It's obvious the band were united and focused on making a huge splash on Nursery Cryme. How this album tends to fall under the radar compared to other classic Genesis albums is baffling. The Musical Box and The Return of the Giant Hogweed are the two most rocking songs they've ever done, cleverly crafted too. Start to finish, an exceptional album/5(). Released in , Nursery Cryme is Genesis’s third album and it represented a big leap forward for the band. Phil Collins and Steve Hackett had become new band members. For older fans, this is the classic line-up. All the songs were composed and arranged by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford/5(). View credits, reviews, tracks and shop for the Cassette release of Nursery Cryme on Discogs. Label: Charisma - • Format: Cassette Album, Reissue • Country: France • Genre: Rock • Style: Prog Rock4/5(2).
Pavel May 11, at pm. It is simply unique. And I love him greatly. Paulo Gonzalez May 13, at am. Bernard Simon May 15, at pm. Probably the best lp they did in their progressive rock phase. The wonderful, impressionistic musical painting of the underlying story that relates exactly to the cover is simply gripping - if you've bothered to take the time to familiarise yourself with the grisly yet tenderly emotional details of this story - and the musical transitions showing passage of time and intensification of feeling are virtually perfect for what they are - not a note to change.
Maybe I'd be a bit more restrained with the panning of the lead guitar, and quite a few other production details, but never mind the production, listen to the MUSIC. After the sheer intensity of "Musical Box", "For Absent Friends" fits the overall musical scheme as a gentle transistion. Lyrically, we are taken away from the domestic drama in a single household to a village community at large.
Of course, like the layers of the onion, there's more to it than that, so I won't spoil your fun! Kinda like a symphony structure, the slow 2nd movement is followed by a much faster and heavier 3rd movement that closes side 1 of the vinyl.
Continuing the lyrical perspective, "Return of the Giant Hogweed" pans out again to a more global story. In case you were wondering, Heracleum mantegazziani is the latin name for the plant of the title Things tend to happen slowly in this song, so if you're looking for an adrenaline-fuelled ride, look elsewhere.
For those who are prepared to invest the patience and just relax, this song opens up like a flower a flower? It's a mini-masterpiece in itself - I've heard many albums with fewer musical ideas than this song. This song carries echoes of some of the "From Genesis to Revelation" material, and is a song of hope.
We finish with "The Fountain of Salmacis", whose domain lies, appropriately and ultimately with the Gods. A fitting conclusion to such a great album, the instrumental section is a marvel of musical engineering. Trouble is, once it's finished, you just want to hear "The Musical Box" again Truly great, should be 1 all the time. Even though it's not the best produced, executed - or even the best Prog Rock album ever made, it's still the best composed Prog Rock album, and the most representative of the genre.
If you don't already own it, what are you waiting for? Melodic themes of beauty intertwine with moments of drama: driving rhythms counterpoint quiet acoustic and keyboard sections. But 'Nursery Cryme' is greater than the sum of its parts. It exhibits all of the necessary ingredients of the progressive sensibility.
These are melody, complexity, meaning, quirky humour and consideration of the shape of the album. This last idea is crucial: albums without progressive sensibility were merely a collection of songs. Progressive albums took care in the placement of tracks, as the album was designed as a single listening experience. Humour is also an essential part of the progressive sensibility, acting as a balance to the pretentiousness of many of the musical and lyrical themes.
Melody and complexity need no explanation. This album does have flaws, however. The overall playfulness and zaniness obscures many of the serious messages in the lyrics, which is a pity. Doesn't work for me, sorry, though I enjoy the playfulness of the song. This track alone ensured the album would be a success.
The other 'epic' tracks, 'Fountain of Salamacis' and 'Return of the Giant Hogweed', do not reach the same heights. It is left for the shorter tracks to carry the album, and I find beauty in each of them. I particularly treasure the maligned 'Seven Stones'. The other serious flaw is the production.
This is the first album with the classic line-up, but they are not equally treated. Even the recent remastered version doesn't deliver sound quality of the standard the music requires. An album already in the collection of every fan of classic progressive music.
