And they also recorded mini-concerts at the Belgian TV. On August 7, 1971 the Nursery crymeTour it started right in Belgium, in Brussels, and on December 17th they did the first concert in France, at the Gibus Club in Paris. Here is the poster:
But the Genesis still hasn't set foot firmly outside the UK.
"Just a year and a half ago I was a boy from Hounslow who lived at the end of the subway. And now this more or less international worship. It doesn't matter that in England we almost always play in pubs, or on beer boxes, or both.
Yes, back in the real world we still go to play with a bus hired by a shady company in Kensington. The quality of the bus decides our punctuality at the concert. We often have breakdowns on the street. Even several times. During the trip to Aberystwyth University we break down three times in the first leg, arrive too late to play, and again we walk twice on the way back. "
Others artwork di bootleg with the recording of the Charleroi concert:
From January 22 another minitour, also in Belgium. It starts from the Athenee Royal Du Woluwe St Pierre in Brussels, the day after the Genesis still perform at the Palais des Beaux Arts in Charleroi. On the 24th morning in the Belgian TV studios in Brussels, to then finish the same evening at Trocadero of Liege.
Success is about to come and Belgium is the first nation to understand the musical proposal of Genesis. Even in Italy the number of fans is growing exponentially. And the tour in the peninsula will prove it. But that's another story.
If you have memorabilia related to these concerts to share with us write to Horizons Radio.
The album receives a mixed response from critics (see below) and is not initially a commercial success; it no longer sells than Trespass and does not enter the English rankings until 1974, when it reaches its top at no. 39.
Speaking of the record's success, remember Steve Hackett in his autobiography A Genesis in my bed... - Buy it below and, in addition to the author, help Horizons Genesis - READ HOW:
“At the exit he received a mixed reception. Many loved him, but some criticized him. One critic suggested that that the texts had been fished out of the books. But I believe that if mythology touches you, whatever its root, it connects to feelings and personal experiences. Even if at the beginning it was not hailed as a classic was applauded in retrospect. "
Remember Armando Gallo in Genesis: I Know What I Like - Buy it below:
... that the interest of Charisma he moved on to the Lindisfarne, which suddenly stood becoming a major British attraction, reaching the first place in the charts with the album Fog on the Tyne.
Gallo reports the words of Tony Banks: “It slowly dawned on me that Nursery Cryme wasn't really an improvement over Trespassed and with this in mind I accepted it. I just felt that having lost Ant (Read), we were losing a great deal of strength in the group and we were too young and immature to be able to deal with that drastic change very quickly. I think that that 'Musical Box' and 'Salmacis' are the two driving songs of the album and they were inheritance of the days of Ant».
Ma Peter Gabriel has no second thoughts and remains firm on the sound of the band. He told Disc & Music Echo, reported inWithout Frontiers: The Life and Music of Peter Gabriel by Daryl Easlea- Buy it below:
"Like listeners we have all been bored to death by groups that improvise and do solos of guitar. With us, everyone plays a part predetermined as an orchestra, so basically if someone starts improvising with the own part, it will sound very messy. However, it is very difficult to improvise unless you're playing something a lot simple and we don't play anything much simple".
Keith Emerson is the only one out of balance and, in a full-page Charisma advertisement published in the Melody Maker on November 20, he writes among other things: "This is not the beginning for Genesis nor the end. No bullshit: Their new album is really amazing".
As known, Nursery, on the other hand, is successful in continental Europe, particularly in Italy, where it reaches fourth place in the rankings, and was Silver certified by the British Phonographic Industry in 2013.
On 24 January the group played a thirty-minute set on Belgian television to promote the album. It's not the first time on TV for Genesis (they were on the BBC on 9 January), but it's the first surviving full broadcast on video.
«In Belgium the television studio it had a white bottom, until we crossed it and we settled down and it really wasn't anymore White. They had to hide ours with paint tracks before shooting can begin.
In those days there were always technical problems with television programs. We tried to do what we could to keep it from being a disaster, but we knew that the situation was not favorable.
The technicians had one completely different mentality from that of the roadie, who just want to get their job done right. The TV technicians on the other hand seemed concerned only with getting their lunch breaks. This meant a lot of waiting, or "hurry up and wait", as they used to say then: you came to the studio, you went to do your makeup and then you sat down for three hours wondering what I was doing there. "
Here is the video of the broadcast:
Video track list:
The Fountain Of Salmacis 0:05 - Twilight Alehouse 7:24 - The Musical Box 13:20 - The Return Of The Giant Hogweed 23:00
Nursery Cryme Track List:
All songs are credited to Genesis. The actual authors are listed below.
