The title of the record could easily be construed as a commentary on the "state of the nation" at the time when the album was made. England was enduring a period of industrial strife, economic stagnation and generally diminished influence. It seems, however, that the the moniker signifies the plight of indigenous English folk-culture amid a tide of "Americanization". There are overt English references among the lyrics of one or two songs, and even flashes of folk-tinged music are discernible. Did this very "Englishness" cost Genesis commercial mileage in some territories, such as the US?
Proceedings open with "Dancing With The Moonlit Knight", which contains an eerie motif later reprised in "Aisle of Plenty". The song has its moments, but to me it feels like they were trying a little too hard, and it almost becomes a case of "Genesis-by-numbers". It does resemble "Supper's Ready", in fact. The lyrics do actually have something to say, and they are not just there to create an aura of erudition or "cleverness". The instrumental passages ramble unconvincingly on this opener, however.
"I Know What I Like (In Your Wardrobe)" is one of the group's better known songs, because it is concise and whimsical, and also because it was a hit single in Britain. It is unclear to me whether the track is in keeping with the train of thought suggested by the album's title. I find it difficult to dislike, although I can see why others might be hostile to it. There is a healthy slice of English eccentricity, in a semi-surreal form, and the melodic patterns are sharply executed.
I would contend that "Firth of Fifth" is Genesis's finest recorded achievement, in part because the playing and the arrangement have real conviction and verve, and also because the individual talents of the musicians are permitted full expression. The exciting piano opening may not be as technically demanding as it seems, but it sounds wonderful! The later instrumental passages are exhilarating and dramatic, with special praise due to Steve Hackett's exquisite "slide" guitar solo. Just when it seems to have run its course, it goes somewhere else. Another ingredient in the song's magnetism is the strident imagery in the lyrics.
"More Fool Me", with Phil Collins on lead vocals, is a ballad, but subjected to the Genesis 1973 treatment, it works very well, sandwiched in between more complicated pieces. It also points the way forward to some of the material recorded by the band in the post-Peter Gabriel era.
The next number, "The Battle Of Epping Forest" is an intriguing song from a lyrical standpoint, but the complex "prog" arrangement is incongruous. The keyboard sounds are nice, but in all honesty the track never truly "happens" for me.
As an instrumental, "After The Ordeal" serves its purpose in helping to break up the rich diet of more "epic" offerings with something more simple, but still pleasing to the ear. Like the whole of this album, it sounds fresh, uncluttered and organic.
The introduction to "The Cinema Show" is almost as glittering and diverting as the one to "Firth of Fifth". The twelve-string guitars underpin the early portion of the song most agreeably. Another brilliant instrumental sequence follows, as energetic as it is elegant, with Collins in fine form.
It is customarily asserted that British progressive rock reached a tipping point during 1973, and that the genre's decline thus commenced. The music released around that time is assailed and derided as excessive and bloated, having crossed some invisible line. Selling England By The Pound to some degree bucks that trend, as the music is relatively restrained. Genesis still appeared to be flourishing, radiating ideas and creativity, although of course the harmonious state of affairs would not last for long.
The record does not necessarily scream "classic!", but it contains some thoughtful songs and much accomplished playing. Saying that parts of it have not "aged well" may be more a negative reflection of our times than of 1973's musical landscape. It is a very listenable album, if one approaches it with an open and receptive mind.
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