Genesis
Nursery Cryme

THE REVIEW

An exceptional album, no doubt about it: this is "Nursery Cryme", the first album with the legendary lineup. That Peter Gabriel was a genius, we already knew; but no one would have bet much on this band that, after the massive flop of "From Genesis to Revelation" and the modest "Trespass" (a good album, but not comparable to its successors), wasn't exactly at its peak. With the recruitment of Phil Collins and Steve Hackett, they reached the top, turning progressive into a work of art.

The early Genesis

Genesis are remembered not only for the many masterpiece albums they released, but because (alongside ELP and Yes) they revolutionized an entire generation with their long suites, symbolizing the pinnacle of musical expression. Unfortunately, however, the so-called legendary lineup wouldn't last long, due to Peter Gabriel's premature departure. By the late '70s, Phil Collins would become the leader, steering the band towards largely commercial avenues, undoing everything that had initially been built.

The album

The title alludes to "Nursery Rhymes" (children's songs very popular in the Anglo-Saxon world) and plays with the assonance of rhyme with crime. This album opens with the endless The Musical Box, to which the cover is also dedicated. The track tells a story with a Victorian flavor, touching on themes of reincarnation, death, and sensual love. I dare not define the melodies so delicate initially, but which gradually intensify, becoming harsh and rough. Phil's drumming dominates, accompanied by PG's fantastic voice which finally erupts in that "Touch me!", destroying the track's rhythm with a scream, making it one of the most influential in rock. Hackett's guitar knows how to be strong when it has to be, but it also loves to soften in tone, merging with Tony Banks' keyboards. The delicate For Absent Friends follows, with Collins on vocals: not bad, but I much prefer Peter's powerful voice. The Return of the Giant Hogweed closes the first side of the LP; it fully reconfirms the band's level, with the return of the fairytale atmospheres. The fourth track is Seven Stones, a song with delightful nuances. Next is Harold the Barrel: a track that, during concerts, will maximize Gabriel's theatricality. The album concludes with the playful and entertaining Harlequin and The Fountain of Salmacis, another masterpiece of the album: it is a poignant narration of an impossible love; a blend of powerful sensations created by the melody and rhythm (Hackett's final solo is fantastic).

Conclusions

A revolutionary album. Perhaps not their best work, but the one essential for their consecration, which will reach its peak a few years later with "The Lamb," but that's another story...