Genesis had already been around the block a little bit by 1971. They had just released their not half-bad album Trespass, which saw the group steering far more into a progressive rock direction, away from the baroque bullshit of their all-bad '69 debut From Genesis to Revelation. After their second album, guitarist Anthony Phillips decided to leave the group, an event so chaotic that Genesis almost split up. Of course, they didn't, and this album shows us the first major lineup change of the group - drummer John Mayhew was replaced with the one and only Phil Collins, and a Melody Maker ad that advertised an "imaginative guitarist seeking involvement with receptive musicians," the group recruited Steve Hackett in early '71. The classic Genesis line-up was established, and their first album with this group of musicians shows. A huge step forward from Trespass in ideas, instrumentation, and overall creativity. A very fun, consistently interesting album from Genesis, and one that best showcases the group's capabilities up to this point.
The new line-up of Genesis adds a new flair and style that was lacking in their previous albums. It's already a good sign that both Steve Hackett and Phil Collins are proficient musicians - Hackett's playing is remarkably versatile, whether he's blasting out solos like his life depends on it on moments like "The Musical Box" or he's playing gentle finger-picking on moments like "For Absent Friends," and Collins is similarly tight with his smooth fills and crashing rhythms. Coupled with these new weapons in the group's arsenal (including the fact that every member is more than capable of writing their own material), Genesis shows its humorous side, particularly with Peter Gabriel's "Return of the Giant Hogweed." The song is a humorous tale of man-killing Giant Hogweed, implying that the plant is able to destroy the human race - while the actual plant is toxic, this extreme take on it serves as a very entertaining conclusion to the album's first half. The compositions are decisively more full and complex than anything they've done prior, and the result is a pretty filling set of songs - concise, too, at under 40 minutes.
These tropes that Genesis find themselves in with Nursery Cyme continue throughout the record, such as in the black comedy of "Harold the Barrel," a humorous take on a man's attempted suicide. It's this song that also makes it apparent how Phil Collins and Peter Gabriel have incredibly similar voices - they duet throughout the entire song, but good luck telling who's who. The album's soaring conclusion of "The Fountain of Salmacis" is as bold and enjoyable of an ending as "The Musical Box" is of an opener, and it's the new lineup at their most punching and powerful. Keyboardist Tony Banks also gets some great time to shine on this track. Side B opener "Seven Stones" is a beautifully mournful track, and one that fits excellently in line with the material on the rest of the album, even if it isn't quite as special as other high watermarks like "Musical Box" or "Hogweed."
Genesis' third album shows that maybe third time really is the charm. A new lineup finally lets the group shake the shackles off and roam free with theatrics, long-winded and impressive instrumentation, and an undeniable charm and humor - they may not be as funny as Jethro Tull, but they're having fun. Nursery Cryme began what many would consider a gold age of Genesis, and it shows in the heightened quality of the material on this record. Certainly the best I've heard from them yet, and I find myself far more excited to experience more from the group in the future. In the year of prog rock's realization, Genesis can stake their claim to having a classic record.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to Nursery Cryme.
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