 3-song EP 'Spot the Pigeon' which was released several months after the album. It would be Steve Hackett’s final studio release with the group, and contains Steve's great song 'Inside And Out', which would have fit on the album better than some of the other material, like 'Wot Gorilla?'
The band members increased output led to problems deciding which songs were most 'Genesis' sounding, and which songs should be included on the album.
There were lots of tensions in the recording studio over musical decisions and over writing credits. Steve Hackett felt that his ideas and compositions weren't getting enough atention and weren't included on the album. That would ultimately lead to his departure from Genesis that summer, after the 1977 tour, and during the mixing of the live album 'Seconds Out'.
Steve had already released a solo album by then, and went on to continue a successful, but mixed, solo career.
For future live performances, Mike Rutherford took on double duties, playing both Bass and Guitar, and the band added American guitarist Daryl Stuermer to help out. Chester Thompson had already been added to relieve Phil so he could take on more 'front-man' and vocal duties. During live shows, Phil would still drum on some songs, and Phil & Chester's drum duels on 'Los Endos' were a great highlight of their late 70's live shows.
Genesis lost a big part of their Prog sound after Steve's departure and they never captured that classic sound again. 'Wind & Wuthering' was their last great fully Prog Rock album.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1977's 'Wind & Wuthering' was the first Genesis album to be recorded outside of the UK.
The reasons for this were 2-fold. Firstly, 'A trick of the Tail' sold well and the band were finally making some real money, but that led to severe Tax issues. The Band, like many successful UK bands at the time, needed a Tax shelter, so they decided to relocate to record and live in the Netherlands.
The other issue is that the four remaining members realized that they needed to focus their musical and songwriting abilities in order to create a great album if they were going to continue with their success.
The band had started writing new material in July 1976, as soon as the 'Trick Of The Tail' tour ended. They rehearsed the new material and felt that they had enough material written to go into the studio and start recording.
In order to eliminate distractions and focus their efforts, in September 1976, they all moved into a large house together, near the studio, with their producer David Hentschel, their roadcrew, and some select band insiders.
They booked several weeks of studio time at the renowned Hilvaria (Relight) Studios in Holland and started to work on recording the album. (The next album 'And Then There Were Three' was also recorded there.)
Producer//Engineer David Hentschel had worked with the band for years, co-produced 'Trick Of The Tail', so he was the obvious choice for producing the next album.
Relight Studios was located out in the country, in Hilvarenbeek, Holland, far away from distractions of the outside world. Recording went smoothly and took a little over 2 weeks. The final album was exceptionally well produced and had fantastic sound.
Final mixing and overdubbing was done at Trident Studios in London and 'Wind & Wuthering' was released on Charisma in the UK in December 1976, just before Christmas. It was released in America in early 1977.
Genesis quickly launched a World tour to support the album. The tour started on New Year’s Day, 1977, with three sold‑out shows at London’s Rainbow Theatre. The tour included shows in America, winning over many new fans.
The band then returned to England and they played 3 more sold-out shows at London’s Earls Court. Some of the shows on the tour were filmed and 'Genesis In Concert' was released to movie theaters, further expanding their fan base.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ THE MUSIC OF "WIND & WUTHERING"
From first listening, you can hear that a lot of thought, effort and preparation went into creating this amazing album. For many Genesis fans, 'Wind & Wuthering' is one of their favorite records in the band's catalog.
'Wind & Wuthering' is a musically ambitious Prog album, full of twisting stories with both literary and film references. It's inspired and full of melodrama, restraint and brute strength. Powerful, yet also gentle in spots, like the best Prog Rock can be.
'Wind & Wuthering' was the original working title for the track 'Unquiet Slumbers...In That Quiet Earth' but became the title for the entire album instead since many of the songs on the album are related to, or at least have the style and feel of Emily Brontë’s 1847 novel 'Wuthering Heights'
The term "Wuthering" is an English word meaning ‘blowing strongly with a roaring sound’, and this album certainly does have that feel.
It's a powerful, dramatic, sensual, emotional and passionate album. One of their best. It has the irresistible playfulness of Peter Gabriel's earlier style, which makes the music complex and serious, but also easily accessible and delightful. 
~~~~~~~~~~~~~~~~~ When one thinks back, it's easy to recognize what made Genesis such an excellent band:
Lengthy compositions, with solid melodies, that have a clear sense of purpose and direction. Song structures that are complex, yet always come back to resolving themselves, to make the listener not feel overwhelmed by the deep, complicated music. Music that creates mental images and a sense of spirituality. emotion, and wonder.
Lots of diverse instrumentation, with a balance between traditional instruments, like Hackett's 12-String acoustic guitars, and Bank's modern synthesizer driven palette of tones. Changing, flexible rhythms, played by a competent, skilled drummer.
