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Rating:
I hope those who have already written about this historic album with critical thoroughness won't hold it against me; and above all, I hope those (many, I believe) who consider "Selling England" the band's absolute masterpiece won't hold it against me, since I only give it 4 ****.
The fact is, I personally adore this work, but I feel compelled to relate it to the others: and since I consider "The Lamb" the absolute pinnacle of Gabriel and company's musical artistry, I can't place "Selling England" on the same level. But everything is relative, and know that my 4 is worth double when compared to many other records of the genre and of that period.
So... right from the start, "Selling England" "betrays" its vocation and nature, which has roots in folk and mythological scents before becoming a metaphor for a sociopolitical and cultural condition that the band's nation of origin seemed to suffer from. The first verses of the splendid "Dancing With The Moonlight Knight" leave no doubt about it, given Gabriel's citations and lyrical inventions that don't disappoint the expectations created by such a narrative and legendary title. The Moonlight Knight unfolds like a fable-like and epic fresco between the unifaun (a Gabriel-created creature that mixes faun and unicorn) and the Queen of May Be, singing the fate of a land that has become prey to commerce and lost its nobler ambitions.
A real ride through misty atmospheres, historical horizons, and moments of pathos that stir strong emotions, this long song immediately puts all five artists' technical abilities to the test and plays its aces fearlessly, celebrating the Genesis-thought with maturity and cohesion that the previous "Foxtrot" lacked. Gabriel performs with heartfelt passion, and the others follow, weaving impressive arpeggios and riffs, with an alternation of lyrical troubadour-like suspensions and impetuous rocking percussion, until the delicate and nebulous closure that drags into a perhaps deluded, but no less incisive dimension.
"I know what I like", following, brings us back to earth for a moment: bizarre and nonsensical lyrics, familiar and playful atmospheres, less drama and more playful citation. A splendid melodic poem whose chorus is one of the peaks of the Genesis career, certainly destined to inspire subsequent similar compositions of a more commercial cut (even in duration and structure). Indeed, "I know what I like" is the only "chart-topping" track on the entire album and remains a classic even outside the fans' culture. Unforgettably presented by Gabriel on stage with a reversed flower crown on his head and long wheat spikes in his mouth.
Then "Firth of Fifth", a cryptic and enigmatic parabolic excursus - in the sense of a parable - with many biblical references and a compensation between classical and choral partitions and more minimal, shadowy passages. Piano takes the spotlight and the flute is still prominent, before the almost definitive sinking of "The Lamb" (where the flute appears minimally). A beautiful manual test by Tony Banks, a beautiful development of the central theme woven on various instruments without being prolix: from solo flute to piano, then opening touchingly on Hackett's strings so poignant it gives the impression that the piece will end in a major tone.
A classic too, although stretched in the vocal parts.
"More Fool Me", which closed side A on vinyl, remains an emblematic episode - for better or worse - of the Genesis evolution, practically years before the band would experience not only the defection of Peter Gabriel and later Steve Hackett but also a decisive shift towards a break with prog-rock canons to embrace Phil Collins' melodically-domesticated cause. The latter, by chance, interprets here for the first time a song as an absolute soloist, meowing words of mournful sentiment on a base of timid acoustic strumming.
A not happy track, although defended by some fans, with more historical than artistic value, certainly not matching the creative depth of the rest of the album. Ultimately ahead of its time, but in my view out of place in that context.
"The Battle Of Epping Forest" is the relentless musical depiction of an episode that at the time interested British news, namely the "organized" clash between two youth gangs in the aforementioned Epping forest. With a highly amused attitude and following a precise narrative schema, Gabriel sings the "heroic" deeds of the event's protagonists, dwelling perhaps dauntingly for those not well-versed in English and forcing the rest of the band to navigate through many inserts and refrains that over the ample 12 minutes of the piece end up slightly weighing the whole down.
It has always seemed to me a kind of divertissement for the enjoyment of the English and a certain typically British cultural approach, since this song does not provide particularly profound evocative thrills. On the one hand, the Genesis trademark is there; on the other, there's the impression that it's someone else's piece reinvented by Banks and Rutherford; with a mood more inclined to "Foxtrot" (especially to "Get'em Out By Friday") than to the more lyrical moments of "Selling England."
"After the Ordeal" is an instrumental written by Hackett that returns to display that epic and madrigal dimension of the album's first part, with a profusion of arpeggios and classical atmospheres closing on respectable writing, from which Gabriel's flute re-emerges. Not a fundamental track, but certainly an emotional reset that acts as a bridge between Epping's excesses and the great work of "The Cinema Show." This latter undoubtedly an important moment not only of the album but of the entire period with Peter Gabriel.
