"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.
The seventh stage sees Genesis, in the summer of 1971, retiring at Luxford House to compose the album. there their account of the creative process.
And, after i first concerts of the new formation - Read -, the time has come think seriously about the new album.
But there are some problems like the lack of Anthony Phillips' compositional genius, a notable change for the old band members. For the new ones, however, the challenge is to get used to different writing methods of the components. But location in the beautiful English countryside makes everything less difficult - Read -.
«We compose The Fountain of Salmacis and The Return of the Giant Hogweed. I'm in my element, wallow in creative freedom, in the influx of subscribersgiving ideas, to the extent of ours ambition, in the length of ours songs. I feel excited and liberated, with the guys who encourage me to give the my contribution.
And there is also a fair amount of freedom of handvra. Some compositional sessions involve the gathering around Tony, seated at the goldgano Hammond, with Mike playing the twelve-string guitar and Peter improvisingvisa a sung. I improvise along with him.
Similarly, Peter composes Harold the Barrel on the piano and I'm by his side, singing the second voice and intervening with my ideas, even if my insecurity he yells inside me: "For sure it's all things who have already heard! ".
Phil continues: What I learn composing with the boys is the DON'T never accept the first melodic idea that songs. We need to go deeper, and thuartci. To explore.
(...) Get all those tricks from Peter, Mike and Tony, who are much more composers experts of me.
The natural development of those sessions of composition is that the drummer will sing a song. Not long, and only one, but it is already something. The moment comes when Steve shows up with a guitar piece in pastoral style, and I write the text.
For familiarize the kids with the lyrics and the melody, I open my mouth and throw myself ... a little. I'm not still sure: my voice seems to me debole and hesitant. But they like it, and I like it so good.
Eventually For Absent Friends, with its minute and forty-four seconds, strictly speaking it is more of an interlude than a song. But it's my first piece from lead singer with Genesis. From that moment on, on every record of the Genesis, all voices other than that of Peter, in the background or in the choirs, are mine.
To tell the truth, the others are not very good to sing. And I like to sing on background, from the comfort of the stool behind battery."
Remember Steve Hackett in his autobiography A Genesis in my bed... - Buy it below:
«I wrote the main melodic line of For Absent Friends and Phil and I wrote the lyrics. I felt we were writing our Eleanor Rigby, with images such as abandoned swings, which symbolize the harsh greyness of British life.
I felt that The Fountain Of Salmacis was a beautiful epic song. The text of Greek mythology it was wonderfully evocative of the ancient world in all its mystery e passion.
(...) I felt I was able to significantly add romance to the song and a wide range of extra colors. Once we have recorded that song, the sound waves of the Mellotron they added another exciting one size.
Steve continues: I worked intensively on the guitar parts of The Musical Box with delicate and introspective atmospheres to the huge elegiac ending.
The instrumental parts of the guitar they were innovative. Brian May later claimed that he was influenced by my harmonics. I also used tapping - the technique later explored by Eddie Van Halen, among others - both on that song and in The Return of the Giant Hogweed.»
Rremember Mike Rutherford in its autobiography, The Living Years, Arcana - Buy it below:
«Nursery Cryme was not an easy album to to write. Maybe it was just the new dynamics that made it look so hard to the comparison. If there had been Ant I'm sure it wouldn't be been so slow, but we needed it to take our steps without him to get to next step.
This was especially true for me: hor wrote a song, Harlequin, where I searched to play both my guitar part and Ant's on a single twelve strings, tuning the pairs of strings in harmony. It was quite strange.
Mike continues: Besides The Musical Box we had another one song ready and working before arriving at Crowborough. The Return of the Giant Hogweed had something for all members of the group: fast drums for Phil, trio with Tony and Steve playing harmonies together, and a quirky text by Pete on one plant that had escaped from Kew Gardens.
Seven Stones was just Tony's song. It was an example of what we called Tony's cabaret chords: his big mushy music-hall chords that Phil and I struggled to accept, but he loved it.
Eventually we had to make a rule: Tony could put some three or four per album and no more. (There we always wondered what happened to those that we had refused. Then in 2011 Tony released a wonderful classic album and we found out). "
Remember Peter Gabriel, reported in the book Without Frontiers: The Life and Music of Peter Gabriel by Daryl Easlea, about the text of The Musical Box:
«I imagined my grandparents' house and some of the underlying feelings I had in that place. (...) They didn't have a croquet lawn, but it was a Victorian house, with dark wood paneling, and had an atmosphere that fed the lyrics of that song.
I think sex permeated all. The feeling of constriction, that somehow fertility, vitality and sexuality they were all connected and that the old world of control and order was on the other side of the spectrum. And it was something he had to be broken. "
Remember Tony Banks in the same volume:
«we had lyrics that were ironic, Peter was the best exponent of this. Harold The Barrel is so quirky and out of the box, it tells you "we are not the ELPs". Has been very important to us. We didn't want to that we saw that we took ourselves too seriously».
«After leaving Luxford at the end of the summer, the band went back to the studio with John Anthony. They were al Trident, which cost 60 pounds an hour, but having tried all the songs so well they were able to record pretty fast.
The Genesis they have always been very professional in this sense, they didn't want to waste expensive time in the studio, if it could be avoided.»
And here the story of the Genesis on the occasion of the 2007 reissue:
The other stages of the 50 years of "Nursery Cryme":
Listen to Genesis:
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