Customer Reviews

Abacab (W/Dvd)

5 star:		(6)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Abacab is the 5th post-Peter Gabriel album, originally issued in Fall, 1981. It continued the rapidly evolving sound of Genesis from prog rockers to more commercial and mainstream-sounding. Personally, I had a difficult time to accept or like that change as it took place 25 years ago. I never did buy either "Duke" or "Abacab" when they came out. But the temptation of a bunch of DVD bonus materials was such that I did buy the "Genesis 1976-1982" 6 CD/6 DVD set, and now I finally have the "Abacab" album proper.

As to the CD, "Abacab" (9 tracks, 47 min.) is somewhat of a revelation to me. I still don't like "No Reply At All" or "Mman on a Corner" as a Genesis song (how can you differentiate it from Phis Collins' "Face Value" album? you can't, as Phil wrote these at the same time and it just sounds the same), but I found a lot of other things here I like a lot. The title track, of course, but also a brooding "Keep It Dark", the epic 7+ min. "Dodo/Lurker", and "Like It Or Not". Abacab will never be my favorite Genesis album, but I enjoyed it better than I ever expected.

As to the DVD, it first brings the album in a terrific 5.1 surround system, and it sounds fantastic if you have the proper home music set-up (which I do). As to the visuals, it comes with the videos for Abacab, No Reply At All, Keep It Dark, and Man on the Corner, nice but nothing earth-shattering. The "Reissue Interviews 2007" brings about 20 min. of the guys bringing their perspectives on the album, quite entertaining. Regretfully, there is no concert footage, unlike most of the other albums reissued, and that makes this reissue of "Abacab" less essential.

If you are considering buying any of the reissued CD/DVD albums, you really should look at buying the "1976-1982" box instead as it offer far more "bang for the buck" (only $69 here on Amazon), and on top it comes with a bonus CD/DVD of assorted B-sides, EPs and other hard to find tracks from that era.

By the time ABACAB was released in the early 80's it had been clear by that point Genesis had no intentions on looking back to it's progressive rock roots. For fans of the Collins-era Genesis this is a satisfactory album from this stage of the band's music.

Everything is louder with ABACAB, most notably the heavier drum sound that is present on even the ballad numbers. Tony Banks also contributes to this new aggressive sound by using more electric sounding keyboards that border on abrasive in some sections. Phil Collins really steps up as a vocalist with this album, matching the emotional presence he had on the haunting "In the Air Tonight" from his debut solo outing (just before ABACAB was finished).

ABACAB bursts out of the gate with the pounding, energetic title track. This song is basically a short number made long by tacking on a lengthy instrumental section to it's second half, which doesn't add much but is interesting for at least one full listen. The band kicks right back into pop mode with the punchy "No Reply At All" featuring some nicely applied horn sections. "Me and Sarah Jane" and "Keep It Dark" finishes a strong first half. With it's slick reggae momentum and obtuse lyrics, the multi-sectional "Dodo/Lurker" is one of this album's best and perplexing tracks, the closest the band comes to referencing their artier past. After "Dodo" the remainder of ABACAB concludes with a weaker set of tracks, with the exception of "Man on the Corner", but not enough to sink the album entirely.

The bonus DVD includes the promotional videos from this album, which were usually little more than footage of the band miming their songs in a recording studio setting or on stage. For someone who was young with access to MTV, this album and it's promotional videos became my entry point in the career of this band. There is also pages from an ABACAB tour booklet, and a mix of the album in 5.1 sound.

Final Rating: 3.5 out of 5 stars.
Favorite tracks: "No Reply At All", "Dodo/Lurker", "Man On the Corner"

While many people are really into Genesis' 1983-1992 poppier material, I prefer this type of Genesis. The 1969-1982 Genesis gave us the best progressive rock of the decade. 1981's 'Abacab,' in my opinion, is the last truly great Genesis album before they became "Phil Collins' band."

Okay, I'll admit it. I am not a big Phil Collins listener (solo career, that is). Sure, he is a heck of a drummer and has an incredible voice, but I wasn't crazy about Genesis as the '80s progressed. I think the next three Genesis albums ('Genesis,' 1983; 'Invisible Touch,' 1986; 'We Can't Dance,' 1991) were Collins solo albums with Rutherford and Banks just playing along.

But back to 'Abacab.' The 2007 remaster has been long needed. The 1994 remaster contained the edited version of 'Abacab'; this one, fortunately, doesn't. The remaster is incredible!

While the songs aren't as good as their previous effort, 1980's 'Duke,' they are still incredible! 'Abacab,' 'Another Record,' 'Dodo/Lurker,' 'Man On The Corner,' 'Like It Or Not' and 'No Reply At All' are all crown jewels in Genesis' catalog.

Overall, if you haven't bought 'Abacab' or you have but you want a copy with the full length 7 minute version of the title track, than you are in luck! Forget the '94 remaster. Throw that copy away. This is the one to own.

