SELLING ENGLAND BY THE POUND

1. Dancing with the Moonlit Knight...do you know it? the voice, the rise, the progressive drift-declination with this diabolical synth solo, it goes from right to left; this group was avant-garde, it had planned to make its fans exercise... well when I talk about synth we are of course on Mellotron and Moog la crème; the flute arrives at the end finally we believe it, we are invaded, a bucolic arpeggio appears, sounds like Charisma Label, you know the cover with the welcoming alleys just before jumping into the world of Lewis CARROLL 2. I Know What I Like (In Your Wardrobe) with a sinister intro, cold to the point that it sounds like another group; well Peter speaks and reassures us, bam a pad and off we go; a vocal madness with an aggressive pad, a burlesque or saucy nursery rhyme, a title which flows quickly with a more updated sound than that of the first 3 albums; at the time it must have been extravagant, this sound coming from nowhere, or from a wardrobe! 3. Firth of Fifth piano arpeggio intro, divine, crystalline, we feel the keyboard keys pressed; that's it, it's off, everything is in working order, the voice responding to the instruments and vice versa; plaintive break with Peter who dives back into the sounds of the 3 previous albums; Steve shows the tip of his nose, bam piano arpeggio again... latent space, breath, the flute, that's it, the melody, the cymbals that respond to it, the piano rise, since the time I've been saying that it's Tony is definitely calling the shots, holding the keyboards to the limit; the stamped GENESIS sound that only resembles itself; Phil's rolling and... one if not the most beautiful spleen solo from Steve who tears, tears, it goes up, enjoyable moment; prog is that, we stay on the orchestration and the voice no longer has any place, the melody is enough before the return of the chorus to regain a footing with reality; slap, musical sledgehammer and flowing arpeggio 4. More Fool Me for the nursery rhyme Charisma and the eternal question did they already know that Phil would take over the vocals at this precise moment? In any case he was the one in front here 5. The Battle of Epping Forest military intro, the climb, the keyboards again and again, at one point we hear a keyboard pecking at notes... I didn't know, hold a duck... bucolic atmosphere I tell you; picnic, no I'm kidding, but I loved singing it; good a dream theater afterwards with drawers; yes, I have no intention of giving you this title, I can only follow you in your daydreams, in your memories; the last 2 minutes with this solemn organ which puts the ears back, Peter who launches his voice, sung, phrased, spoken... a proto-rap...? no, I didn't say it, and the guitar which panics and which transcends the finale, yes you know it's there...pon pom! 6. After the Ordeal for me it's the 16 minute chained package; Well there arpeggios piano and guitar for an enchanting tune, an uncompromising hymn to progressive music, but how could they have thought of this moment when the guitar comes to cry its notes? My brother told me 'well it's an ordinary slow...' yes but not only that, the solo that every guitar player wanted to cover to see if the emotion would also come out of his own guitar; good keyboards (Mellotron or Moog or others) and flute as a digestive for 4 minutes of pure happiness 7. The Cinema Show ah these intros where the acoustic guitar does its job; Tony goes too, Peter arrives, distinctive voice, who narrates more than he sings, captivating the guy; the flute that goes well with the air, latency; moment when I realize that there is a little extra compared to the previous trilogy, here we get closer to the concept in addition to these orchestral wanderings; not simply like a magical 'Supper' but like a musical torrent releasing in waves ideas, memories, emotions to be made, to be ingested... yes everyone will find it beautiful, well I hope so but each in their own way, that's the strength of GENESIS; even during the nursery rhyme we are absorbed, bewitched by the sound, the air... well Tony come on, Phil go again for the central brek, 6 minutes and the journey takes another measure, the beauty becomes major and makes you lose connection with reality, what 3 minutes have passed and I didn't see, didn't notice... the prog slows down time, come on Tony let off steam for this dreamlike finale 8. Aisle of Plenty is over but no, we are ultimately dealing here with Peter who comes to remind us of his voice; the finale with the distant choirs, with this redundancy in the voices, simply art rock, brilliant like this cry of enjoyment, of solitude from Peter.

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