SELLING ENGLAND BY THE POUND

This is not only one of the best prog rock albums ever, it is a brilliant masterpiece for any genre.

Genesis at the peak of their inspiration with the original lineup in top form.

It is also absolutely necessary to take a view on every and each one piece of the track list.

By itself "Firth of fifth" may be the greatest symphonic/progressive piece ever written. Peter Gabriel makes you fly with a moving, glorious chorus but everything is totally perfect here: from the delicate and beautiful piano intro to the mind blowing instrumental landscape in the middle; worths its weight in gold.

Also the beginning is of course sublime mostly because "Dancing with the moonlit knight" manages to create a perfect mixture between the most illusive dreaming melody and sketches of hard rock/heavy metal.

Now "I know what I like (in your wardrobe)" is one of the keys that leads us to the conclusion why this is the greatest statement Genesis gave, you've got an outstanding flawless pop tune -God, what a chorus!...- and, as expected, the best Phil Collins of all.

Talking about Collins, he seriously shines on the fragile ballad "More fool me"; so far, genius and crucial figure.

But is well-known that Gabriel was the mentor and most thoughtful head, and spreads his biggest delusions of grandeur on "The battle of epping forest", an insane trip inflected by unpredictable rhythm changes in which the fact of a non-existent structure becomes its best attribute because Gabriel accurately guesses with every twist he makes; in conclusion it's really a whole experience to ride this orgasmic roller coaster, a musical adventure in which it's fantastic to get into.

Well, anyone who thinks that music with symphonic aspirations is cold should hear "After the ordeal": Genesis sets a warm, extremely carefully texture climax.

And we get to the end where "The cinema show" and "Aisle of plenty" must be reviewed as a unity but wisely divided: the first one is another sparkling inspired suite that finishes with a beautiful piano sequence that the second captures and turns it into a glorious end, only for 1 and a half minute.

Genesis (not just Gabriel and Collins -although they seem more close than ever, specially on vocals- but Steve Hackett, Tony Banks and Mike Rutherford as well) mold, this way, a complete timeless masterpiece.

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