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Genesis: Selling England by the Pound

 A l b u m   D e t a i l s


Label: Virgin Records
Released: 1973
Time:
 53:50
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********** (10/10)
Media type: CD
Web address: www.worldofgenesis.com
Appears with: Peter Gabriel, Phil Collins, Steven Hackett, Mike + The Mechanics, Tony Banks, Ray Wilson
Purchase date: 1987
Price in €: 14,99



 S o n g s ,   T r a c k s


[1] Dancing with the Moonlit Knight (Banks/Collins/Gabriel/Hackett/Rutherford) - 8:02
[2] I Know What I Like [In Your Wardrobe] (Banks/Collins/Gabriel/Hackett/Rutherford) - 4:03
[3] Firth of Fifth (Banks/Collins/Gabriel/Hackett/Rutherford) - 9:36
[4] More Fool Me (Banks/Collins/Gabriel/Hackett/Rutherford) - 3:10
[5] Battle of Epping Forest (Banks/Collins/Gabriel/Hackett/Rutherford) - 11:43
[6] After the Ordeal (Banks/Collins/Gabriel/Hackett/Rutherford) - 4:07
[7] Cinema Show Aisle of Plenty (Banks/Collins/Gabriel/Hackett/Rutherford) - 12:40

 A r t i s t s ,   P e r s o n n e l


Steve Hackett - Electric Guitar, Nylon Guitar, Producer
Peter Gabriel - Vocals, Flute, Percussion, Oboe, Producer
Tony Banks - Keyboards, 12-String Guitar, Producer
Phil Collins - Drums, Percussion, Vocal, Lead Vocals on [4], Producer
Mike Rutherford - Bass, 12-String Guitar, Electric Sitar, Producer

John Burns - Producer
Betty Swanwick - Paintings

 C o m m e n t s ,   N o t e s


LP:
UK Charisma FC-6060: (Album contains an insert with lyrics and a photo of the band)
UK Charisma CAS 1074: (contains insert with lyrics, no band photo)
US Atlantic SD-19277: (insert with lyrics)
Germany Charisma 6369 944
Virgin/Charisma 206 919-610 printed in W. Germany
Japan Charisma RJ-7304
Cassette:
US Atlantic CS 19277: (blank inside)
UK Virgin CHCMC 46: re-issue
CD:
UK Virgin CASCD-1074: 1985 (AAD, lyrics included in booklet)
US Atlantic atl19277: July 1987 (AAD, no lyrics)
US Atlantic 82675-2: 1994 (remastered, w/lyrics in booklet)



By the Ezra Pound, no doubt -- seriously, the influence of T.S. Eliot and other early 20th-century literary figures crops up throughout the opening and closing portions of this album, with the rest of the songs given over to more conventional subject matter. The original group's strongest single album and, for those not predisposed to enjoy the double-disc Lamb Lies Down on Broadway, the peak of their output. The production is note-perfect, and not an instrument is out of place. The Definitive Remastered Edition from 1996 is a significant improvement, in sound and packaging, over the earlier version from Atlantic.

Bruce Eder, All-Music Guide



"One of the best examples of '70s British art-rock, this album incorporates a variety of styles, showcasing the musical dexterity of the players as well as the lyrics to story-songs like "I Know What I Like (In Your Wardrobe)", the first Genesis British hit."

All-Music Guide *****



Oft überschattet von seinem direkten Vorgänger, The Lamb Lies Down On Broadway, enthält dieses Album von 1974 solche Livekonzert-Lieblinge wie das üppige "Firth Of Forth" oder das Epos "Cinema Show". Auch findet sich hier der erste Hit der Gruppe in England, "I Know What I Like (In Your Wardrobe)". Gabriels Vorliebe für düsterste Dramen und kryptische Texte ist fest eingebunden in einige der atemberaubendsten Arrangements: Steve Hacketts violinenartige Gitarrentöne auf "Firth Of Forth", Tony Banks Synthesizer-Arpeggios auf "The Battle Of Epping Forest", dazu Phil Collins knallhartes, solides Schlagzeug. Collins feiert hier übrigens sein Debüt als Leadsänger auf dem akustischen "More Fool Me". Die dichten Strukturen und gewagten Texte werden wohl einige Genesis-Fans der späteren Jahre vor den Kopf stoßen (man denke nur an das niedliche "Abacab"), aber dieses Album ist durchaus einen Besuch wert.