But I'm sure you'll enjoy much of what you hear. The fragile vocals, delicate guitar work and warm flute, all give weight to the words "Play me my song Check out the amazing guitar! And the passionate vocals after 9 minutes. This is such a reflective, heart warming song with intricate guitar melodies to go along with the touching vocals.
It all settles down and this contrast will continue. Some incredible piano 5 minutes in as the song ignites a couple of minutes later and rages on until it's over. I confess to not being a fan of this one,not enjoying the vocals and loud sections at all. The mellotron is nice though. The floods of mellotron only add to the melancholy of this underated tune. Don't like it. Great synth work later.
It's like this song slowly builds to a climax several times as it plays out. I still can't pick which one I like more between the first song or the last song. Both are masterpieces! These three songs were ground-breaking in and are now considered hallmarks of symphonic progressive rock. Indeed, very few bands have approached the emotion, musicianship, and originality of these three classics. But what about the shorter songs on Nursery Cryme?
Well, they're quite wonderful in themselves, making this album such a treat to listen to. From the Mellotron-drenched Seven Stones to the hilarious Harold the Barrel, Nursery Cryme has got something for every symphonic prog lover.
Nursery Cryme is simply an essential masterpiece. Just read the other reviews here. Easily five stars. Eat your heart out Eddie Van Halen. The lyrics sound like like the words to some burlesque tavern song, as Gabriel displays his twisted wit. The Return of the Giant Hogweed" is Peter's take on environmentalism, where plants rise up to take revenge against their human slave masters. Tony has some great piano here.
The light 12 string, bass, and keys make this a lovely tune. The album closes with another mini-epic, "The Fountain of Salamcis. Nursery Cryme set in motion Genesis' classic era that would go on to influence countless progressive bands of all sub-genres.
It isn't as stunning as Selling England By the Pound, but it comes close and is, to me, better than the resulting Foxtrot. You're not a fan of prog without this album. The Musical Box 4. This is the kind of mini-epic that Genesis usually does well on. This is a well executed attempt, and their songwriting will mature.
Steve and Phil both do an excellent job of showing why they should be considered upgrades here. Some nice lyrics and a rare fondly sentimental vocal performance.
An earlier reviewer has said that if you don't "get" the introduction to Hogweed, you don't "get" prog.
Certainly this song stretches all kinds of limits. It's a plodding song that seems to lack a lot in creativity and relies far too much on the keyboards. Harold the Barrel 3. The ensemble vocals just don't work here, and that and the guitar work is what this song is all about. I consider this album to own the very first Progressive rock epic, and also lay down the first path that would shape prog for decades. The musical box- Maybe the most important ten minuetes of progressive music out there.
This song shows PG's creativity to it's full extent, absolutely no boundries. Starts very simple, but like all Album) Genesis songs, it has many climaxes, ending in a guitar solo Album) time, but the greatest moment is the glorious and triumphant closing section.
Peter plays himself as an old man and talks aout how frustated he is with a girl until the point of screaming in frustration. Pretty, but nothing to shake a stick at.
After a couple more listens though, I found the instrumentation fun to listen to and Peter's lyrics being very creative, especially with his otherwise angry sounding voice.
Alas, the recording quality ruins any hope of a perfect listen. Just about everything fall's into place, the chorus' is particularily catchy, and the lyrics are typical Peter Gabriel. PG's voice can be much more Funny and with a jonty piano.
Not much more though. I dont actually pay much attention to this song actually, good vocals, good guitar harmonies. Not much else once again. It has some Jazz, some organ, some Tapping, and everything under the sun. The instrumental section is very good, especially the drum's. So we have the Musical Box, one of the most perfectly constructed and powerful songs in prog history, featuring vocal passages mostly low and mysterious, and instrumental breaks increasing in intensity until finally even Peter Gabriel has to cut loose at the end.
The wordless sections are so refreshingly dominated by Mr Hackett's quirky expressions rather than the overused organ, and the ending is a master stroke. Then what? Not much frankly. The best sections of "Hogweed" seem patterned after the Musical Box but not as effectively, and from there it's mostly downhill until the "Fountain of Salmacis", which sufficiently redeems the recording to place it firmly in the three star band.
Salmacis features the best mellotron on the album and is also more poetic than most of the intervening songs, but it is far from a classic. With Nursery Cryme, Genesis began to lay the foundation for a whole school of symphonic progressive rock, a school in which some pupils would surpass the teachers, in short bursts of quality if not in longevity. Several later albums would show improvement on multiple levels and, although few individual works can match "The Musical Box", this album would not be my first recommendation to younger prog fans or older ones who have lived under a rock since It's not a cryme, but more of an imperfect work of philanthropy to the musical world.
Again, this is a personal opinion. Most of the songs are great. And maybe if The Musical Box - Genesis - Nursery Cryme (Cassette hear a remaster edition I may change my opinion a bit.
My original LP and the CD copy I have contains the original recording mixes which I think sucked much of the tunes life.
And yet it is a essential buy for any prog fan. Genesis with Peter Gabriel had something magic all the time, even when they were not at their best. Genesis developed their style even further with ''Nursery crime'' and the album opens with the fantastic ''The Musical Box'', actually the first complete epic of the band, an incredible journey through the world of Acoustic Folk and Progressive Rock, highlighted by the mellow acoustic passages, the powerful organ runs and the theatrical performance of Gabrierl next to his delicate flute parts.
The short ballad-esque ''For Absent Friends'' features the first ever vocal performance of Collins with Genesis, while ''The Return of the Giant Hogweed'' became an all-time classic, having a sound close to ''The knife'' with more evident symphonic sections.
Plenty of incredible organ flights, grandiose Mellotron waves and piano interludes by Banks with dominant guitar riffs by Hackett offer again a unique exprerience. The humurous ''Harold the Barrel'' has sort of a Cabaret feeling, a welcome addition to soften things a bit before the entrance of the folkish ''Harlequin'' and its dreamy all- British atmosphere with the excellent vocal lines of Genesis' members.
The closing ''The Fountain of Salmacis'' is just another example of how good Genesis were on producing long and imaginative music pieces. Smooth Symphonic Rock with great guitar work by Hakett and yes, again another monumental performance by Banks on Mellotron and organ along with a superb rhythm section. High-class musicianship, among the most valuable treasures in Progressive Rock's history and a band finally establishing its name among the greatest of the style.
Extremely highly recommended and a must-have for any prog fan's collection. What we get here is three long pieces and four shorter tracks. It's the longer tracks that are the album highlights starting in fine style with The Musical Box, amongst the favourites of many fans, myself included.
The song starts quietly, moody and atmospheric with some nice guitar arpeggios until Hackett chimes in with some powerful chords followed by Banks on Keyboards and the band explode into the fantastic instrumental mid section before taking it back down for Gabriels next vocal part and then we're off again.
The ending has a beautiful slow build and some fantastic vocals from Gabriel. Can it get any better than this? Well not quite but they have a good try. The very short For Absent Friends is next and is pleasant enough evoking the mood of a cold Sunday early evening in England very nicely. Quickly we're into another highlight, Return of the Giant Hogweed which is one of the bands heavier moments but it still leaves plenty of room for the band to display what was to become their trademark dynamics and has a very powerful ending.
The next three tracks aren't quite as memorable but still worthy of inclusion, particularly Seven Stones with some lush keyboard sounds from Banks but the final epic, The Fountain of Salmacis closes Nursery Cryme in fine style with it's mythological lyric content and more superb dynamic playing from the band.
Awesome stuff! Nursery Cryme even though considered by many to be inferior to Foxtrot and Selling England By the Pound is a great album. The production is not very good, but the song material is as strong as on the other two albums. The album starts with the great epic The Musical Box which starts out as a very emotional song and ends with an inferno.
Mellow passages, beautiful melodies and a great progressive touch. It is heard on The Musical Box. For Absent Friends is a nice mellow short track, where if I am not mistaking, Phil Collins sings lead for the first time in Genesis. It is the most heavy song on the album, and a song I enjoy very much. Seven Stones is a beautiful song which is build around a great Piano riff from Tony Banks.
Harold the Barrel is one of my favorite Genesis songs ever. It only lasts for minutes which is really short, but so much happens in this song. It changes mood several times. There are some great lyrics too. I find them so funny and full of life. The scene where Harolds mom comes to the townhall and shouts at him that "if your Father was alive he would be very very very upset" is just hilarious.
