Tuesday, October 14, 2014
Genesis 5: Live and Selling England By The Pound
By “accessible”, we’re not suggesting that Selling England By The Pound sounds like their ‘80s blockbusters, but because there’s less emphasis on dark mythology and bizarre sexual encounters—at least not on the surface, anyway—what leaps from the speakers (or earbuds, or what have you) are the melodies, the songs, the hooks, demonstrated with the first three songs on the album. There is mythology of a sort, but as suggested by the album title, the songs present images of Britain that seem both archaic and modern. “Dancing With The Moonlit Knight” presents the first of many Anglo puns in its title, proceeding through lilting melodies and pastoral imagery to more violent passages, all suggesting some triumphant tale but disguising a seething indictment of commercialism. A menacing hum turns out to be an aural representation of a lawnmower, as the narrator of “I Know What I Like (In Your Wardrobe)” sings his defense of his simple life in the band’s first great, unlikely pop hit. (In another case of conceptual continuity, the phrase “the way I walk” will return in the Genesis saga.) It’s incredibly catchy, marching away to the sound of the lawnmower. “Firth Of Fifth” sports a gorgeous solo piano introduction, leading nearly seamlessly into the song proper, with driving drums, thick Hammond organ and fuzz guitar in unison with the bass. There’s a brief verse and what appears to be a bridge, but the meat of the song is in the instrumental sections. When the intro returns following the flute solo, check out Phil’s rolls, and the way Hackett ends up playing the same solo the flute played on guitar. Throughout, Tony Banks shows his deftness at the Mellotron. After a slight ritard, the verse returns for the song to fade on the piano. Those three tracks form such a majestic core that “More Fool Me” is easily overlooked. Its overall sound (and lovelorn content, odd for this band at the time) points towards the latter half of the decade, and not just because, as the sleeve pointed out, helpfully, “vocals: Phil”.
The second side is more challenging. Given the medieval red herrings on side one, it shouldn’t be too much of a shock that the participants in “The Battle Of Epping Forest” aren’t kilted, bearded warriors but London street gangs (think the Krays and their contemporaries). It gives Peter a chance to try out some more of his wacky voices, and indulge in the rapid rhymes that would take over his next opus. A title like “After The Ordeal” would tend to suggest some kind of continuity with the previous track, but is just an instrumental, mostly following a mandolin-like riff suggesting yet another ocean voyage, and a verse that was never written. It provides a sorbet before the final epic. (You know it’s going to be a big deal because of its plucked intro, similar to “Supper’s Ready”.) The story within “Cinema Show” isn’t much—Romeo and Juliet meeting up at the movies, with Romeo hoping for a matinee of their own afterwards—but the music develops and builds to again, something majestic. If you’re not paying close enough attention, the brief “Aisle Of Plenty” moves neatly from “Cinema Show” into a reprise of “Dancing With The Moonlit Knight.” (Clever boys, they.)
Genesis hadn’t figured out how to be consistent yet, but Selling England By The Pound will reward those who have stuck around this long. When combined with the previous two, the truly great pieces overshadow the less successful ones, and only improve with familiarity.