Beginning with a sentimental delicacy typical of certain ballads of theirs and immediately playing with elements and characters that become symbols and metaphors (Romeo and Juliet) of a time - ours - where lovers are no less tormented than those from many centuries ago, the piece then develops on a significant intertwining of arpeggios that recall a fabulous and epic dimension. Bringing Tiresias into play and playing on sharp literary and mythological ambiguities that take sexuality to a probably almost cryptic level for those not deeply familiar with Gabriel's writing.
Prolonging seamlessly with "Aisle Of Plenty" which closes the album, "The Cinema Show" touches chords that even the Genesis of "The Lamb" could no longer graze, whether constrained by the emotional state of Rael's story or progressively distanced from their internal balances. And so, the long instrumental that preludes the sad announcement of England sold to gold remains the most spontaneous and authentic testament of their original group career, with a succession of phrases that engage all the musicians without ever detaching from the typical style of the sound they had forged and chiseled from '69 onwards. Great Banks, great Collins, great Hackett, great Rutherford: succeeding in not being prolix and self-citing in a score that could have become a real trap.
The sad closure of the record hears Gabriel's choked voice reprising the opening Knight melodies, while ominous clouds gather over England's skies and the characters who populated the story dissipate like ghosts among the mists, leaving room for the market's logic, consumerism, and politics that no longer have anything epic and glorious.
Tracklist Lyrics and Samples
03 Firth of Fifth (09:37)
The path is clear, though no eyes can see
The course laid down long before
And so with gods and men, the sheep remain inside their pen
Though many times they've seen the way to leave
He rides majestic, past homes of men
Who care not or gaze with joy
To see reflected there, the trees, the sky, the lily fair
The scene of death is lying just below
The mountains cut off the town from view
Like a cancer growth is removed by skill
Let it be revealed
A waterfall, his madrigal
An inland sea, his symphony
Undinal songs urge the sailors on
'Till lured by the siren's cry...
Now as the river dissolve in sea
So Neptune has claimed another soul
And so with gods and men, the sheep remain inside their pen
Until the shepherd leads his flock away
The sands of time were eroded by
The river of constant change
04 More Fool Me (03:11)
Here am I
Who while away the mornings
Since you've gone
Too long have I lain alone
Not knowing which way to turn.
And there you are
Quite sure that you were right
Knowing full well
That I'd be the first one
To go down.
And you'd be the one who was laughing
Except when things weren't going your way
And the lady would say that she'd had enough
Wandering around on her own.
The day you left
Well I think you knew you'd not be back
Well at least it would seem that way
Because you never said goodbye.
But when it comes round to you and me
I'm sure it will work out alright.
And you'd be the one who was laughing
And giving me something I don't need
And you know, I'd always hold you and keep you warm
Oh! more fool me.
But when it comes
Round to you and me
I ask myself
Do I really believe
In your love.
And yes, I'm sure it will work out alright.
05 The Battle of Epping Forest (11:48)
(Taken from a news story concerning two rival gangs fighting
over East-End Protection rights)
Along the Forest Road, there's hundreds of cars - luxury cars.
Each has got its load of convertible bars, cutlery cars - superscars!
For today is the day when they sort it out, sort it out,
'cause they disagree on a gangland boundary.
Yes, they disagree on a gangland boundary.
There's Willy Wright and his boys -
one helluva noise, that's Billy's boys!
With fully-fashioned mugs, that's Little John's thugs,
the Barking Slugs - supersmugs!
For today is the day when they sort it out, sort it out,
these Christian soldiers fight to protect the poor.
East end heroes got to score in...
the Battle of Epping Forest,
it's the Battle of Epping Forest,
right outside your door.
You ain't seen nothing like it.
No, you ain't seen nothing like it,
not since the Civil War.
Coming over the hill are the boys of Bill,
and Johnny's lads stand very still.
With the thumpire's shout, they all start to clout
- there's no guns in this gentleman's bout.
Georgie moves in on the outside left
with a chain flying round his head;
and Harold Demure, from Art Literature,
nips up the nearest tree.
(Here come the cavalry!)
Admidst the battle roar,
accountants keep the score: 10-4.
They've never been alone, after getting a radiophone.
The bluebells are ringing for Sweetmeal Sam, real ham,
handing out bread and jam just like any picnic.
It's 5-4 on William Wright; he made his pile on Derby night.
When Billy was a kid, walking the streets,
the other kids hid - so they did!
Now, after working hard in security trade, he's got it made.
The shops that need aid are those that haven't paid.
"I do my double-show quick!" said Mick the Prick, fresh out the nick.
"I sell cheap holiday. The minute they leave,
then a visit I pay - and does it pay!"
And his friend, Liquid Len by name,
of Wine, Women and Wandsworth fame,
said "I'm breaking the legs of the bastard that got me framed!"
They called me the Reverend when I entered the Church unstained;
my employers have changed but the name has remained.
It all began when I went on a tour,
hoping to find some furniture.
I followed a sign - it said "Beautiful Chest".
It led to a lady who showed me her best.
She was taken by surprise when I quickly closed my eyes.
So she rang the bell, and quick as hell
Bob the Nob came out on his job
to see what the trouble was.
"Louise, is the Reverend hard to please?"
"You're telling me!"
"Perhaps, sir, if it's not too late.
we could interest you in our Staffordshire plate?"
"Oh no, not me, I'm a man of repute."
But the Devil caught hold of my soul and a voice called out "Shoot!"
To save my steeple, I visited people;
for this I'd gone when I met Little John.
His name came, I understood,
when the judge said "You're a robbing hood."
He told me of his strange foundation,
conceived on sight of the Woodstock nation;
he'd had to hide his reputation.
When poor, 'twas salvation from door to door.
But now, with a pin-up guru every week,
it's Love, Peace & Truth Incorporated for all who seek.
He employed me as a karmacanic, with overall charms.
His hands were then fit to receive, receive alms.
That's why we're in
the Battle of Epping Forest,
it's the Battle of Epping Forest,
right outside your door.
We guard your souls for peanuts,
and we guard your shops and houses
for just a little more.
In with a left hook is the Bethnal Green Butcher,
but he's countered on the right by Mick's chain-gang fight,
and Liquid Len, with his smashed bottle men,
is lobbing Bob the Nob across the gob.
With his kissar in a mess, Bob seems under stress,
but Jones the Jug hits Len right in the mug;
and Harold Demure, who's still not quite sure,
fires acorns from out of his sling.
(Here come the cavalry!)
Up, up above the crowd,
inside their Silver Cloud, done proud,
the bold and brazen brass, seen darkly through the glass.
The butler's got jam on his Rolls; Roy doles out the lot,
with tea from a silver pot just like any picnic.
Along the Forest Road, it's the end of the day
and the Clouds roll away.
Each has got its load - they'll come out for the count
at the break-in of day.
When the limos return for their final review, it's all thru'
- all they can see is the morning goo.
"There's no-one left alive - must be draw."
So the Blackcap Barons toss a coin to settle the score.
07 The Cinema Show (11:05)
Home from work our juliet
Clears her morning meal.
She dabs her skin with pretty smells
Concealing to appeal.
I will make my bed,
She said, but turned to go.
Can she be late for her cinema show?
Romeo locks his basement flat,
And scurries up the stair.
With head held high and floral tie,
A weekend millionaire.
I will make my bed
With her tonight, he cries.
Can he fail armed with his chocolate surprise?
Take a little trip back with father tiresias,
Listen to the old one speak of all he has lived through.
I have crossed between the poles, for me there's no mystery.
Once a man, like the sea I raged,
Once a woman, like the earth I gave.
But there is in fact more earth than sea.
Take a little trip back with father tiresias,
Listen to the old one speak of all he has lived through.
I have crossed between the poles, for me there's no mystery.
Once a man, like the sea I raged,
Once a woman, like the earth I gave.
But there is in fact more earth than sea.
08 Aisle of Plenty (01:32)
"I don't belong here", said old Tessa out loud.
"Easy, love, there's the Safe Way Home."
- thankful for her Fine Fair discount, Tess Co-operates
Still alone in o-hell-o
- see the deadly nightshade grow
ENGLISH RIBS OF BEEF CUT DOWN TO 47p LB
PEEK FREANS FAMILY ASSORTED FROM 17 1/2 to 12
FAIRY LIQUID GIANT - SLASHED FROM 20p TO 17 1/2
TABLE JELLYS AT 4p EACH
ANCHOR BUTTER DOWN TO 11p FOR A 1/2
BIRDS EYE DAIRY CREAM SPONGE ON OFFER THIS WEEK.
It's Scrambled Eggs.
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Other reviews
By Dario Pierini
The piano intro alone is worth the price of the record.
The unmistakable dreamy and romantic atmosphere, with a medieval and baroque flavor, makes them at once so modern and ancient, so innovative and tied to tradition.
By rebel1
The history of music will never be able to forget pieces like "Dancing With The Moonlit Knight" and "Firth Of Fifth."
Undoubtedly one of the most extraordinary albums of the immense Genesis (clearly, with the presence of Gabriel and Hackett).
By lukather88
"Selling England By The Pound is an extraordinary album that perfectly represents progressive rock alongside King Crimson and Yes."
"Hackett’s guitar solo on 'Firth Of Fifth' is a gem perhaps unparalleled in progressive rock, leaving one enchanted and lulled into a dreamlike dimension."
By XBend
"53 minutes of real delight, of pure art exposed by those who know how to do art well."
"It marks the absolute consecration of the group that had already made waves with monumental works."
By SydBarrett96
"Selling England by The Pound remains and will forever remain the Masterpiece."
"Consolidates them as a legendary band in the rock Olympus. Immense, deep, intense."
