Genesis - Selling England by the Pound - Genuine MINT 1973 UK First Pressing LP

	£		215
	$		285

Artist & Title: Genesis ?– Selling England by the Pound

Rare original MINT 1973 UK FIRST PRESSING 8-track vinyl LP on the large pink 'Mad Hatter' Charisma label with 'B & C Records' perimeter text, with A1/B1 matrices and PORKY-RAY and PECKO etchings. Original MINT picture sleeve with 'Printed by E. J. Day Group' credit on the reverse and original lyric card insert. This is a stunning copy of one of the greatest prog-rock albums of all time.
The record is in flawless Mint condition and sounds as wonderful as ever, while the cover is also in as new Mint condition. See pics. A superb copy of this masterpiece of 70s progressive rock!
Highly desirable for its A1/B1 first press matrices and Mint condition, and increasingly difficult to find in good condition on vinyl, this could be a once in a lifetime opportunity to add this superb rarity to your collection at an extremely advantageous price.

Catalogue Number: Charisma ?– CAS 1074 STEREO

Release date: 12 October 1973

Overall Grade: MINT/MINT (LP/Cover)

Matrix/Runout: Side 1: CAS 1074 A-1U PORKY-RAY   Side 2: CAS 1074 B-2U PECKO

First press on large Mad Hatter label.
Label: "Manufactured And Distributed By B&C Records Ltd."
? 1973 Notebest Ltd./Carlin Music
All Titles Done By All
Producer: John Burns/Genesis
Sleeve: "Marketed by B&C Records, 37 Soho Square, London, W1. Printed & made by the E. J. Day Group, London & Bedford"

This seminal LP from Genesis at their creative peak is hardly ever offered for sale in this condition.

“This is the very peak of Genesis' output.”

This is the extremely rare real thing: a genuine Mint/Mint condition UK first pressing. Both the record and cover are in Mint condition. All items are free from any major defects like scratches, tears, creases, dog-ears, stickers, writing, stains or the like. See pics. All items are the genuine originals bought together by me in 1973, not reprints or replacements. The LP is the original 1973 UK stereo LP, which was only played occasionally on top-end audiophile equipment and lovingly cared for.

“Without a doubt, this is the grandest of all Genesis albums (and practically defies time-limits on an LP).”

THIS HAS TO BE ONE OF THE BEST EXAMPLES OF THIS ALBUM EVER OFFERED FOR SALE IN RECENT TIMES – IF EVER

Selling England by the Pound is the fifth studio album by the progressive rock band Genesis, released on 12 October 1973 through Charisma Records (Europe) and Atlantic Records (United States). It followed Foxtrot and was the band's commercial peak at that time, reaching No.3 in the UK where it remained on the charts for 21 weeks. The album went gold in the US in 1990. It was also a major breakthrough in terms of critical reception, and is considered one of the greatest albums of the progressive rock genre.
The album cover is a painting by Betty Swanwick called The Dream. The original painting did not feature a lawn mower; the band had Swanwick add it later as an allusion to the song "I Know What I Like."

This may be your only ONCE IN A LIFETIME chance to own this rare piece of rock history in this condition.

“This is not only my favourite Genesis album, but probably my favourite album of all time.”

This is the very peak of Genesis' output. Gabriel's lyrics, the instrumental arrangements, the incredibly clever song structures, the great melodies, all combine to create something utterly moving and magic. The whole mood of this album is quite unlike anything else - a mixture of mythical, medieval and modern; bombast and humour, but above all, beauty.
This is the album on which Tony Banks creates his most magical keyboard soundscapes (but not forgetting to add plenty of fresh, exciting piano), Hackett gets the biggest chance to shine that he ever would on a Genesis album, and Gabriel writes some of his funniest, cleverest and most interesting lyrics, delivering them as only he can. There are some of the most emotionally devastating instrumental moments here on any Genesis album - any album FULL STOP, in fact - for example; Hackett's gut-wrenching guitar solo in 'Firth of Fifth', and Banks' extended keyboard solo at the end of 'The Cinema Show', where his keys create a swirling mass of colourful sound that envelops the listener and seems to come straight from the heart. And amongst all this, Gabriel draws you in with his commentaries on the degeneration of modern England, as well as transporting the listener back to the mythological England that never was.
Nowhere is this more apparent than on the opening track, 'Dancing with the Moonlit Knight', a song with so many twists and turns that you're left gasping for breath at the end, or at least you would be if there were not a two-minute outro of soothing, plucked acoustic guitars and textural sounds from the keyboards and flute.
Next we have 'I Know what I Like (In your Wardrobe)', with another winner of a lyric from Peter and a stomping beat, giving the band its first minor chart success.
'Firth of Fifth' follows, and what strikes you about this track is how intelligently written its instrumental section is, taking the listener along many different musical landscapes, and building tension until culminating in the aforementioned Hackett solo.
Following this is 'More Fool Me', a pretty little acoustic ditty from Phil Collins about a broken down relationship, that does not fit in with the rest of the album at all, but in a way makes it all the more appealing for this little idiosyncrasy. Anyhow, it breaks up the album between two lengthy compositions, much like 'I Know what I Like' and 'After the Ordeal' do, so that taken as a whole it is not too overwhelming.
Talking of which, the next track, 'The Battle of Epping Forest' is the longest on the album at 11:46. It is about a gang battle for rights over land in East London, and Peter Gabriel goes all-out with his theatrics, assuming the roles of so many different characters, and putting on so many different voices, that you can't help but laugh. There's also the strange interlude in the middle of the track about goodness knows what - something to do with a reverend - that seemingly has nothing to do with the rest of the song, but does a great job of keeping the listener's interest (much like 'Willow Farm' in 'Supper's Ready').
Next up we have the instrumental 'After the Ordeal', with some beautiful piano and guitar work from Banks and Hackett respectively; I often get a sense of freedom when listening to this, as indeed I do when listening to most of the album.
After this we have 'The Cinema Show', combining, like 'Firth of Fifth', lyrical sketches with extended instrumental passages, including, of course, the again aforementioned Banks keyboard solo. This leads back into one of the main themes from 'Dancing with the Moonlit Knight', but shifted across the bar, which in turn leads into 'Aisle of Plenty', a reprise of a small section of 'Dancing with the Moonlight Knight' but with different lyrics and a haunting mood, to make you feel complete at album's end.
This is not only my favourite Genesis album, but probably my favourite album of all time, and one of the best musical works (classical or otherwise) that I have heard.

A fantastic time warp example of this rarity in amazing condition, a true investment grade item - get it while you can!

AND IT MUST SELL IN THIS ONCE ONLY AUCTION

You can read more about this album HERE and all over the web.

I pack my records professionally in stiff corrugated cruciform record boxes leaving the Vinyl (housed in anti-static bags) outside the Sleeve.

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“Superb piece of vinyl - wonderfully packaged”

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