1. "The Musical Box" Gabriel, Phillips, Rutherford, Banks, Hackett 10:25
2. "For Absent Friends" Hackett, Collins 1:48
3. "The Return of the Giant Hogweed" Gabriel, Banks, Hackett, Rutherford 8:09
1. "Seven Stones" Banks, Hackett 5:08
2. "Harold the Barrel" Gabriel, Collins 3:01
3. "Harlequin" Rutherford, Phillips 2:56
4. "The Fountain of Salmacis" Banks, Gabriel, Rutherford, Hackett 8:02
During the Nursery Cryme Tour, Genesis record Happy the Man, never entered any studio album, but released as a single with Seven Stones as side B.
Daryl Easlea, in the aforementioned volume Without Frontiers, has collected some criticisms published for the release of the album.
"Richard Cromelin of Rolling Stone summed up that the" main problem lies not with the concepts of Genesis, which are, if nothing else, outrageously imaginative and amiably eccentric, nor with their musical structures - long, involved, multi-movement upon which they hang. their narratives - and not even their playing, which gets rather lethargic at times. It's bad production, a murky, distant stew that at best boils quietly when what you desperately need are drum blasts and guitars, the scream of the organ, the abrasive rasp of the vocal cords ".
Rolling Stone finds the "tales of Mother Goose (in children's literature she is an anthropomorphized goose in the role of an old country lady, who tells fairy tales or recites nursery rhymes Ed.) In the ten minutes of 'The Musical Box!".
Village Voice critic Robert Christgau writes sarcastically: "God's wounds! It's a 'rock' version of the Hermaphrodite myth! In quotes, because the organist and the vocalist (influenced by the mime) have the drummer a bit confused! Or maybe it's just the invocation to the Old King Cole! ""
Here are other reviews posted on the web:
BBC Music's Chris Jones praises the two new band members as key to Genesis' artistic success, commenting: "Collins' snappy drums are augmented by his amazing singing ability not unlike Gabriel ... Hackett's arsenal of tapping and swell techniques really broadened the band's palette, giving Tony Banks more room for his watermarks. organ at Delius, not to mention their newly acquired Mellotron ", and" Genesis virtually invented their own genre, Edwardian rock ".
Stephen Thomas Erlewine of AllMusic considers the album highly inhomogeneous, but defines The Musical Box and The Return of the Giant Hogweed as "true masterpieces", and concludes that even if the rest of the album "It's not quite as compelling or as structured, it doesn't matter, because these are the songs that have shown what Genesis can do, and are still the pinnacle of what the band can achieve."
On the album Genesis play:
Tony Banks - Hammond organ, Mellotron, piano, electric piano, 12-string guitar, backing vocals Mike Rutherford - bass, bass pedals, 12-string guitar, backing vocals Peter Gabriel - lead vocal, flute, oboe, bass drum, tambourine Steve Hackett - electric guitar, 12-string guitar Phil Collins - drums, vocals, percussion, lead vocals on "For Absent Friends", co-lead vocals on "Harold the Barrel" and "Harlequin" (uncredited).
The album is taken on tourin the UK, Belgium and Italy, and some dates in France and Germany. The songs played are Happy The Man, Stagnation, Fountain Of Salmacis, Twilight Alehouse, Musical Box, Return Of The Giant Hogweed, Harold The Barrel, Harlequin, The Knife, Bye Bye Johnny (Can Utility And The Coastliners), Going Out To Get You, Get 'Em Out By Friday, Seven Stones.
But this will be the subject of new articles. Come back to visit us.
In Italy it is still there Philips, as for Trespass, to put the album on the market. The distribution takes place in January 1972. The cover is not gatefold and is glossy. Inside the envelope contains the texts. Here she is:
In May 1972 the first and only single from the album: Happy The Man / Seven Stones.
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.
As we have seen in previous installments, joined Genesis Phil Collins - Read - e SteveHackett in the second half of 1970 - Read -.
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."
«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.»
«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). "
«I imagined my grandparents' houseand 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. "
RememberTony 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: