Released in 1973, Selling England By The Pound is amongst their most renowned releases yet sales figures would suggest otherwise as Genesis would see peak sales success in the 80s and early 90s with a series of incredible albums with Phil Collins at the helm. However, as it pertains to the Peter Gabriel era, Selling England By The Pound is the band’s most successful and once you hear it, really listen to it, and accept it into your soul, you’ll likely consider it a masterpiece that has few peers.
Phil Collins did, however, perform lead vocal duties on “More Fool Me”, but for all intents and purposes, Selling England By The Pound is a perfect example of the band’s original lineup, consisting of Peter Gabriel, Tony Banks, Steve Hackett, Mike Rutherford, and Phil Collins (primarily on drums, percussion, and backing vocals).
As incredible as the music is, however, Betty Swanwick’s artwork The Dream is simply magnificent and complements the music perfectly. It’s artwork like this that is well suited to the era as the larger vinyl canvas is ideal, allowing the album artwork to be displayed with pride.
While a vinyl edition has failed to make it to my record collection, I was fortunate to have owned the 2014 High Fidelity Pure Audio (HFPA) Blu-Ray edition that featured not only the stereo mix in 24/96 kHz High-Resolution Audio but also the 5.1 surround mix. As to which mix of the album I preferred, I honestly can’t remember. Our memory, as it pertains to sound quality, is usually very unreliable. That said, what I do recall is that the stereo presentation on the Blu-ray Audio disc was rather clinical and jarring on the senses, particularly at less-than-modest volumes. As such, it caused some listening fatigue that I’m happy to report doesn’t exist when listening to the lossless Apple Music stream.
So what’s different between the stream and the Blu-ray Audio disc? After all, aren’t they both derived from the same mix/master? Well, yes, it’s supposedly the same mastering only the lossless Apple Music stream is delivered at CD-quality resolution by comparison. That could be a factor, but it’s more likely that my setup was different at the time, more resolving, and it simply didn’t suit my listening tastes. In fact, it was one of those times when audiophile gear didn’t live up to the hype as I could never seem to get CD reproduction sounding the way I would like it to as it was always too clean and clinical. First-world problems, I know, but sometimes less is more and as I’m aging I’m finding comparing editions, and gear, to being a pointless exercise that is best left to those with the patience of a saint. Sometimes happiness comes from contentment and I’m content.
Still, it’s somewhat surprising, given Apple Music’s approach to delivering immersive audio, that none of Genesis’ releases are currently streaming in surround sound. As to why Warner Music et al has yet to deliver the 5.1 mixes to the streaming giant is anybody’s guess. Yes, Apple would likely want each album presented as an Atmos mix, but there are numerous examples where traditional 5.1 mixes have been successfully added to the service, thereby allowing fans to enjoy the surround mix without seeking out an out-of-print and often ludicrously priced SACD release on the secondhand market. Regardless, I honestly can’t recall how the surround mix sounded but, in any case, you’d be much better off checking out Mike’s YouTube Channel Life In Surround for he’s got far more knowledge in this area than I could ever hope to have.
All that said, I find that I’m delighted with the Apple Music stream for the 2007 stereo mix on that platform is stunning; so much so that the other weekend when I was listening to the album while reading, I had to put my book down, sit, and enjoy the record as it commanded my attention. While purists will lament streaming services and their perceived quality, give it a shot, you may be surprised. I know I have been throughout the years as I find far more sonic consistency with Apple Music than I ever did with attaining and comparing physical releases.
Now, for those who are wondering, no, I don’t have experience with the original mix, hence the 2007 remix of Selling England By The Pound is my only experience as it pertains to this classic album and let’s just say I’m more than happy with that particular edition. Do I need to check out the original mix? Some will say yes, but, again, constant comparing takes the joy away from the music-listening experience and when you’re happy, you should leave well enough alone.
Dancing With The Moonlit Knight is a magnificent opener with Peter Gabriel’s a cappella approach being idealistic as the musical bed builds slowly in the background. The level of elemental details and layered elements is stunning as the song traverses from its balladry to the more aggressive and sweeping rock passages.
I Know What I Like (In Your Wardrobe) has an atmospheric, and somewhat quirky opening, yet it’s so good! With its laid-back, near psychedelic, styling that incorporates oriental sitar-like guitar elements, I Know What I Like (In Your Wardrobe) is one of the standouts from the album, perhaps a reason why it was chosen to be released as a single, yet it works seamlessly within the album’s linear structure. So seamlessly, in fact, that you’ll come away from Selling England By The Pound as if it were a cinematic experience.
Firth Of Fifth is one of Genesis’ most impressive tunes and Tony Banks didn’t disappoint with that classical piano introduction that is a masterstroke of brilliance. The sharp intro of Gabriel’s vocals and the band’s musical bed, around the minute mark, is perfectly positioned for it turns the song into a symphonic masterpiece that is simply unforgettable and doesn’t stop impressing until the very last note has been played. Firth Of Fifth is, ultimately, one of those songs that makes Selling England By The Pound the landmark album it is and it’s a core reason as to why I consider this to be Genesis’ greatest album.
More Fool Me is the only song from this album to be sung by Phil Collins. While he does a solid job with this tune, it’s also fair to say that the stripped-back introduction wasn’t ideally suited to his vocal style. Collins is far more appealing on the pop-oriented material that would make him a household name in the 80s. Still, More Fool Me is a nice little tune that works well within the album’s linear structure.
The Battle Of Epping Forest is epic and is amongst Genesis’ most ambitious story-driven numbers. While here, at Subjective Sounds, literal interpretation is not always at the forefront of the musical experience, it is difficult to ignore The Battle Of Epping Forest as it’s progressive rock theatre at its very best. Could it have been more succinct, yes, but if it had been, I dare say it wouldn’t be the same for there’s a certain level of appreciation that forms for this song, the more often you listen to the album.
After The Ordeal is a stunning instrumental that acts as a palate cleanser following the complexity of The Battle Of Epping Forest. While easy to overlook, After The Ordeal should not be ignored for it’s a beautiful interlude that showcases just how incredible the band were, from a purely instrumental perspective. I don’t know about anyone else, but I could certainly do with an entire album of Genesis’ instrumental compositions as songs like this leave me in awe.
The Cinema Show seamlessly transitions the senses from After The Ordeal. Like many of the songs from the record, The Cinema Show is another example of Genesis at their finest; symphonic, poetic, and emotionally stirring. As the song builds, adding layers of musical textures, The Cinema Show becomes a dazzling performance and is a textbook-perfect mix for there isn’t a single element that is overshadowed by any other. They simply don’t make music like this anymore is an appropriate comment when reflecting on The Cinema Show.
Aisle Of Plenty is a brief closing track that concludes the album perfectly with a reprise of Dancing With The Moonlight. It’s an ideal bookend to a sensational album, one that will compel you to play the record again for, from the moment you allow it, Selling England By The Pound will meld with your soul and never let go.
Selling England By The Pound is more than just a collection of songs, it’s a complex and beautiful high watermark in the history of progressive rock and is, arguably, the defining album from Genesis’ classic era. While some may point to the incredible success Genesis would have post-Gabriel, Selling England By The Pound remains quintessentially Genesis and is, arguably, their greatest creative output for their 80s and early 90s releases, as successful as it was, is too easily confused with Phil Collins’ solo career, yet this album is uniquely unique; a technical term, yes, but an apt assessment.