Highly recommended for any Genesis fan. This is an essential release, and it belongs in any record collector's collection!

ENJOY!!!

I owned the original 1981 LP pressing from my high school days and the original CD pressing from at least 15 years ago. Though I thought i was satisfied with both versions, I took a chance and bought this 2 disc remastered set by Rhino. It blew my socks off! I heard instruments and sounds that were muted or barely audible in the LP or CD versions! The music sounds richer, brighter, and it sounds as it if was recorded yesterday, not 18 years ago. And at this price ($10 bucks?!?!?), it's a STEAL! Buy it! And then dump your old CD on eBay!

I'm not one of those Genesis fans that overvalues the contributions of previous members Steve Hackett and Peter Gabriel as invaluable as they were. In fact, in the past few months, my appreciation of their 1980 album, Duke has surpassed such expecations as to become my favorite album of theirs, PERIOD.

However, a change was in the air, and evidenced by the 1981 album, Abacab, we see the former progsters flung fully into Pop mode.

In spite of this, the album isn't half bad. It has an aggression that Phil Collins claimed with that this is their "punk" album, and though this assertion is misguided, its definitely a more rocking and aggressive album at times, while at the same time simplified.

It starts out with "Abacab", a nonsensical, post modern lyric with a prog meets hard rock keyboard line. Its an intelligent merging of prog (some of the turnarounds for sure) and pop and is likely the highlight of the album. Another cool thing about this song is its very aggressive and jarring keyboards, complete with distortion. I've always liked this song, and want to give it its fair due.

The next song is likely the nadir of all prog rock fans who hung around, "No Reply at All". Its the "Misunderstanding" of this album, but also includes something which had not been included in a Genesis album, horns (though Behind the Lines had an approximation on synthesizer).

Its not a bad song per se, but its definitely more of a Phil Solo song, despite the song being listed as written by all three members (the bass lines are all Rutherford though, and the mid-section is classic Tony Banks for sure).

While "Abacab" sounds deceptively complex (4x4 time, keyboards aren't that hard to play but they sound like it, etc), "Keep it Dark", Tony Banks' meditation on alien abduction, is a cool song that takes advantage of a polyrythm, that is, an odd timed guitar over a 4x4 beat and is therefore deceptively simple. Phil Collins uses ANALOG drum loops (not drum machine on this song) to make an almost industrial feel on this and other tracks with some of the clanging sound.

The music on this is slightly new wave influenced (Police, synth pop) but done in a way that is actually pretty cool. I like the textures and some of the more aggressive keyboards. The guitars are a little meatier too this time on some tracks (such as the title track), though nothing too metallic or aggressive. The song "Whodunit" is not the total lamefest that many fans say it is, it sounds like the band is having the most fun doing their best Devo impression. I like the song because its the opposite of many songs Genesis did before and after, that is trying to NOT appeal to people and trying to unnerve them. Like the song, don't love it. "Dodo/Lurker" is another track worth discussing. Its close to prog pop, but it has some cool keyboard lines and some cryptic lyrics. I also like "Me and Sarah Jane" (another Banks song) with its beatlesque, or should I say "70's Genesis-esque" feel along with some reggae style bits.

The rest of the album isn't worth mentioning though to me. "Man in the Corner" is another overtly Phil-solo material sounding track (complete with all drum machine), and those who are familiar with my review of the self-titled album know what I mean by this! The last 2 songs are unmemorable and boring, almost Mike and The Mechanics like (just kidding but yeah Mike Rutherford was involved in writing them).

Overall, I like the album. Its controversial among hard-core fans. But some of the reasons I like it are the same reasons they hate it. It has an aggressive and experimental feel at times that is definitely appealing. It also has a singularity, if you take the last three songs and "No Reply" off, and put the first four songs on the next album on here, it may have even gotten four or five stars from me. It would've been cool if they played upon the "aggressive synth" and sort of new wavey styled songs for the whole album, but Genesis hasn't been known for singularity always, the variety on the album may be a weakness in my eyes though for this exact reason.

Btw: the reissues are definitely worth purchasing. The remastering AND remixing (definitely something more bands should consider, remastering is mainly just volume and eq on the TRACK itself rather than going thru the various crevices and remixing the songs) are excellent and the extras dvd is a worthy treat, though not as cool as the Trick of the Tale or Duke ones. I can't wait until the Peter Gabriel years get such treatment.