Harlequin is a mellow song with a lot of choir arrangements, and I find it very pleasant allthough it might be the weakest track on Nursey Cryme. The lyrics are clever and the music is beautiful. Lots of mellotron on this one. Peter delievers one of his best vocal performances ever on this song. It really moves me. I find Nursery Cryme to be a masterpiece, and a one of a kind album. I'll take the deepest of the breaths: if ever an album was balancing between four and five stars, this is the one.
Seven tracks, three of them absolute masterpieces, four of them highly enjoyable. But I don't love them just for the sake of being epics. They're delicate yet powerful. They are telling a story. They ARE a story. I used to wave my hands I still doalone at home, listening to my MP3 player cranked up to the maximum, Album), imagining I am each of the band members, playing with them And that's all I'm going to say about it.
I'm not going to describe you my brain washed with the tides of Mellotron, the gurgling guitars, sincere drumming, tear-jerking Gabriel's vocal delivery or the lyrics, although I could knit a story just about the lyrics Let's use the coinage "non-masterpiece" instead of "weaker", shall we? Alright then. The four non-masterpieces are gorgeous in its shortness and great in its gorgeousness "For Absent Friends".
And some pseudo-madrigal vocal section. I admit, the piano riff borrows coincidentally? As I've said this one is balancing perfectly between 4 and 5 stars. As this facility is not supporting 4,5 ratings, I will go sigh for four stars, but this reflects more the reviewing policy and the overall tensions of the site and my personal opinions about it less than about the album itself.
The album is essential for any serious music collector. Not having it in your collection is a cryme : social review The Musical Box - Genesis - Nursery Cryme (Cassette Review Permalink Posted Saturday, November 24, Review this album Report Review With Collins on the drums and Hackett on guitar, the classic line-up is complete, and the use of Collins' vocal skills on The Musical Box and Harlequin is inspired. The Musical Box is my favourite Genesis song, from the hypnotic acoustic interplay of the opening to the final flourish it stands out.
The opening is a relatively delicate acoustic thing, with the vocals done by Gabriel and Collins with possibly the rest of them providing harmonies and additional vocals throughout. After the first 'Play me my song Suddenly, Hackett's guitar and then a powerful organ riff. Dominant drums, cymbal clashes, a shriek, amazing guitar solo, and suddenly quieter again, yet keeping all the build-up and power.
How the hell do you make something like that? Gabriel's vocals enchant and drive the song at this point with music essentially provided to support him him, and then the power returns, the guitar bursts into control, the drums break loose, yet stay perfectly under control.
Everything continues to build up, and then turns quiet again, seamlessly, delicate guitars, counter-harmonies mesh with Gabriel possessively, and then the organ returns. Almost church-organ, this time, building up and driving in cooperation with the drums, the song's concept builds to its climax "Now now now now now! As you may have guessed, my obsession with this is unhealthy. Both very prog and very rock. I love it. Also, it's a great song for air organ For Absent Friends is a short, quiet song, with a soothing vocal from Collins and tasteful acoustic guitar interplay.
Return Of The Giant Hogweed is perhaps the best example of how Genesis shifts between brilliant and unconvincing to me. The concept is utterly silly, which works quite well, but I generally don't like the vocals. Hackett shifts between frequent additions over the top, and a nice fuzzy guitar.
Similarly, Banks here is difficult to stomach, since his organ additions shift between brilliant background work and a gaudy form of dominant bombastic vaguely Rush-like thing that becomes repetitive throughout the course of the song.
In the end, it seems that Banks is responsible for both the great and the annoying sections of the track, with his piano making the second half of the instrumental section and leading up to the great end, and his over-the-top organs being too much for me.
Seven Stones has a very strong mellotron-and-bass start, with vaguely folk-ish lyrics about the vagaries of fortune sound like Banks lyrics to me, but I'm not suretasteful bass, excellent drumming from Collins, a powerful chorus with a soulful vocal. Very good solos from banks, good flute parts, memorable keyboards throughout. Hackett's contributions are pretty typical of his style: not dominant in the mix, but always adding something special.
A very good track. Harold The Barrel is great fun for me. What I think is Hackett sounds more like a sax than a guitar, Banks' piano shifts between amusing to a prettier, more reflective tone at the right moments. Collins fits in perfectly, moving between standard beat-drumming to something a little more energetic whenever he can. The bass additions are great, and the mixture of Gabriel's sarcasm and vocal dexterity and the harmonies and the various vocal effects.
Probably my favourite of the lighter, supposedly humorous Genesis pieces. Harlequin is something different again, a very moving Gabriel-and-Collins duet with surreal lyrics and some subtle vocal interplay, the acoustic part changes frequently, and has a lot more direction, in my mind, than that on Dusk, while Hackett's few additions on the electrics are perfect.
In my mind, an experimental and enjoyable piece, which grows on me with every listen. An unsung masterpiece. The Fountain Of Salmacis is another progressive beast, though in a different vein to the album's opener, not necessarily less of a rocker, but somewhat more sweeping and grandiose, with more vocal effects and a more consistent style compared to The Musical Box's build-up.
It begins with the keyboard theme of the piece, fading out into a lush soundscape and a bass-and-Gabriel-backed vocals with a mythical theme. Mellotron chords or melodies changing constantly in the background, occasional Hackettry, vocal effects that drive home the theme, powerful guitar and keyboard solos and a surprisingly effective expression of the two-part conversation, the story, the battle of wills between Hermaphroditus and Salmacis, and the final merged creature.
A powerful emotional and musical triumph. The end result of this album is an extremely good impression after every listen, and though I'm reluctant to allow my third-favourite album by a group, and one with a large, weaker song, the fifth star, I have to admit that the overwhelming majority of great material is a match for Selling England By The Pound and Trespass. Furthermore, I keep finding new aspects of the music, or noticing effects and background parts that I didn't really notice before, something not evident on Trespass.
Although on a personal level, Trespass and Selling England By The Pound touch me much more deeply, they don't really challenge me as a listener like Nursery Cryme does. And yet, there are 6 more songs in the album, most of them brilliant.
Isn't Nursery Cryme a perfect album? Something weird happens to me whenever I listen to it. I always get the feeling that I'm listening something I have to like more for historical reasons than because I actually like it. Yet, paradoxically, I hear the songs one-by-one and just can't find one that is weak.
I can't even find one that's average! All of them are excellent! And there's "The Musical Box. And I'll be very brief, too. I said it. One of prog's and rock's, and music's highest zeniths, highest pinnacles.
Everything falls into place. The playing by all members, the melody, the tension, the spectacular structure where themes grow and extasis is created, and Gabriel I used to be a Gabriel detractor After listening to this song carefully, I just think I should've shut up and be quiet, as the master was singing.
All his followers, the Fishes, the Collins', the neo's, all learned from this song. Drama, passion, art. This is not a song that you'll like the first time you hear it, especially if you're a young prog fan who's more into metal or more modern genres. The sound of the album is atrocious, even for its day. Give it time. Hear it.
This is the opposite of background music. This is foreground music. You, yourself, will recede to the back of the stage when the box opens Salmacis and Hogweed are highlights, Seven Stones is brilliant. Every song has something to offer. But it's in The Musical Box where I found justification to give five stars to this album.
And, as such, one of the best songs ever. Intelligent music, artistic music, heartfelt music. Following up the well conceived Trespass Genesis now has to solve a couple of problems first. The first one being finding a better drummer one who will drive the band to be more powerful. Exit John Mayhew and enter Phil Collins.
Next to replace departing guitarist Anthony Phillips. What to do? Look in the Melody Maker and find Steve Hackett. Ok that is out of the way one the album. The album carries some of its melancholy moments from Tresspass but now they become more dark emotions as in the opening prog rock classic The Musical Box. The moment this song hits its first instrumental break you know we are on to something. Collins drums kick in and Hackett's guitar wails while Banks organ gives the impression something wicked this way comes.
The second song shows Phil can sing as well as he and Peter reverse roles and Phil takes the lead and Pete the backing. Very short at nothing to write home about. Next comes the great opening of Return of the Giant Hogweed. Genesis makes this weed seems like it the most sinister monster ever conceived Ok maybe conceived over a couple of joints again. Great song and I especially like the "dance" section. Seven Stones sounds something left off of Trespass. A nice airy feel that has an explosive ending with Phil and Steve flexing that power again with Tony's mellotron setting the tone.
This is dusk with stronger themes and powerful sections that drive this haunting story to its conclusion. All in all this is great album a huge historical prog statement and the open door to more greatness to come.
To some it may sound dated and for sure could use a remaster but this is what it is all about. With this album Genesis fulfilled the promise of their previous album, and what in improvement it was! The wonderful guitar playing of the amazing Steve Hackett is here heard for the first time and so is Phil Collins expressive drumming and some wonderful vocals as well.
The Musical Box is a masterpiece with very interesting Neo-Classical guitar and keyboard work. For Absent Friends is a very nice ballad sung by Phil. Seven Stones is probably the song here that is most similar to the Trespass material in both sound, style and quality. Which means good, but not more than good. Harold The Barrel is the only song on this album that I don't like very much. I find it a bit silly to be honest, and though it is clearly meant to be silly, I just don't seem to "get" it.
Harlequin is a short and mellow song, it sounds a bit like a nursery rhyme. The album closer Fountain Of Salmacis it took me a long time to get into, but now I really like it.
Overall, a very good album. Highly recommended for any Prog collection. Long before Genesis hit the 80s, and long before Phil Collins went off on his own to do Genesis recruited some new blood to perform on their third album. Most people know that their first album, From Genesis To Revelationflopped miserably and their second album, Trespassis considered one of progressive rock's pinnacle albums, and actually put them on the road to And it was.
Playing no small part in this act is the two newest members of the band, Steve Hackett and Phil Collins, whose presence and lack thereof would be blamed for the later progressive shortcomings of the band.
Strange that they'd joined at the same time, no? For many people this is where Genesis really came into their classic era, and I'm one of those people. Trespass may be one of the most important prog albums in the history of the genre, but it still sound like a band searching for a sound to call their own. While that album had moments of sheer brilliance, this album simply is sheer brilliance.
Every song on here is simply wonderful, and it has some of Genesis's finest moments in their discography. It may not be their absolute pinnacle, but they were nearing the peak with this release. One of the songs that really needs noting right off the bat is the song that made many many people wonder over the years how this could possibly be the same band that released Invisible Touch.
The Musical Box is a fine piece of progressive music that, at 10 minutes, can compete with any of the pomp-prog epics that would come out over the next decade.
A slow start finally kicks into gear with emotional vocal work from Gabriel and soaring instruments from every angle. The story itself is highly amusing as Genesis recites the story of Old King Cole as depicted on the cover art. The other songs on the album are also great, to different degrees. Some of the more comical in an eggheaded way songs serve as the other main pieces to the album.
The Return of The Giant Hogweed features wonderful keyboards and incredibly serious vocals, considering the subject matter, from Gabriel. The Fountain Of Salmacis uses greek mythology and progressive rock to tell the story of Hermaphroditus and the nymph with a certain degree of humor. Harold The Barrel is the start of a long line of songs from the band attacking society, this one highly comical and yet somehow disturbing nearing the end.
Fast and frantic, this is one of the better, shorter songs from the band. Harlequin is a beautiful piece with delicate melodies from every member and Gabriel's soft voice taking charge to make for a very pretty song while Seven Stones is another beautiful piece that has a very melancholic tone to it. An excellent album, and definitely one that should be in just about every prog rock collection.
Genesis had some better moments, but this is really where the classic era began for them, so if you fancy any of their masterpieces this one will appeal to you without a doubt. If you're hesitant about starting with the band this is also a fine place to start since it is quite approachable.
Excellent prog rock. The opener Musical Box is one of the first songs I got to know of this band and is the highlight and that will be no surprise. Always felt this is one of their very finest and I noticed almost every reviewer feels this way.
Simply a case of 4,75 stars to me. Second For absent Friends is a short and insignificant song and gets no more than 2 stars for the effort. Third song and second epical one is a classic once again and one I have a soft spot for because it was on Genesis live and I always liked that entire album.
Good symphonic composition. Harlequin is even slightly shorter but different in style, more of a ballad. Fountain of Salmacis is the third longer song of this album and also the least of this trio.
Still one of those songs Genesis is expert in, both in composing as in execution. So I can only round this up to 4 stars but this is obviously not one of my very favourite Genesis albums. Musical Box remains for me the finest Genesis song of any era, and whilst Phillips was undoubtedly missed, any doubts about Hackett were blown away by his performance on this and subsequent tracks. Gabriel's masterly evocation of a love unfulfilled, why don't you touch me plaintively bemoaned, still has the power to move and shock.
I really like Phil's vocals on For Absent Friends, a lovely portrayal of times gone by. Wonderfully quirky and, certainly at the4 end, menacing. I still get blown away when I hear Gabriel singing the Despair that tires the world passage on Seven Stones, featuring some excellent mellotron work by Banks, the finest performer of most peoples favourite instrument! Harold the Barrel is again a wonderfully quirky and amusing song which tells a story in unique fashion.
Harlequin is another beautiful ballad - by God, Gabriel has a lovely voice and is used to full effect here, backed by some lovely acoustic guitar work. The album closes very strongly with Fountain of Salmacis, featuring the strongest burst of guitar work I think ever recorded in the middle of a song. Hackett's solo is simply stunning, and is, again, backed up by excellent keyboard work by Banks.
Greek myths are timeless, which is why, I think, this track still entertains and informs. All in all, an absolute classic and an essential purchase for any progessive rock collection. Nursery Cryme is probably the most agressive record Genesis has released by Genesis standards The drumming here is powerfuland the guitar riffs are quite unusually loud for Hackett. Of course the best song of the bunch is the openerThe musical box which may be one of the best 5 songs this guys created.
Gabriels characters are very well performedand there are some strong mood variations alonside the 10 minutes this mini epic lasts. From subtle vocal harmoniesto cruchy riffs this song has it all. Then we have the second long number of the record: "Hogweed" continues the fairy tale-like mood "Nursery Cryme" has right from the very beggining with a typical Hammond riff and then it builds up based on very steady drumming and it has an impressive endingprobably the most powerful in any Genesis record.
The fourth track is my favourite of the record and a sadly forgotten number. This song alone is worth the price of 5 epics at least even if it's really short by progressive rock standards.
Right after that we have the much maligned 3 minute tracks " Harold the Barrel" and "Harlequin". Both trackswhile not masterpiecesain't bad at all. The first one is hilarious and really cynicalwhile the second one is really gentlevery PFM like. The record closes with another mini epic called "The Fountain of Salmacis". The opening piece, " The Musical Box " combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards.
The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favourite. Collins brought a new dimension to the group, covering the majority of the backing vocals including his first lead vocal with Genesis on "For Absent Friends" and bringing in a sense of humour on tracks like "Harold The Barrel". Banks made more prominent use of the Mellotron at Hackett's suggestion and used it prominently on several tracks.
The band toured the UK and Europe for one year to promote the album, which raised their profile in both territories. The tour included a successful Italian leg in Aprilwhere the group played to enthusiastic crowds. Genesis recorded their first album as a professional outfit, Trespass in Junebut immediately afterwards, founding member and guitarist Anthony Phillips quit owing to increased stress and unhappiness in touring.
Phil Collins joined as the new drummer in August, also becoming an important backing vocalist, but they were unable to find a suitable replacement for Phillips. This led to the group completing the first half of their — tour as a four-piece with Rutherford playing rhythm guitar and bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his own keyboard parts.
Banks credited this to improving his technique as it required him to play two keyboards simultaneously. He saw Genesis play a concert at the Lyceum Theatre, London on 28 December, and was told by Gabriel that Barnard would have to be replaced.
With the addition of Hackett, Genesis continued touring which included the "Six Bob Tour" with their Charisma Records labelmates Lindisfarne and Van der Graaf Generator their first overseas shows which occurred in Belgium  and the first of three appearances at the annual Reading Festival.
In July, they began a three-month break from touring to write and record which was Hackett's first experience of rehearsing with a group to a professional standard. Some material had been written when Phillips and Mayhew were still in the band, and were reworked by the new members.
Collins was a particular workaholic and was happy to jam with anyone at any time. With the new material worked out, Genesis recorded Nursery Cryme at Trident Studios in London in August with John Anthony as their producer and David Hentschel their assistant engineer who, like Anthony, had worked the same role on Trespass.