Lyrics that are clever, thoughtful, humorous, nostalgic, and not only support the theme of the song, but add another dimension to it, all sung by someone that has the uncanny ability to make even the most obscure lyrics come to life by the sheer power and inflection of their voice. 
That all describes the best Prog albums of the 70's, and obviously describes Genesis' Peter Gabriel years, but also applies to this fantastic "Wind & Wuthering" post-Peter Genesis album. It has all the elements of 'Classic' Genesis.
'Wind And Wuthering' shows the band's talent for writing stuuning, sophisticated, elegant, sweeping, powerful, Prog Rock compositions with a clear sense of adventure.
Many fans feel that this was the last great, essential studio album by Genesis. A true landmark in their career, and their last fully Prog Rock album.
It's a fantastic album, and is a very strong testament to the fact that the band could carry on quite well, and produce excellent music, without Gabriel at the helm.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ “Wind And Wuthering” includes nine great tracks: 
Eleventh Earl Of Mar One For The Vine Your Own Special Way Wot Gorilla? All In A Mouse's Night Blood On The Rooftops Unquiet Slumber For The Sleepers....In That Quiet Earth Afterglow
~~~~ The album opens with the classic 'Eleventh Earl of Mar.' The song comes flying intensely out of the speakers when you drop the needle. Very impressive.
It starts out with tremendous energy, goes thru some different time signatures, then goes into a long mellow instrumental passage, with Hackett playing fantastic Nylon guitar work and he also plays a kalimba. The song picks up speed and power and ends almost as intensely as it started. A great album opener, setting up the feel of the rest of the album. It's a fantastic full-band effort.
Tony Banks wrote the strange chord structure of the song, Steve Hackett fleshed out the tune, wrote the middle softer bit and the chorus, and Mike Rutherford was inspired to write the lyrics by his fascination with Scottish history and the Jacobite uprising in 1715.
This track is about John Erskine, the 11th Earl of Mar, who was also known as ‘Bobbing John’ for his frequently shifting allegiances between Scotland and England. It's narrated from the point of view of a child that hears the historic tale from his father. 
It's one part energetic prog onslaught and one part quiet, intimate soft-pop. The song perfectly blends the lyrics and music, creating a fantastic 'film for the ears', something Genesis was so good at.
The song was both a band and fan favorite, and Genesis used the song to start their shows on the follow up tour supporting the album.
'One For the Vine' Is an epic long track that just flows along, keeping the momentum going. It is a typical Banks song full of complex changes in harmonies, peculiar time signatures, and unusual chords. Tony Banks wrote the song in 'chunks' over a period of several months and then he spliced it all together to form the final  track.
The song is based on the science fiction fantasy book 'Phoenix In Obsidian' by Michael Moorcock and tells the story of a traveler/seeker in a snowy world filled with false prophets. The story neatly and wonderfully folds back into itself; the doubter of prophets becoming one himself. A neat time-travel story that's quirky in all the right Prog ways.
It’s a melodic song with rich arrangements. It’s one of the best and most beautiful compositions on the album. Steve plays a terrific guitar solo at the end of the track.
'Your Own Special Way' was the 'Hit' and single from the album. It's a beautiful, romantic, acoustic ballad, written by Mike Rutherford. It was the band's 'foothold' into the American radio market and the beginning of a new 'commercialism' that was starting to appear. 
The song has a beautiful, memorable chorus, some elegant electric piano, and the structure of the song is very pleasant. It was the only single from the album.
At the time, Genesis records were much more popular in the UK and Europe than they were in the US, except for certain Prog Rock enthusiasts. Earlier Genesis songs got some airplay on College radio in the States, but 'Your Own Special Way' broke the band on commercial American radio.
The song introduced many new American listeners to Genesis and their back catalog started to sell again, giving the band the financial boost to keep going on, although Steve Hackett would soon leave the band and Genesis became "just the three of us."
'Wot Gorilla' is an odd song for a Genesis album. It's basically a short, instrumental, Phil/Tony song, and is more in a Jazz Fusion style similar to Weather Report. Phil had earlier worked with Brand-X and loved that jazz-rock style of music. It's a lively piece of music that gives each member a chance to show off their skills. 
The band's decision to include this song over more of Steve Hackett's material was one of the factors that led to him leave the band.
Side Two starts off with the strange, quirky Tony Banks song, 'All In A Mouse’s Night' which has the feel of a typical 'cat-and-mouse' melodramatic struggle, told as a tale from the mouse's point of view.
“All In A Mouse’s Night” is one of their most interesting songs. The music bounces between verse-like soft parts and rich symphonic parts. The change in dynamics provides the tension the lyrics demand with their cat-and-mouse game. 
It’s a complex song with delightful lyrics and a moral at the end. If you listen closely, you hear Steve adding ambient sounds of nervous scratching, like a small mouse.
