Retro Reviews: Genesis: Selling England By The Pound

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Genesis: Selling England By The Pound (1973)

****

Producers: John Burns, Genesis

Musicians: Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford, Phil Collins

Songs and Music: Dancing With The Moonlit Knight, I Know What I Like (In Your Wardrobe), Firth of Fifth, More Fool Me, The Battle of Epping Forest, The Cinema Show, Aisle Of Plenty

Reviewed By Matthew Anthony Allair

    First off, I’d like to disagree with some of my peers who suggest that Peter Gabriel is the sole visionary of the band. That he acts like a Svengali who controls the direction of Genesis. What I see from the credits are five immensely talented individuals, that are equals. This isn’t to diminish Peter’s talents as a vocalist or flutist, indeed, he is unique as a stage performer and as an idea man, he keeps the audience engaged. I don’t buy into the idea that Messiers Hackett, Banks, Rutherford or Collins count for very little, I think they do, and the continue to create some of the best Progressive leaning material out there. After Nursery Cryme and Foxtrot, this line up has settled into such a groove, it just leaves you curious with where they will go next.

    The opening track begins with some A Capella by Gabriel that sounds like an English hymn in “Dancing In The Moonlit Knight” before it settles into the soft acoustic number, then shifts minutes later into some playful figures from Gabriel and Hackett, the heavier fast section has some real life with Hackett and Banks’ solos. A lot has happened by the halfway point, and the grandeur of Bank’s choir mellotron and Garbriel’s vocal drives the narrative in the other half. The track does paint a picture of medieval chivalry and quests. It's obvious why “I Know What I Like (In Your Wardrobe)” is the perennial single, after an ominous synth drone, it has a catchy verse with the sitar figure, then strong chorus. In a lot of respects, the piano driven “Firth Of Fifth” is astonishing even before the full band enters for the vocal section, the somber section has a nice Gabriel flute solo, Banks reinstates the opening with the full band and impressive synth leads, Hackett’s reinstatement of the other section features some moody lead work. “More Fool Me” is the Collins vocal showcase, an acoustic ballad, Phil’s vocal approach different from Gabriel, his approach is more soulful and accessible, and it will be curious to see if he contributes further.

    “The Battle of Epping Forest” is less an historical reference and more a satire of British class culture. Gabriel has gotten better at taking on various characters vocally separate from the stage costumes, Banks and Hackett’s lead work in quite good, the opening part offers some fife and drums, with Gabriel playing some clever flute, the main body of the song has some real craft musically. Collins drumming is inventive and interesting in several sections. “After The Ordeal” is a baroque pop instrumental, nice acoustic piano and guitar interplay before the full band comes in at the mid-point. The resolve has some good lead guitar harmony from Hackett and Gabriel’s flute plays off of it nicely, with an album that already has some long features. 

    “The Cinema Show” might be the tour de force of the album, after a lovely, introspective opening, there are moments several minutes in where Gabriel is able to make his flute sound nearly like an oboe. The three-guitar interplay with Rutherford, Hackett and Banks has always been a strong feature of the band, and it remains true here. The Gabriel and Collins vocal blend with the backgrounds remain strong on this one. The last half of the instrumental section is evocative and, once again, some good and clever drumming from Collins. The brief “Aisle Of Plenty” just seems to be a restatement of ideas from the album.

    Overall, the production on the album and the mixes seems significantly better and more present than on Foxtrot and Nursery Cryme. The band has shown some new growth and it all hints at exciting possibilities for the next album. It will be interesting to see where they go next. Recommended.