James Rotondi, Amazon.de



I was prompted by a recent conversation about "The Battle Of Epping Forest" to give this disk another listen. I hadn't really given it that much attention, in comparison to Nursery Crime or Foxtrot. Listening to it again I find there is quite a bit to like about it. There are two aspects to Genesis on this outing - the serious and the humorous. The latter isn't in the slapstick, played for laughs kind of way, but more in the "mildly amusing, but making a point" kind of way. The humorous aspects come in two tracks, the classic "hit" "I Know What I Like (In Your Wardrobe)" and "The Battle Of Epping Forest." "I Know What I Like…" is much more effective than "Battle," though the humour is more in the presentation than in the lyrics themselves. Drawing vivid characterizations of the people around him, the "lawnmower" compares his lot in life to theirs, presumably the pompous upper class (or so they'd like to think), and finds he likes being the lawnmower (there is more than that being said, of course). This is done with one- or two-line lyrics. The bass and percussion bounce along at the end (along with sitar, I think) where Gabriel delivers the lyric: "Me, I'm just a lawnmower - you can tell me by the way I walk."

On "The Battle Of Epping Forest," which, it is said, is based on "a news story concerning two rival gangs fighting over East-End Protection rights." The humor quotient is higher here, based more on lyrical word play, and over-the-top characterizations. This is no more apparent than on "The Reverend" section of the song…which is a bit of ribaldry, as well (instead of reprinting the lyrics, I'll point you to the Genesis - The Way They Walk site). While the music is quite good - there is a piano part by Banks that I quite like that has a feel of Italy…somewhat stereotypical, of course, but I can picture an accordion player in a small café. But it is ever so brief that it isn't allowed to go anywhere. There are other snippets of music that are interesting, but get buried underneath Gabriel's vocals. Oddly, it wasn't until hearing this track that I heard just how much Marillion did sound like Genesis, specifically how much Fish mimicked Gabriel. At any rate "Battle" is a bit overlong, I feel, and not really Genesis at their best. In fact, had "Battle…" been presented with the same level of seriousness as the rest of the album, or the balance of "I Know What I Like…" it would be far more successful.

The other aspect is the serious, and spans the rest of the album. "Dancing With The Moonlit Knight" opens Selling England By The Pound, and like other Genesis classics (and not so classic), it runs through numerous mood and tempo shifts. My favourite sections of this track are the pastoral intro that begins with Steve Hackett's guitar and Tony Banks' keys supporting Peter Gabriel's vocals. I also like Hackett's first solo bit. The section that surrounds it is quite muscular, with Phil Collins' powerful drumming and Mike Rutherford's thrumming bass. For the outro, Banks entertains with light, lyrical notes over gentle washes that evoke that a crystal clear night, where the air is crisp, and night full of possibility. The whole track itself it's quite interesting, but these are the highlight parts for me. If there is a Genesis pattern, this is it, at least where opening tracks are concerned. Even if the instrumentation is different, compare it to "Watcher..." and "The Musical Box."

The true highlight of the album, and the main reason to recommend it, is "Firth Of Fifth." This is my favourite track from this album. From the opening solo piano, through it's shifting tempos, to the beautiful interplay of guitar and keys, percussion, and voice. It is simply a beautiful piece of music. I'm no musicologist, so I can't go over the technical details of the track (though Ed Macan does a fine job of this in his book, Rocking The Classics, which I highly recommend), but the whole presentation of the track is spectacular. There is no "over-the-top" silliness, as one finds later on "Battle Of Epping Forest," for example; no theatrics. Just an elegant, sweeping, symphonic track. Perhaps the best balance of vocals and instruments of any Genesis track. There is the same sense of seriousness as on, say, "The Musical Box" or "Watcher Of The Skies." There is a part at the beginning that sounds a bit like an earlier Genesis track, "Seven Stones"

Between this and "The Battle Of Epping Forest" comes this uncharacteristic track with Collins on lead vocals. I thought of, variously, James Taylor and America. And, of course, solo Collins. This is a very light and airy track, just vocals and acoustic guitar; it's a nice track, but far from what I would think of from Genesis. The other often-quoted song from this album is "The Cinema Show."

Reviewed by: Stephanie Sollow
www.progressiveworld.net - Your Ultimate Guide To Progressive Music



Phil Collins: I don't know how I started singing lead. I did sing a song on 'Nursery Cryme', "For Absent Friends." My big vocal debut - it was only two minutes long. I did a lot of singing with Peter, and he thought it was a good idea too. As time went, Pete and I did most of the vocals. On 'The Lamb Lies Down on Broadway' I did all the backing vocals and Pete did the lead vocals. On a lot of songs, like "Counting Out Time" and "Harold the Barrel," we're singing together.

Tony Banks: This is the first album where we actually had a writing period. We took about two months off to write it.

Mike Rutherford: Bloody hard to write, too, wasn't it?

Tony Banks: To me it was the most depressing time of all. We had two bits that sounded good: one was a song called "The Block," which ended up as part of "Epping Forest"; the other ended up being "Firth of Fifth." We used to play those every day, and they sounded pretty good. They started sounding less good as we played them more and more, 'cause we couldn't come up with any ideas. We were really stuck for ideas.

Mike Rutherford: The funny thing was we thought we had the bulk of it written. "Cinema Show" was put on the end, and that became one of the best things - one example you shouldn't force writing. The first couple of weeks we did OK, but the next month was grim.

Tony Banks: It was one of our unsatisfying moments, from my point of view. I remember during the writing you [to Rutherford] got particularly depressed.

Mike Rutherford: It was an effort.

Phil Collins: Maybe that was the beginning of my depression, wanting to start with Brand X. At that time before 'Lamb', I actually started feeling I wasn't able to play.

Tony Banks: We all thought about leaving the band, almost every week, in different ways. That was one of the worst times.

Mike Rutherford: If we had that again, I think we'd knock it on the head. We were forcing it.

Tony Banks: Production-Wise, it was our first album with any semblance of a sound to it. On all the rest we were very unsure about the sound.

Mike Rutherford: To be honest, until we got Dave Hentschel [Trick Of The Tail], the studio was always a struggle. I enjoyed recording, but only to a point.
 

 L y r i c s


Dancing With The Moonlit Knight

"Can you tell me where my country lies?"
said the unifaun to his true love's eyes.
"It lies with me!" cried the Queen of Maybe
- for her merchandise, he traded in his prize.

   "Paper late!" cried a voice in the crowd.
   "Old man dies!" The note he left was signed 'Old Father Thames'
   - it seems he's drowned;
   selling england by the pound.

   Citizens of Hope & Glory,
   Time goes by - it's "the time of your life".
   Easy now, sit you down.
   Chewing through your Wimpey dreams,
   they eat without a sound;
   digesting england by the pound.

Young man says "you are what you eat" - eat well.
Old man says "you are what you wear" - wear well.
You know what you are, you don't give a damn;
bursting your belt that is your homemade sham.

   The Captain leads his dance right on through the night
   - join the dance...
   Follow on! Till the Grail sun sets in the mould.
   Follow on! Till the gold is cold.
   Dancing out with the moonlit knight,
   Knights of the Green Shield stamp and shout.

   There's a fat old lady outside the saloon;
   laying out the credit cards she plays Fortune.
   The deck is uneven right from the start;
   and all of their hands are playing apart.

The Captain leads his dance right on through the night
- join the dance...
Follow on! A Round Table-talking down we go.
You're the show!
Off we go with - You play the hobbyhorse,
                 I'll play the fool.
                 We'll tease the bull
                 ringing round & loud, loud & round.

Follow on! With a twist of the world we go.
Follow on! Till the gold is cold.
Dancing out with the moonlit knight,
Knights of the Green Shield stamp and shout.


I Know What I Like (In Your Wardrobe)

It's one o'clock and time for lunch,
When the sun beats down and I lie on the bench
I can always hear them talk.

There's always been Ethel:
   "Jacob, wake up! You've got to tidy your room now."
And then Mister Lewis:
   "Isn't it time that he was out on his own?"
Over the garden wall, two little lovebirds - cuckoo to you!
                Keep them mowing blades sharp...

   I know what I like, and I like what I know;
   getting better in your wardrobe, stepping one beyond your show.

Sunday night, Mr Farmer called, said:
   "Listen son, you're wasting your time; there's a future for you
    in the fire escape trade. Come up to town!"
But I remebered a voice from the past;
   "Gambling only pays when you're winning"
- I had to thank old Miss Mort for schooling a failure.
                Keep them mowing blades sharp...

   I know what I like, and I like what I know;
   getting better in your wardrobe, stepping one beyond your show.

When the sun beats down and I lie on the bench,
I can always hear them talk.
Me, I'm just a lawnmower - you can tell me by the way I walk.


Firth Of Fifth

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 mountain cuts 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 sirens' cry.

Now as the river dissolves 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.


More Fool Me

Here am I
Who while away the mornings
Since you've gone
Too long have I lay 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 then 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.

Ah, but when it comes
Round to you and me
I ask myself
Do I really believe
In your love.

Yes, I'm sure it will work out alright.


The Battle Of Epping Forest

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,
      'cos they disagree on a gangland boundary.
      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,
      yes these Christian soldiers fight to protect the poor.
      East end heroes got to score in...

            the Battle of Epping Forest,
            yes 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!)

      Amidst 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!
And 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 old-fashioned 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 karma-ma-mechanic, with overall charms.
His hands were then fit to receive, receive alms.
That's why we're in

            the Battle of Epping Forest,
            yes 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 kisser 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.


After The Ordeal

(Instrumental)


The Cinema Show

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.


Aisle Of Plenty

"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.

 M P 3   S a m p l e s


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