SPELLBINDING 1971 Orig GENESIS NURSERY CRYME PETER GABRIEL PROG MASTERPIECE

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1971 BRITISH PROGRESSIVE CLASSIC!

FANTASTIC ORIGINAL PRESS

GENESIS

"NURSERY CRYME"  

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Germany - (silver & blue) Philips 6369 916

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RARE 1971 first print in gatefold cover on the Philips German label.

Currently there are NO similar (superior Philips) pressings available on eBay or Discogs

Issued in '71 from the UK metal masters, this Philips label issue offers phenomenal audio, noted as the BEST LP pressing for the masterful audio sound enhancing incredible masterpiece theater all over your room!

The third Genesis album finds the band in peak creative form, decidedly their *best* ever recording...

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In 1971, progressive legends Genesis released their third album -- and first true masterpiece -- NURSERY CRYME. The band's sound, songwriting, and lineup had matured and solidified at this point, with definitive Genesis guitarist Steve Hackett steps in for the regrettably stage fright-stricken Anthony Phillips, and superlative percussionist and secondary vocalist Phil Collins replacing John Mayhew on drums. With NURSERY CRYME, the tremendous promise of the excellent forerunner TRESPASS was now made manifest, and appreciative fans were treated to some of the most imaginative and hard-hitting music to yet emerge from the evolving genre of progressive rock.

The MUSIC BOX

Though credited solely to Banks/Collins/Gabriel/Hackett/Rutherford, "The Musical Box" began as an instrumental piece written by Anthony Phillips[2] called "F#". The lyrics are based on a Victorian fairy story written by Gabriel, about two children in a country house. The girl, Cynthia, kills the boy, Henry, by cleaving his head off with a croquet mallet. She later discovers Henry's musical box. When she opens it, "Old King Cole" plays, and Henry returns as a spirit, but starts aging very quickly. This causes him to experience a lifetime's sexual desire in a few moments, and he tries to persuade Cynthia to have sexual intercourse with him. However, the noise causes his nurse to arrive, and she throws the musical box at him, destroying them both. The album cover shows Cynthia holding a croquet mallet, with a few heads lying on the ground.

Collins unusually uses mallets on his drums during the flute solo and Gabriel also plays oboe during the 'Old King Cole' section. Hackett, Banks and Rutherford all play 12-string acoustic guitars. During his brief tenure with the band, Mick Barnard added guitar parts towards the end of the song while in rehearsals, which the band liked. Hackett kept both the guitar parts from Phillips and Barnard, while adding his own pieces to the song as well.

The album has the perfect balance of raw, almost scary power and contrasting airy beauty that makes early Genesis so compelling. For our tastes, each of the seven songs here is a fully-realized winner. Longstanding fan favorite (10:24)"The Musical Box" (which served as the inspiration for the terrific Paul Whitehead cover art), from its ethereal opening, to its explosive ending some ten minutes later, contains all the necessary elements of a quintessential Genesis track: Hackett's guitar is simply spellbinding, Gabriel's voice is by turns delicate and dauntingly powerful, Banks' church-like organ sound is masterful and moving, and Collins' drumming, especially his cymbal work, is particularly adept. Factor in great lyrics, some nice flute from Gabriel, and Rutherford's room-shaking bass and bass pedals, and you have all that one could reasonably desire in a classic Genesis track!

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After the thunderous climax of "The Musical Box," the Collins-sung ballad "For Absent Friends" offers a welcome, calming and nostalgic respite, admirably showcasing the new drummer's considerable vocal abilities. Then, the science fiction-themed "The Return of the Giant Hogweed" witnesses a return to grandiose song structure and creepy, storytelling lyrics, as ambulatory, revenge-bent predatory plants strive to exterminate the human race that had foolishly sought to "enslave" them.

The next track, "Seven Stones," is a dignified and burnished gem of a song which, replete with mellotron, deals with deliverance from earthly danger through the supernatural agency of seeming chance. Collins' drums, and Rutherford's bass are notably good here.

"Harold the Barrel" reveals a Genesis that are able to combine black humour and pathos, as Gabriel and company don multiple personas to tell the tragi-comic tale of a browbeaten restaurateur who manages to retain his dignity only through effecting his own demise.

The following song, the lovely and sparkling "Harlequin," has long been a personal favourite. This shorter piece finds Gabriel and Collins harmonizing in very nice fashion atop a simple and pretty tune founded upon twelve string, and tastefully understated bass, keyboards and drums. Beautiful!

Finally, on "The Fountain of Salmacis," the band delve into the fertile inspirational ground of Greek mythology, relating how, through divine intervention, the demi-god Hermaphroditus and a lustful naiad (or water nymph) were "strangely merged -- forever to be joined as one," thus explaining the origins of the dual-sexed biological oddities known to science as hermaphrodites. The lyrics are pure poetry, while the music, with sweeping mellotron and percussive bass, imparts a fittingly epic feel, and brings this terrific recording to a majestic close

- Tony Banks / organ, mellotron, piano, electric piano, 12 string guitar, voices

- Phil Collins / drums, voices, percussion, lead vocals(2)

- Peter Gabriel / lead voice, flute, tambourine, bass drum

- Steve Hackett / electric and 12 string guitar

- Mike Rutherford / bass guitar, bass pedals, acoustic and 12 string guitar, backing vocals

The Musical Box (10:24)

For Absent Friends (1:44)

The Return Of The Giant Hogweed (8:10)

Seven Stones (5:10)

Harold The Barrel (2:55)

Harlequin (2:52)

The Fountain Of Salmacis (7:54)

CONDITION: The cover: Rated:"EX"(excellent) the 1971 original gatefold is in strong shape, only light visible use is detectable and altogether stands as a worthy collection copy. there is NO split seams, NO bends, NO writing and serves as a final collection copy!

The vinyl: Rated: near M-and plays M- (tested, tracks perfect with no surface) brilliant wide range sound, best pressing audio wise heard! Both sides remain full of bright shine. Both first pressing blue & silver Philips labels are also clean, no writing, dirt or soil

GENESIS

"NURSERY CRYME"