NURSERY CRYME

Chilling, heartpounding, reflective, hysterical, and seriously affecting, Nursery Cryme could very well be Genesis's greatest concept album. One thing the pre-Three line up always managed to succeed at was to create a consistent, unified mood across each album. Whether it's the colourful street theatre support to Supper's Ready, or the collection of fond farewell songs which make up "Wind & Wuthering", Genesis always seemed to know where each note fitted in respect to the entire piece. IMO, Nursery Cryme is the best example of this. The haunting, sepia tinted atmosphere it generates across 7 beautifully crafted songs is both powerful and moving. Thousands of just words have been written about the album's three heavyweights, so there is no more I feel I can add to them (only to say: NASA, if you're building another Voyager and you need some proper examples of recorded excellence.).

Discerning listener, listen closely for there are other gems here.

For Absent Friends. Phil Collins's vocal debut in the canon is one of his most tender readings. Two characters find comfort in the most uncomplicated things; things easily taken for granted. I especially love the line "the roundabout still turning, ahead they see a small girl on her way home with a pram". Who indeed knows where the time goes? Mike Rutherford provides a suitably gentle 12-string accompaniment in this short pensive moment. It's placement between two mighty juggernauts only adds to it's poignancy.

Seven Stones. A simple descending mellotron introduces this fable of chance and random events, themes very close to Peter Gabriel's philosophy. Like "For Absent Friends" it is a song about underestimating the seemingly innocuous. The Tinker, the Captain and the Farmer place their fate in "the old man's guide". But the old man has no more idea than they do. Faith in chance is the only chance they have. The old man may be the instrument of this, but he is just as subject to it as everybody else. A respectful Hackett and Banks battle it out for the coda in appropriately brooding fashion. Until the last drifting mellotron chord gives way to some gloriously sizzling cymbal.

Harold the Barrel. More so than Tommy or Joseph and his Technicolor whatever, Harold the Barrel is the most successfully executed rock opera ever put to vinyl. It's mercifully short, all of it's dozen or characters are sympathetic and hilariously portrayed with complete gusto by the cast, it hurtles along at a breathless pace, is witty, inescapably charming and black, and finishes with a bang (literally). To these ears it also contains the absolute highlight of the whole album. When Gabriel and Banks break into "If I was many miles from here.." grown men weep. Quite simply this is most fun packed 3 minutes you can have with your clothes on.

Harlequin. Just before the merry funsters chuck you into the Fountain, along comes Harlequin, a tinkering 12-string fest that initially sounds like Crosby, Stills, and Gabriel. Collins is prominent too offering some sweet accompaniment on percussion and falsetto. This is a delightfully unassuming number of rekindled memories and far off summers. It complements "For Absent Friends" perfectly both in subject matter and placing, by being it's more direct and surreal half brother. The undying image of the Harlequin dancing in the character's memories is colourful, inventive, joyous and very evocative.

Very much like the album itself.

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