Selling England by the Pound
|Selling England by the Pound|
|Studio album by Genesis|
|Released||13 October 1973|
|Studio||Island Studios, London|
|Singles from Selling England by the Pound|
Selling England by the Pound is the fifth studio album from the English progressive rock band Genesis, released in October 1973 on Charisma Records. It reached number 3 in the UK and number 70 in the US. A single from the album, "I Know What I Like (In Your Wardrobe)" was released in February 1974 and became the band's first top 30 hit in the UK.
The album was recorded in August 1973 following the tour supporting the previous album, Foxtrot. The group set aside a short period of time to write new material, which covered a number of themes, including the loss of English folk culture and an increased American influence which was reflected in the title. Following the album's release, the group set out on tour, where they drew an enthusiastic reception from fans.
Critics and the band have given mixed opinions of the album, though guitarist Steve Hackett has said it his favourite Genesis record. The album has continued to sell and has reached Gold certification by the British Phonographic Institute and the Recording Industry Association of America. It was remastered for CD in 1994 and 2007. Several of the album tracks became fan favourites and featured as a regular part of the band's live setlist into the 1980s.
By late 1972, Genesis had stabilised around Peter Gabriel, Tony Banks, Mike Rutherford, Steve Hackett and Phil Collins. The group had been regularly touring, achieved commercial success with their previous album Foxtrot, and were starting to gig in the US, particularly in New York City, where they had a positive response. However, journalists were still criticising the band and comparing them to other progressive rock bands such as ELP, Jethro Tull and Pink Floyd. The group were too busy touring to write new material, so after coming off the road in spring 1973 they set aside time to create new songs. The group's record company, Charisma Records insisted they had three months to come up with a new album, which Rutherford considered "the kiss of death". Collins formed a pick up band with former Yes guitarist Peter Banks for a few gigs, and Rutherford revealed in an interview to Sounds in 1976 that "there had been worries that Phil might want to leave the group".
Gabriel chose the album title, a slogan adopted by the UK Labour Party manifesto, to ensure that the British press would not accuse them of "selling out" to America. Overall, it represented a decay of English folk culture and an increase in Americanisation.
Gabriel later said he wrote all his lyrical contributions to the album in two days. Having rehearsed and written enough material for an album, the group entered Island Studios in August 1973. As with Foxtrot, John Burns helped with production. Burns' technical skills resulted in a good recorded sound and environment, and this motivated the group to play better and tackle more complex arrangements. Banks recalled the sessions being difficult, adding "it was hard to get things going." Charisma released a live album, Genesis Live, compiled from concerts taped for the radio, to fill the gap between studio releases.
|Problems playing this file? See media help.|
"Dancing with the Moonlit Knight" evolved from a number of short piano pieces composed by Gabriel, which was combined with some of Hackett's guitar figures to make up the track. Gabriel added English-themed lyrics to counter the impression from the music press that Genesis were trying too hard to appeal to the American audience, including references to Green Shield Stamps. Banks had upgraded to a new model of Mellotron and used the choir sound on the track. The track ends with a series of 12 string guitar figures that were originally supposed to segue into "The Cinema Show" to make a piece around 20 minutes in length, but this idea was dropped as the result was too comparable to "Supper's Ready".
"I Know What I Like (In Your Wardrobe)" came out of a jam session by the group around one of Hackett's guitar riffs. He had presented the riff to the group previously, but it had been rejected because it sounded too much like The Beatles. It was released a single from the album, which became the first of the group's to chart in the UK. Banks wrote most of "Firth of Fifth" on his own, and had presented it to the group for Foxtrot, but it was rejected. He reworked some sections of the song for Selling England..., where it drew a more positive reception. The track opens with a solo piece for piano, that is repeated by the band later in the song. Hackett took one of Banks' piano figures and rearranged it as a guitar solo, which dominates the latter part of the track.
"More Fool Me" is the second of two songs (the other being "For Absent Friends" from Nursery Cryme) to feature Collins on lead vocals prior to becoming the band's lead singer in 1975. Uncharacteristically for the group's output at the time, the song was a tender, romantic ballad. It was written quickly by Collins and Rutherford while sitting on the steps outside the recording studio.
"The Battle of Epping Forest" was inspired by a news story that Gabriel had read several years previously about the territorial battles by two rival gangs in the East End of London.[a] He placed an advertisement in The Times in attempt to find more about the story, but was unable to find any further information, so he created his own fictional characters, including "Liquid Len", "Harold Demure" and "The Bethnal Green Butcher". The lyrics have since been praised for their humour and wit, but they did not gel well with the music, which the band subsequently felt was complicated for the sake of being so. "After the Ordeal" is an instrumental written by Hackett; the first half is a classical guitar and piano piece with followed by an electric guitar solo. Banks and Gabriel did not want to include the song on the album, but Hackett insisted it should be kept. It was ultimately left on after Gabriel and Banks argued about the length of "Cinema Show", which meant everything was included as a compromise.
"The Cinema Show" is divided into two sections. The first section is a 12-string guitar-based piece, featuring vocal harmonies between Gabriel and Collins, as well as a short flute/oboe solo. The song concludes with a four-and-a-half-minute keyboard solo on the ARP Pro Soloist,[b] with Rutherford and Collins playing a rhythm in a 7/8 time signature. The lyrics, written by Banks and Rutherford, draw much of their inspiration from the T. S. Eliot poem The Waste Land. The album closes with a segue from the end of "The Cinema Show" into "Aisle of Plenty", a reprise of "Dancing with the Moonlit Knight" which gives the album a book-end effect. The track uses word play such as "Easy, love there's the safe way home" and "Thankful for her fine fair discount, Tess co-operates", referring to British supermarkets.[c]
The album cover is a painting by Betty Swanwick titled The Dream. Swanwick had designed posters for London Transport between the 1930s and 1950s. The original painting did not feature a lawn mower; the band had Swanwick add it later as an allusion to the song "I Know What I Like" as Swanwick told them that she had not enough time to paint a new picture for their cover.
Selling England by the Pound was released in October 1973, reaching number 3 in the UK charts and number 70 on the US Billboard Pop Albums chart. The album's success in the US benefitted from a switch from Buddah Records to Atlantic. "I Know What I Like (In Your Wardrobe)" was released as a single in February 1974. It was the band's first single to enter the UK chart, and peaked at number 21. In 2013, the album was certified Gold by the British Phonographic Institute.
|BBC Music||(very favourable)|
Contemporary reviews for the album were mixed. Rolling Stone's Paul Gambaccini praised the band for attempting something utterly different amidst "a stagnant pop scene", but criticised the album's lyrics, feeling they overused British pop culture references, and complained about some musical passages. Despite this, Gambaccini thought the album "merits some recognition". NME 's Barbara Charone said the album was "the band's best, most adventurous album to date". The Guardian 's Robin Denselow wrote that "much of the material is indistinctive and tedious".
Retrospective reviews have been more favourable. AllMusic and BBC Music remarked that the album returned to the whimsical eccentricity of Nursery Cryme while retaining the hard rock intensity and pessimism of Foxtrot, combining the best of both elements to make Genesis's best album up to that point. Robert Christgau, who thoroughly panned most of Genesis's albums, admitted that the songs "Firth of Fifth" and "The Battle of Epping Forest" have "a complexity of tone that's pretty rare in any kind of art", though he summarised the rest of the album by saying "it sounds as snooty as usual."
In 2012, the album ranked seventh in Rolling Stone 's "Readers' Poll: Your Favorite Prog Rock Albums of All Time". It was also included in IGN's list "10 Classic Prog Rock Albums" in 2008, who praised its "subtle elegance, sublime textures, and lyrical splendor". Robert Pollard of Guided by Voices considers Selling England by the Pound one of his ten favourite records of all time, adding the band was a key influence on his career. Rock author Edward Macan has mixed feelings towards the album, praising "Firth of Fifth" and "Cinema Show" but questioning some of the other material. Motoring journalist and broadcaster Jeremy Clarkson is a fan of the album and wrote sleeve notes for it when it was included on the box set Genesis 1970-1975.
Hackett has considered the album to be his favourite Genesis record, and was happy with his extensive contributions to it. Banks and Rutherford have had mixed feelings, saying there are lot of high points but also some lows.
The group went on a sell-out tour of the UK immediately following the album's release, but had to cancel the first date at the Green Playhouse, Glasgow due to electrical safety issues. The group realised they were substantially in debt, and needed better management, so they recruited Tony Smith (no relation to Charisma Records boss Tony Stratton Smith) as their new manager. The tour was filmed by Charisma for a possible cinema release, but was rejected by the band who felt it was not up to standard. The group returned to the US in December 1973, with three shows at the Roxy in Los Angeles.
By this time, Genesis were suffering from press attention being exclusively directed towards frontman Gabriel at the expense of the rest of the band, which was one of the factors that ultimately led to Gabriel leaving the group in 1975. They took an extended break in 1974 following the Selling England tour; Collins joined a side project, Brand X, while Rutherford worked with former Genesis guitarist Anthony Phillips.
Several tracks continued to feature in Genesis' live set after Collins became the group's full-time lead singer. The instrumental section of "Cinema Show" became part of a medley with The Lamb Lies Down On Broadway 's "In The Cage" and remained a fixture of the band's live set up to the Invisible Touch tour in 1987. Versions of "Firth of Fifth", "I Know What I Like" and "Cinema Show" appeared on the live album Seconds Out, while portions of "Firth of Fifth" and "I Know What I Like" featured as part of the "Old Medley" on The Way We Walk, Volume Two: The Longs. "Firth of Fifth" was performed as a one-off reunion with Gabriel at the "Six of the Best" concert in 1982
|1.||"Dancing with the Moonlit Knight"||8:02|
|2.||"I Know What I Like (In Your Wardrobe)"||4:03|
|3.||"Firth of Fifth"||9:36|
|4.||"More Fool Me[d]"||3:10|
|1.||"The Battle of Epping Forest"||11:43|
|2.||"After the Ordeal"||4:07|
|3.||"The Cinema Show[e]"||11:10|
|4.||"Aisle of Plenty"||1:30|
Taken from the sleeve notes
- Phil Collins – drums, percussion, vocal
- Michael Rutherford – 12-string, bass, electric sitar
- Steve Hackett – electric guitar, nylon guitar
- Tony Banks – keyboards, 12-string
- Peter Gabriel – vocals, flute, oboe, percussion
- John Burns – producer, engineer
- Rhett Davies – assistant engineer
- Betty Swanwick – cover painting
|BPI - UK||Gold||22 July 2013|
|RIAA – US||Gold||20 April 1990|
- The real Epping Forest is some distance from London's East End and is partially outside the Greater London boundary.
- Banks first obtained a Pro Soloist during the album's writing sessions. He had previously borrowed a EMS VCS 3 synthesizer, but disliked it as it kept going out of tune. The Pro Soloist became a regular part of Banks' touring gear with Genesis throughout the 1970s.
- At the time Fine Fare and Safeway were British supermarket chains while Tesco and the Co-op still operate today.
- The original vinyl release credits "vocals Phil" next to the title
- The original vinyl release does not have a track marker between "Cinema Show" and "Aisle of Plenty", and hence both are shown as a single track
- "Genesis – Selling England by the Pound (album review 5) | Sputnikmusic". Sputnikmusic. Retrieved 1 January 2014.
- Bowler & Dray 1992, p. 249.
- Bowler & Dray 1992, p. 80.
- Bowler & Dray 1992, p. 69.
- Bowler & Dray 1992, p. 72.
- Bowler & Dray 1992, p. 76.
- Bowler & Dray 1992, p. 77.
- Bowler & Dray 1992, p. 79.
- Carruthers 2011, p. 95.
- Welch 2011, p. 44.
- Bowler & Dray 1992, p. 78.
- Bowler & Dray 1992, pp. 79,81.
- Macan 1997, p. 136.
- Awde 2008, p. 206.
- Macan 1997, p. 109.
- Bowler & Dray 1992, p. 81.
- Bowler & Dray 1992, p. 82.
- Reid, Gordon (March 2008). "ARP Pro-Soloist". Performing Musician. Retrieved 16 April 2015.
- Sound on Sound (April 2009). "ReGenesis : Early Genesis for the modern keyboardist". Retrieved 13 December 2012.
- Macan 1997, p. 84.
- Bowler & Dray 1992, p. 246.
- "Selling England by the Pound – Genesis : Awards". AllMusic. Retrieved 1 January 2014.
- Carruthers 2011, p. 96.
- "Certified Awards". BPI. Select keyword "Genesis", By award : Gold, By Format : Album. Retrieved 3 April 2015.
- "Selling England by the Pound - Genesis". AllMusic. Retrieved 1 February 2015.
- "Selling England by the Pound - Genesis". AllMusic. Retrieved 1 February 2015.
- Erlewine, Stephen Thomas. "Selling England by the Pound – Genesis | AllMusic". AllMusic. All Media Network. Retrieved 25 July 2011.
- Jones, Chris (23 April 2007). "BBC – Music – Review of Genesis – Selling England by the Pound". BBC. Retrieved 7 June 2012.
- Christgau, Robert. "Robert Christgau: CG: Genesis". The Village Voice. Retrieved 25 July 2011.
- Graff & Durchholz 1999, p. 477.
- Carruthers 2011, p. 88.
- Gambaccini, Paul (14 March 1974). "Genesis: Selling England By The Pound : Music Reviews". Rolling Stone. Wenner Media. Archived from the original on 18 June 2008. Retrieved 7 June 2012.
- Greene, Andy. "Readers' Poll: Your Favorite Prog Rock Albums of All Time, page 5 of 11". Rolling Stone. Wenner Media. Retrieved 30 July 2012.
- "10 Classic Prog Rock Albums". IGN. 28 August 2008. Retrieved 2 April 2015.
- Stratton, Jeff (1999). "The Onion Interview with Bob Pollard". The Onion. Retrieved 2 April 2015.
- Hamilton, Fiona; Coates, Sam; Savage, Michael (2 November 2008). "The famous fans of Genesis". The Times (London). Retrieved 2 April 2010.(subscription required)
- "Genesis Reissue Five Classic Albums As Box Set". Uncut. 27 August 2008. Retrieved 29 March 2015.
- Bowler & Dray 1992, p. 83.
- Bowler & Dray 1992, p. 84.
- Bowler & Dray 1992, p. 85.
- Bowler & Dray 1992, p. 87.
- Bowler & Dray 1992, p. 191,207.
- Bowler & Dray 1992, p. 247.
- Bowler & Dray 1992, p. 181.
- Selling England By The Pound (Media notes). Charisma Records. 1973. CAS 1074.
- "RIAA Gold and Platinum Search for albums by Genesis". Recording Industry Association of America. Retrieved 5 August 2011.
- Awde, Nick (2008). Mellotron : The Machines and the Musicians that Revolutionised Rock. Bennett & Bloom. ISBN 978-1-898948-02-5.
- Bowler, Dave; Dray, Bryan (1992). Genesis: A Biography. Sidgwick & Jackson Ltd. ISBN 978-0-283-06132-5.
- Carruthers, Bob (2011). Genesis- The Gabriel Era - Uncensored on the Record. Coda Books. ISBN 978-1-908-53873-4.
- Graff, Gary; Durchholz, Daniel (1999). MusicHound Rock: The Essential Album Guide. Visible Ink Press. ISBN 978-1-57859-061-2.
- Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN 978-0-195-09887-7.
- Welch, Chris (2011). Genesis: The Complete Guide to Their Music. Omnibus Press. ISBN 978-0-857-12739-6.
- Analysis of "Dancing with the Moonlit Knight" lyrics by George Starosin