Genesis
Nursery Cryme

THE REVIEW

Ok, someone has already written about this album... but I would still like to offer my thoughts, perhaps a slightly more technical one (I've been playing piano and keyboards for many years).

NURSERY CRYME

In general
The first true prog album of our heroes ("Trespass" contained the seeds, but was still very much characterized by soul and folk). Finally, Banks approaches the mellotron, and the entire album is characterized by this instrument as well as the classic Hammond organ. "Nursery" also marks the advent of two great instrumentalists: Phil Collins on drums (and backing vocals) and Steve Hackett on guitars. Phil is a great drummer, imaginative, rich in technique, with a special touch that supports the pieces throughout the album (excluding the lead vocal on For Absent Friends). Steve brings electric innovation, exploration, a particular and personal use of the instrument. Ant is a great acoustic guitarist, Steve is more electric and exploratory. Moreover, he introduces the Genesis "system" of compositions, meaning he mediates a lot between Tony, Peter, and Mike, and even if he doesn't sign much, he puts his style into all the tracks. The best lineup ever, the most balanced and the... most quarrelsome... Fun fact: this album was the first to open the doors of Italy to Genesis, placing in the Italian top ten for many weeks.

Recording
Mid-low quality. Finally, the stereophonic perspective is respected without exaggerations. Bass fairly present, trebles not particularly bright, compressed drums with sounds too dull compared to what Phil would like and what the pieces deserve.

Tracks
"The Musical Box"
An immense suite, with all the Genesis ingredients perfectly mixed in a textbook general balance. Acoustic, electric, lyrical, angry, melancholic, explosive.... all this is "The Musical Box". A dramatic story rendered in an almost playful way, with the adorable Cinthya gracefully removing the head of her peer... It should be noted that one of the composers was still Ant... Rating 9.5

"For Absent Friends"
Delicate acoustic vignette, it tells of two widows in front of the cemetery gates remembering their late husbands. Phil's voice suits the sad and melancholic atmosphere of the track, all acoustic and played on a beautiful interweaving of arpeggiated 12-strings. Rating 7

"The Return of the Giant Hogweed"
Another substantial suite, with a stunning opening of electric guitar and organ in unison welcoming the rhythmic base and subsequently the voice of a Gabriel in a state of grace. A rather "hard" track, with a notably dreamy acoustic interlude where the piano arpeggio forms the base on which Steve's electric guitar grows. Then there is also space for a classical section where Bach-like arpeggios then let the hardness of the intro return. Rating 9

"Seven Stones"
It's the piece that convinces me the least, perhaps a bit too fussy and classical, the organ still very prominent (maybe a bit too much). The influence of the more classic King Crimson is very much felt. Beautiful melody, complex, and Gabriel's voice is exceptional in vocal range (he was very young...). Use of choirs a little too massive. Rating 7.5

"Harold the Barrel"
Fun, bubbly, with music blatantly contrasting with the story (a rather sad and hectic eviction). It’s Genesis' most British style, revisited in future tracks including "A Trick of the Tail", with beautiful choirs ("We can help you... We can help you...") and crossing voices, excellent musical base and a truly effective and fun rhythm. Rating 8

"Harlequin"
A small acoustic jewel, with the 12-strings weaving a melody and splendid harmony, delicate, unmistakably Genesis. Beautiful the voices of Peter and Phil who "play" at chasing each other in a beautiful effect of modulated counterpoint. A small masterpiece. Rating 8.5

"The Fountain of Salmacis"
Long track that closes the album, with a beautiful beginning of arpeggio on the flanged Hammond and Mellotron base, which in crescendo leads to the sung section with a beautiful drum base of almost epic flavor. Evocative melody sung by Gabriel with his usual very personal voice. The central riff with supporting choirs also leaves room for a beautiful electric guitar by Steve. Beautiful guitar explosion with a suggestive and rather hard riff that introduces the instrumental section with great work by Phil and Mike. Then comes Tony's organ solo alternating and serving as a base for Steve's solo. Reprise of the organ riff and the initial melody to then leave room for the epic finale among voice, instruments, choirs, and a beautiful solo by Steve that ends the track. Rating 8.5