This is a Genesis album I owned on cassette for awhile now.I reviewed it once already here but in the context of hearing it as part of the boxed set Genesis 1976-1982,I hear it in a new context.So here goes my new review. As if Duke (and to a lesser extent And Then There Were Three) didn't bring Genesis over to the pop side this album sure did. This is the album where Genesis made the full transition from anything prog or fusion over to mainstream pop rock. Not that the fusion touches aren't present on the song "Dodo/Lurker" and the bizzare,creepy "Who Dunnit?" but in general this is a full pop album.The best part is that the title track,"Keep It Dark","Man In The Corner" and "Another Record" rock like nobody's business! One thing I like about this album is that it is devoted primarily to uptempo tunes that are very striking and drum oriented. In fact in a lot of ways this album is somewhat close to the sound of Invisible Touch from five years later,only there's more emphasis on rhythm then on synthesizers. In fact,for purely rhythms sake "No Reply At All" is without a doubt the most R&B-ish hit Genesis ever had and I am not even counting the participation of EWF's Phenix Horns. The fact that Phil Collins's career was in full swing at this point it started to become a point of contention to some hard core Genesis fans that the group seemed to be becomming a backing band for Phil's solo ideas and ambitions. That's really.....humorous considering that,as with Duke before it,this is an extremely collaberative album musical. The trio that has now become Genesis never sounded more like a band then they did on these first two albums they did in the 80's-they each work of their strenghs and weaknessess and even though they aren't going as far to make these serious musical statements they do sound as if they're beginning to have fun.

The Good
"Abacab" is heavy on the synthesizers and synth-tones guitars. Phil Collins is forceful in his delivery if the cryptic lyrics. "No Reply at All" was one of the lead singles from the album. The track has a lot of progressive elements in the way of keyboards and programmed drum beats. Collins has a more melodic tone, helping this song obtain a radio-friendly sound. "Dodo/Lurker" is a typical 70s progressive sage. Not only is it too songs combined, but it goes on for much more then the typical three minute composition. It's rich in keyboards and ever changing emotion. "Man on the Corner" is another single you're sure to recognize. It's more of a focus on Collin's storytelling than anything else.

The Bad
I can go either way with bonus DVDs on releases like this. I mean, how many times are you really going to watch it?

The Verdict
Genesis made their mark in the mainstream in the mid to late eighties with numerous pop-rock rockers and ballads. Abacab is from an earlier time in the band's history, time-wise and musically. Genesis focuses more on the progressive sound they started with when Peter Gabriel was at the helm. Drummer Phil Collins stepped in a kept their original formula in tact on Abacab. This album may not be what you think about when you think of Genesis, but it is still quite the progressive effort.

Genesis released their lucky thirteenth album entitled Abacab in September of 1981.
The Abacab album was the band's first to be self-produced and was their collaboration with engineer Hugh Padgham (whom worked with Peter Gabriel and The Police at that point) whom drummer/singer Phil Collins collaborated with on his Top 10 Multi-Platinum solo effort Face Value.
Also, Genesis built their own studio The Farm in Surrey and Abacab was the first album to be recorded at the band's own studio.
The album Abacab showcased the band writing all but three songs together as a band which was something they had not done since Peter Gabriel left.
The lone solo songwriting credit for keyboard player Tony Banks was the excellent and proggish "Me and Sarah Jane". Also, guitarist and bass player Mike Rutherford had one of his best pieces "Like it or Not". The album also contains Phil's atmospheric Top 40 hit "Man On the Corner" which its lyric theme predated the concept of Phil's solo hit "Another Day in Paradise" by eight years about a homeless man.
Now for the songs that all three Genesis members wrote together starting with the 7 minute opening Top 40 charting title cut which is an awesome rocker which turns into a killer 3 and a half instrumental jam at song's end. We follow that with the US Top 30 hit "No Reply at All" which featured the Earth Wind and Fire horn section. Other highlights are the British hit "Keep it Dark" which is a silly but great song, the seven and a half minute prog-rocker "Dodo/Lurker" medley, the silly "Who Dunnit" (which is the band's "punk" song) and the classic finale "Another Record".
The Abacab album was Genesis' first US Top 10 album and first Platinum seller for the band.
I first bought this CD on a whim in August of 1997 when I bought the remastered edition (which sounded superior to the original CD from the 1980s) and it is hands down one of the best efforts of the three piece era efforts.
In May of 2007, Rhino/Atlantic re-released the album as a CD and DVD set. The album is remixed on CD in stereo for excellent sound (very reminiscent to what was done to The Who catalog in the 1990s). The new mixes are AMAZING and I hear things in the new mixes that I have not ever heard before. Also, it comes with a DVD which has the album mixed in 5.1 plus the four promo videos for the album (the title cut, No Reply at All, Keep it Dark and Man On the Corner (which is the studio version dubbed over the Three Sides Live concert clip but am not complaining)) plus new interviews with messieurs Collins, Banks and Rutherford.
Highly recommended!

3 1/2

Definitely the first disc from the former progressive titans that I did not fall head over heels in love with, despite it absolutely containing (perhaps lastly to do so) brilliant passages and some of their tightest pop songwriting to the date. There is just some pivotal glue missing from the entire release that anyone used to their work may notice, not to mention an encroaching fascination with electronic 80's frivolities.

Very nice collection of songs from Genesis, that was part of their transition into more of the audio mainstream.