He recalled some difficulty in understanding what Banks and Rutherford were talking about as the two had devised their own sayings, for instance a passage that they had played was referred to as a "nice guy".
A young boy, Henry, is accidentally decapitated by his friend Cynthia while playing croquet. Returning to the house, Cynthia plays Henry's old musical box, which unleashes the spirit of Henry as an old man.
Henry has become sexually frustrated and attempts to seduce Cynthia. The nurse enters the room, hurls the musical box at the wall, destroying both it and Henry. The song originated when Phillips was in the group who would often write with Rutherford on string acoustic guitars. The latter had begun to experiment with unorthodox guitar tunings and had the top three strings tuned into F sharp which provided the jangly sound heard in the opening and The Musical Box - Genesis - Nursery Cryme (Cassette chord that signalled the start of the electric guitar solo.
The opening section of the song features both Rutherford and Banks on twelve-string. The guitar solos originated from Barnard's brief tenure in Genesis.
Gabriel incorporated themes of violence and sex into the lyrics. The song became a live favourite during Gabriel's tenure with the band. He first decided on the idea of wearing costumes at a gig in the National Stadium, Dublin in Septemberleaving during the instrumental break and re-appearing at the conclusion wearing his wife's red dress and a fox's head.
Though the real plant is extremely toxic and dangerous, the song's lyrics are a humorous exaggeration, suggesting the plant is attempting to take over the human race. The opening to the latter features Hackett and Banks playing triplets in harmony. The lyrics show black humour of a man contemplating suicide by jumping off a building, with wordplay influenced by John Lennon 's In His Own Write. Their vocals were mixed onto the same audio track so they cannot be separated.
He played two separate guitar parts on a single string which he thought produced "pretty dodgy" results, and was also critical of his lyrics. It originated from a short rundown passage that Banks had come up with while at university. Banks thought the instrument greatly complemented his piece when combined with the organ. It became the basis for "The Fountain of Salmacis" which was taken further to a complete song as the result of group jams. The album's sleeve was designed and illustrated by Paul Whitehead who had also designed the cover for Trespass and the band's next album, Foxtrot.
When originally released, the cover shocked some people, because of the severed heads pictured on it. The inner sleeve resembled an old photo album, with a panel for each song along with an illustrated picture. It fits perfect.
It's the right colour, the right vibe".
Aug 12, · Uploaded using lossless codec in order to avoid lossy-to-lossy transcoding. Used first-press non-remastered CD due to their higher dynamic range. Issue: UK V. " The Musical Box " is a song by English progressive rock band Genesis, which was originally released on their third studio album Nursery Cryme in The song is written in the key of F# major. This song is the longest song on the album at 10 minutes long. Nursery Cryme is the third studio album by the English rock band Genesis, released in November on Charisma Records. It was their first to feature drummer/vocalist Phil Collins and guitarist Steve Hackett.
genesis the musical box from the album 'nursery crime' with peter gabriel vocals.
Canadian band that recreates Genesis shows from the period. View credits, reviews, tracks and shop for the SHM-CD, Cardboard Sleeve, Gatefold CD release of Nursery Cryme on Discogs.
If Genesis truly established themselves as progressive rockers on Trespass, Nursery Cryme is where their signature persona was unveiled: true English eccentrics, one part Lewis Carroll and one part Syd Barrett, creating a fanciful world that emphasized the band's instrumental prowess as much as Peter Gabriel's theatricality. Which isn't to say that all of Nursery Cryme works.
genesis the musical box from the album 'nursery crime' with peter gabriel vocals. If Genesis truly established themselves as progressive rockers on Trespass, Nursery Cryme is where their signature persona was unveiled: true English eccentrics, one part Lewis Carroll and one part Syd Barrett, creating a fanciful world that emphasized the band's instrumental prowess as much as Peter Gabriel's theatricality. Which isn't to say that all of Nursery Cryme works.
Jan 19, · Song The Musical Box; Artist Genesis; Album R-Kive; Licensed to YouTube by Laika Network, WMG (on behalf of Rhino Atlantic); LatinAutor - SonyATV, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM.
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