'Blood On The Rooftops' is one of the best songs on the album, and a favorite song of many Genesis fans. Written by Hackett and Collins, with Steve writing the music & lyrics, and Phil writing the chorus and giving the song it's title.
It's a fantastic song and hints at the direction Steve Hackett would take with his solo albums.
The intro has Steve playing some fantastic, stunning, acoustic nylon-string guitar. It contains some beautiful Mellotron, which is a welcome relief to Tony's synthesizer elsewhere, and Phil does an excellent job singing; one of his best vocals on the album. Phil and Steve work together perfectly.
It's filled with social commentary like the best early Genesis. The protagonist of the song uses British TV to numb himself from the cruel politics and world issues going on outside in the real world.
The contrast between drab UK reality and the fake shiny world of American movies creates palpable tension and makes the satirical lyrics very powerful.
The lyrics contain lots of references to very British TV shows and recent political upheavals. A great listening experience. Many fans consider 'Blood On The Rooftops' a highlight of the album.
The rest of the second side is the best part of the album, in my opinion, and features 3 songs performed as one long suite, in classic Prog Rock style.
The album builds up to it's final climax with the pair of stunning instrumental songs 'Unquiet Slumbers For The Sleepers' and 'In That Quiet Earth.'
The song titles are taken from the closing paragraph of Emily Brontë’s 'Wuthering Heights' and the songs are both loosely based around that classic novel. Songs of love, loss, and finally eternal love.
'Unquiet Slumbers...starts out like the title suggests; gentle and majestic, but slowly build up intensity. The song, a short instrumental, will break your heart, even if you don’t know the 'Heathcliffe' story. Steve’s floating nylon guitar and Tony’s almost whistling synth create a magic, otherworldly atmosphere. The 'wind' of 'Wind & Wuthering'. 
Bronte writes about "soft wind breathing through the grass" and that's the mood set at the start of the song sequence. She also writes "blowing strongly with a roaring sound’" and that's what the band sounds like in the second half of the suite.
'In That Quiet Earth' is a a fantastic and energetic instrumental, one of Gensis' best, with Hackett leading the song with a spacey guitar melody. 'In That Quiet Earth' is a very proggy tune and many people's favorite track on the album. Another great example of a 'Film for the ears.'
'In That Quiet Earth' is the only song on 'Wind & Wuthering' that was credited to, and written by, the whole band. Each musician has his opportunity to shine without overshadowing the others. 
As the piece rises to its crescendo, it blends into the album’s most powerful song, the album closer 'Afterglow'
'Afterglow' is an absolutely gorgeous, atmospheric, relaxing, but powerful song.
It's the grand finale for the album and one of the most majestic, magical, pieces ever written by Banks. It hovers along weightlessly, gains substance and finally peaks.
It's intense and thoroughly moving. It has elements of splendour and grandiosity that the best prog rock songs have. It's a great, powerful, emotional finale to this great album.
The intense 'Afterglow' was commonly used as a set closer for the live shows they did to support the album.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ THE ALBUM COVER ART
This album was recorded in the Fall of 1976, and has an 'autumnal' atmospheric feel to it. That feel is reinforced by the great album art. Colin Elgie's fantastic drawings on the wrap-around cover really encapsulates the music inside, more than any other Genesis record sleeve.
Colin Elgie was a gifted illustrator that worked with Storm Thorgerson and Aubrey 'Po' Powell at Hipgnosis. Elgie had drawn all the fantastic characters on the jacket of the band's previous album 'A Trick of the Tail,' and the band wanted him to work his magic with this album's cover as well.
The watercolor artwork took about two or three weeks to complete and Elgie hand-lettered the Genesis logo, title, and all the text as well. It's a fantastic record cover from back in the mid-70's, the period of 'classic' album cover art.
This Promo copy has a rare hype sticker and a timing strip that obscures some of Elgie's fantastic artwork, but those things have a cool look and add collectability as well.
~~~~~~~~~~~~~~~~~~~ This original pressing, promo cover has a slightly different design and coloring than later 1977 copies. I put the Promo copy next to my 'typical' 1977 pressing in one of my photos so you can see the difference. Subtle differences, but they make a big difference when comparing them side by side.
The main difference is that the horizontal title "Wind and Wuthering" is in grey on the promo, yet in white, and easier to read, on subsequent copies.
Also, the sharpness and crispness of the leaf artwork is bolder on the promo than on the standard cover. More black ink, and bolder lines, making the leaves stand out more sharply. Also the whole grey tone of the jacket is a little darker on the Promo, making the sky, clouds and fog more detailed and ominous.
I'm not sure if these subtle details are unique to the Promo copies or are on other early first pressings, but they make for a much better looking album jacket and another reason to add this great album to your collection. My US 1977 copy literally pales in comparison.
