b o b

Most fans seem to consider this the first "classic" Genesis album, but personally I don't think they would fully hit their stride until the next album. That's not to say that Nursery Cryme doesn't have its strengths. "The Musical Box" is a great song, although I have to admit that I much prefer the live versions I've heard, and often find myself just waiting through most of the song in order to get to the big climactic ending. "The Return of the Giant Hogweed" is another fairly good long song, with another big, dramatic ending, but it's not quite a classic. "Harold the Barrel" rarely seems to get the respect it deserves - no, it's not particularly proggy, but it's still a rollicking little pop song with clever lyrics and an unexpectedly dark ending. As with the previous album, most of the remaining songs tend to slide past me without leaving much of an impression. They're good, pleasant songs - they just seem somewhat insubstantial to me, particularly "Seven Stones" and "Harlequin". "The Fountain of Salmacis" has a bit more bite to it, but is maybe a little over the top with its melodrama. All in all, this album is worth getting just to trace the development of Genesis' sound, if nothing else. But there are others that new listeners should get first. review by Bob Eichler — undated —

c o n r a d

This album is not an improvement on Trespass, and is inferior to the three Genesis albums that were to follow, and yet it is probably the most significant album that they recorded. This is the album that established the Genesis sound, which influenced so many Italian bands, as well as 90% of the neo-prog scene. This album has a number of notable low points. The opening of "The Return of the Giant Hogweed" has an unconvincing melody; the close of "The Fountain of Salmacis" is similarly unconvincing, and the lyrics have the twee quality of a group whose strongest literary influence is "Boy's Own Annual". However, when you take into account the last two minutes of "The Return of the Giant Hogweed", the magnificent opening to "The Fountain of Salmacis" and Steve Hackett's wonderful guitar on "The Musical Box", this album is not at all bad. Nursery Cryme is dominated by the sound of Tony Banks' mellotron and organ with the newly installed Steve Hackett playing an understated, yet deceptively vital role on guitar. Another distinctive element of the Genesis sound is the use of falsetto by Peter Gabriel, but this is less well executed and I could personally do without it. Of the string of seven albums from Trespass to Wind and Wuthering, this is probably my least favourite, which is more a reflection on how consistent Genesis were during this period than an indictment of this album. I still pull it out occasionally, even if I do wince at hearing a grown man singing "Old King Cole" so earnestly. review by Conrad Leviston — 8-13-03 —

s e a n

Genesis' 1971 release is the first with the "classic" lineup of the band. In fact, no new members would be added (although some would leave) until 1998's Calling All Stations. The addition of Steve Hackett on guitar and Phil Collins on drums brought the band closer to a progressive rock idiom, as Hackett introduced a more aggressive, electronic sound, and Collins brought the dexterity and power necessary to add a bit of an edge to the wimpey-ness. Highlights of the album include the almost flawless "Musical Box", which epitomizes the strengths of the progresive rock genre. At times restrained, at times roaring, the song moves through a number of motifs while not getting bogged down in the pretentiousness so many bands fall into. Another song I enjoy is the melancholy "Seven Stones", which uses the old prog gimmick of drowning the listener in Mellotron. I won't complain. I also like the acoustic numbers, "For Absent Friends" and "Harlequin", which may commit the cardinal sin of not being ten minutes long, but are at least not boring. I am not as big a fan of the other "epics" of the album, such as "The Return of the Giant Hogweed" or "Fountain of Salmacis". The first is good enough, if somehow unspectacular, but the second seems to drown in its seriousness. Unfortuantely it seems like many of the neo-prog bands take their cues from this kind of melodrama rather than Genesis' better work. It seems like the band has to walk a tight line between taking itself too seriously, and writing throwaway tunes ("Harold the Barrel") to show it isn't taking itself too seriously! So overall, a somewhat mixed bag. I know the Genesis true believers aren't going to appreciate this opinion, but I think the band got much better in the years to come. review by Sean McFee — undated —

j o e

Nursery Cryme, the third Genesis album, is also the first of the 'classic quintet' line-up, with the entrance of Steve Hackett and Phil Collins. Hackett proved he could sensitively handle the angular acoustic 12-string lines previously provided by the departed Anthony Phillips, but added above this some dazzling electric guitar work the band had never previously known. Collins was clearly the band's best drummer to date, and also lent strong support in the vocal department. The remaining members are also in fine form here (especially Gabriel), as the band presents a rather motley collection: two Genesis classics ("The Musical Box," "The Fountain of Salmacis"), some underappreciated quickies ("Harlequin," "For Absent Friends"), and some enjoyably twisted tracks ("The Return of the Giant Hogweed," "Harold the Barrel"). They would up the ante with these sorts of formulations on subsequent albums. Raise the mallet high, sweet Cynthia... review by Joe McGlinchey — undated —

e r i c

The first recording with Hackett / Collins on board. The strength of the CD lies in three exceptional pieces of music. "The Musical Box" opens with acoustic guitars and vocal and sounds similiar to the music on Trespass. The song gets very aggressive with lots of guitar and keyboard interplay. Collins' drumming is also a welcome addition, and just what the band needed to go to the next level. When all stops towards the end and the song begins to build to its climax, it leads to one of the most dynamic and emotional endings in their history. "For Absent Friends" features Collins on a vocal, with acoustic guitars, very folky sounding. "Return of the Giant Hogweed" is the second great track on this one. Excellent intro, with Banks/Hackett playing unison lines. Another aggressive piece, this song does have a few subtle moments, such as a nice piano section with Hackett soloing and getting a violin type effect. Another incredible ending incorporating Mellotron with the rest of the band moving at full steam. "Seven Stones" is a mellow piece which I rather enjoy, with a dramatic chord scheme at the end. "Harold the Barrel" is a comical song, good for a laugh. "Harlequin" is a mellow, not very memorable song - kind of folky again. "Fountain of Salmacis" has an incredible opening segment featuring a mellotron, another powerful song that builds to a dramatic close.The band really did well for themselves after losing Ant Phillips. The writing is better here, and though the sound at times is reminescent of Trespass, the band really put out an overall better record. review by Eric Porter — undated —