It's a career-defining moment. In the 30-minute interview on the Foxtrot DVD, Rutherford talks about the first time the group heard the entire piece start to finish, realizing they'd created something powerful and special. The three video performances of "Supper's Ready"—two full versions, one from 1973 and the other from 1974, and an abbreviated one from a 1973 French performance—again demonstrate an almost innocent naivete to Gabriel's emerging theatrics that look dated today. Still, when the magnesium flares went off at the end of "Apocalypse in 9/8" and Gabriel seemed to magically appear in a white sequin suit, it became an iconic performance still remembered clearly by those fortunate enough to have seen the group back in the day.

The remix brings the entire album to life, but it also provided the group an opportunity to fix a significant flaw. With parts of "Supper's Ready" recorded separately and then literally spliced together (this was, after all, pre-digital and ProTools days), there were two segments that were slightly out of tune with each other. With today's more advanced studio technology, this was a relatively simple fix to make, and yet another reason why there's nothing sacrilegious about doing a remix, when the end result far surpasses the original.

With three strong epics, it's no surprise that "Can-Utility and the Coastliners," which closed side one of the original album, was overlooked. But it's a hidden gem in the Genesis songbook, a song that, over the course of just six minutes, encapsulates everything this era of Genesis was about—mythic storytelling, rich acoustic textures, powerful rock rhythms and increasing complexity that never feels over- considered or simply there for its own sake—combined with an avoidance of the usual rock posturing to make instrumental virtuosity an end in itself, instead always using it in service of the song.

Following up a classic like Foxtrot and a definitive piece like "Supper's Ready" would be a challenge for any group, but Genesis simply moved forward with a number of new songs on Selling England By the Pound that, again, embodied its core values while, at the same time, demonstrating creative progression. With four of the album's eight tracks (seven, really; the closing "Aisle of Plenty" is more a coda to "The Cinema Show" that brought the album full circle to the themes of the opening "Dancing With the Moonlit Knight.") in excess of eight minutes, the group continued to weave compelling tales while also making Selling England its most instrumentally-focused album to date.

Real solos become a key part of the songs, but as unmistakably impressive as Hackett's tapped solo is during the middle, high energy section of "Dancing With the Moonlit Knight," Genesis still avoids the self-indulgences of other progressive rock groups. In performance, Hackett would take some liberties with this solo and his other lengthy feature on the majestic "Firth of Fifth," but he never deserted the core lyricism and melodic signatures. The same can be said about Banks, whose lengthy solos on "Firth of Fifth" and the 7/4-driven "Cinema Show" are, like Hackett's, considered some of progressive rocks most memorable solo moments.

In addition to its longer instrumental passages Selling England also featured "I Know What I Like (In Your Wardrobe)" which, despite its absurd lyrics, was the most pop-oriented song the group had recorded to date. While a 1972 single, "Happy the Man," included on the bonus CD/DVD that comes with the 1970- 1975 box, came close, it lacked "I Know"'s memorable hook, which peaked at #21 in the UK charts, while the album made it to #3, Gabriel-era Genesis' most commercially successful album in the UK. It was also the group's first album to make the Billboard chart in the US, reaching #70 and going gold.