~~~~~~~~~~~~~~~~~~~~~~~~~~ CONDITION: I tried to show good hi-resolution photos of the cover, labels, press kit and vinyl in my pictures.
I got this copy back when I was working in radio in Chicago in the late 70s and have taken great care of it since. As I recall, Genesis was coming thru town, doing 3 nights at the tiny Auditorium Theater and it wasn't sold out, yet. The Rep was desperate to get airplay to build up the shows and went around town handing out this 'press kit' to all the radio staff. Our competition across town was broadcasting one of the shows live, and the band and the record company were trying to make Genesis a big hit in Chicago, and thus America. This was all early in the tour, like February, and many in Chicago, and America, had never paid much attention to Genesis, yet. By the end of the tour, they were THE band to see live.
I went to 2 of the 3 shows as "press" and also got to be involved in the 'tech' aspects of the broadcast night. I still have my crisp copy of the pre-FM feed of the show, right from the source, and it's one of my favorite Genesis concerts. 
Anyhow, back to the record.
Most of the promotional copies of this album were made at Monarch in LA and have cut-out holes punched in the corner and a pinkish-purple hype sticker. They also don't have the 'press kit' goodies added.
This promo copy was made in Richmond, Indiana and was part of the Atco press kit package handed out in Chicago in early February 1977. No cut-out hole in the jacket; dark purple, not pink hype sticker, same DJ timing strip, original inner sleeve with the lyrics and production information; a nice 8x10 B&W actual photo of the band (check out Phil!), and a 2-sided promotional 'biography' telling the band's history leading up to the 'current' Wind & Wuthering album. A nice package.
I'm not sure how many PRC Richmond promo 'press kit' copies were made. Likely not many. It doesn't seem to be listed on Discogs and the story I've heard is that they were quickly pressed locally at PRC in an effort to promote the poor selling 3 show run in Chicago in February 1977.
VINYL: The vinyl looks excellent. Clean and bright. Maybe a tiny hairline, but No serious scuffs, palpable scratches, or dings. It looks fantastic, sounds fantastic, and I'm sure you'll be very happy with it. 
I almost never played it and played my 'regular' copy instead whenever I needed to hear this great album.
The Deadwax has all the First Pressing details. Atlantic Mastering, Presswell stampers, and PRC record plant marks. See the full Martix above.
I tried to show some close-up pictures of the vinyl to show how good it looks. I'm sure you'll be happy with it.
I haven't messed with it or cleaned it, other than my trusty 'DiscWasher' brush, in 45 years, since Jimmy Carter was in office. It's exactly like I received it. It could use a good deep cleaning to make it even bettter looking and better sounding than it already is. 
LABELS: This is pressed with the 'classic' red & green 70's Atlantic 'Rockefeller' labels. There's no mention of 'promotion' on the labels. Rather 'empty' labels for an Atlantic/Atco release. 1976 date and 'RI' in the catalog number, meaning it's a PRC pressing from Richmond Indiana, near Chicago.
The labels are clean and bright. No marks or damage. The spindle holes are still sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this still looks very nice for a 45 year old OG copy. 
The front of the jacket has the purple hype sticker and the clean, unmarked, DJ timing strip across the bottom.
This light colored jacket is notorious for showing ringwear, dirt, scuffs and damage, but this copy is still quite nice. There is some mild ringwear and some very minor shelf wear, but not bad. The artwork of the sleeve hides and 'blends' the minor ringwear well.
The artwork is still fantastic, the corners are sharp, and the spine straight. The back cover looks fine.
As mentioned, this has the very early artwork, with the grey album title, much sharply drawn leaves, and more expressive sky. See my comparison shot in my pictures.
Unfortunately, there are a few 'black' ink scuffs along some of the edges that I can't explain. I never noticed them before until I took this out of it's sleeve to photograph. Looks like old ink smudges and I didn't try to remove them. Slightly annoying and slightly distracting, but not bad.
Overall, I'll call the whole record a strong VG+, but the 'inserts' are in nice shape, and the vinyl is very clean and crisp.
The vinyl has been in a poly-lined sleeve for decades and the record has been sleeved and stored properly for years, and is still quite nice for an original early promo pressing.
You can see from my pictures it's still quite nice and acceptable. This copy is all original, and a rare gem. I'm sure you'll love it.
This record has a very 'autumnal' atmospheric feel to it, and this is the perfect time of year to give it a listen, either again, or for the very first time.
A very cool Genesis record, with a great back-story, for that special Genesis fan and collector out there. A great record to add to your vinyl collection or a great gift for that Genesis/Prog Rock collector on your list.
~~~~~~~~~~~~ ** NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
~~~~~~~~~~~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words. 
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THANK YOU for looking and reading if you got this far.  -- JOHN