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DISCID=610af309,730af109,840b0e09
DTITLE=Genesis / Abacab (West German ''Target'' Pressing)
DYEAR=1981
DGENRE=Rock
TTITLE0=Abacab
TTITLE1=No Reply At All
TTITLE2=Me And Sarah Jane
TTITLE3=Keep It Dark
TTITLE4=Dodo + Lurker
TTITLE5=Who Dunnit?
TTITLE6=Man On The Corner
TTITLE7=Like It Or Not
TTITLE8=Another Record
EXTD=Abacab (West German ''Target'' Pressing)\n\nOriginally Released S
EXTD=eptember 14, 1981\nCD Edition Released 1987 ??\nAtlantic Gold CD 
EXTD=Edition Released June 7, 1994\nRemastered CD Edition Released Nov
EXTD=ember 29, 1994\n\nAMG EXPERT REVIEW: After gaining some limited c
EXTD=ommercial success with Duke, Genesis went for the jugular of Amer
EXTD=ican radio with the well-crafted pop of Abacab. While there are s
EXTD=till some traces of their art rock past, the album is primarily f
EXTD=illed with a new wave sound and concise songs. Phil Collins, who 
EXTD=replaced Peter Gabriel years earlier as the lead vocalist, was fi
EXTD=nally comfortable with his role as the leader of the band, and hi
EXTD=s influence is more prominent. Although he's not a strong vocalis
EXTD=t, Collins more than makes up for it with passionate performances
EXTD=. "Man on the Corner," a modest hit, managed to make social comme
EXTD=ntary about the homeless without feeling preachy. Abacab rose to 
EXTD=number seven on the charts, which is a tribute the band's ability
EXTD= to bring intellectual pop to the masses with catchy melodies. Ge
EXTD=nesis is no ordinary pop band -- they use driving beats and unusu
EXTD=al syncopation (by pop standards) on the title track and "No Repl
EXTD=y at All," a song that employs the horn section from Earth, Wind 
EXTD=& Fire. This album is one of their most enjoyable, and it gave Ge
EXTD=nesis the success and recognition they deserved. -- Vik Iyengar\n
EXTD=\nAmazon.com essential recording\nPhil Collins might be swinging 
EXTD=away the late '90s, but in 1981 he was sharpening his pop chops, 
EXTD=from his first solo offering to this, the first Genesis album to 
EXTD=break the hallowed million-copy mark stateside. But Abacab wasn't
EXTD= entirely about charting Top 40 singles ("No Reply At All," "Man 
EXTD=on the Corner," and the title track); it still exhibited some lat
EXTD=e-stage evidence of a trio courting the art-rock muse that had gr
EXTD=aced its past ("Who Dunnit," "Dodo," "Keep It Dark"). However, by
EXTD= 1983's eponymous follow-up, the hit factory that was Genesis in 
EXTD=the mid- to late-1980s was operating full steam ahead, and the an
EXTD=gel Gabriel's spectre had all but vanished. Then, there were trul
EXTD=y only three. --Bob Michaels\n\nAmazon.com Customer Review\nperfe
EXTD=ct balance between musicianship/production/commercialism , Octobe
EXTD=r 16, 2005 \nReviewer: Darren S. Wools "duke 1980" (minneapolis)\n
EXTD=1981 - This is a pivotal album for genesis because around this ti
EXTD=me there were many changes occurring. This was the first genesis 
EXTD=album following phil's first solo album (face value) and this gav
EXTD=e him alot of confidence and he was writing much more aggressivel
EXTD=y on abacab. this album was also the first recorded in their newl
EXTD=y purchased studio (The Farm). This gave the 3 as much time to re
EXTD=cord and produce as they needed. Also, dave hentschel had left af
EXTD=ter many years of production help and was replaced by hugh padgha
EXTD=m. Padgham would become a genesis production regular after this a
EXTD=lbum. He also worked with phil on his solo albums and worked with
EXTD= others such as sting. Finally, this is the first and only time g
EXTD=enesis used outside muscicians on a studio album. Earth, Wind, an
EXTD=d Fire played horns on No reply at All and Paperlate(which was no
EXTD=t on the album). Genesis showed they could be great muscicians an
EXTD=d have equal commercial appeal in one album. Abacab is a great so
EXTD=ng. It is very simple but very technical at the same time. It sho
EXTD=ws that sometimes less is more. This album also shows the improta
EXTD=nce of the drum machine in genesis music. It was used as backgrou
EXTD=nd rhythm with live drums over it just like songs in DUKE where g
EXTD=enesis first introduced the drum machine in their music. Man on t
EXTD=he corner is an awesome song with great drum patterns both electr
EXTD=onic and acoustic. Again, phil's voice is only getting stronger a
EXTD=nd more confident. overall, a great album and it shows the strong
EXTD= musicianship of the 3 guys and constant evolution of the band. T
EXTD=his was a great time for genesis fans because they never knew wha
EXTD=t they were going to get. Also, there are rare b-sides around lik
EXTD=r you might recall, paperlate, naminau, submarine, and me and vir
EXTD=gil. You can fine some of these on the second archive set (1976-1
EXTD=992) \n\nAmazon.com Customer Review\nanother great album--where t
EXTD=he "new" Genesis truly arrived, February 27, 2005 \nReviewer:  Da
EXTD=ve "missing person" (United States)\n"Abacab", originally release
EXTD=d in September of 1981, was a major turning point for Genesis--in
EXTD=deed, this is the album that truly marks the beginning of the "po
EXTD=p"-era Genesis, as it's generally referred to. There's a certain 
EXTD=timeless gloss & punchiness here that sets this album apart from 
EXTD=all of the Genesis albums that came before it, and it 'sets the s
EXTD=tage', so to speak, for their next couple of albums that followed
EXTD=. It's not exactly a coincidence either--David Hentschel who co-p
EXTD=roduced the previous two albums was gone, & this album was co-pro
EXTD=duced by Hugh Padgham who had also co-produced Phil Collins' debu
EXTD=t solo album from earlier the same year. "Abacab" was also the fi
EXTD=rst album the group recorded at their own studio. Now, don't get 
EXTD=the wrong idea--contrary to what certain people will try to make 
EXTD=you believe, this is not an album of light & frothy 'sell-out' po
EXTD=p songs. The level of musical intelligence & sophistication is st
EXTD=ill astonishing, & track after track is intoxicatingly catchy. Th
EXTD=e 7+ minute title track starts the album off with a bang--it's go
EXTD=t an arresting moody atmosphere, & it's simply loaded with savvy 
EXTD=keyboard & guitar licks from Tony Banks & Mike Rutherford respect
EXTD=ively, laid over Phil Collins' crisp drumming. Tony Banks' solo c
EXTD=omposition "Me And Sarah Jane" is a definitive example of his com
EXTD=positional brilliance--it flows seamlessly from section to sectio
EXTD=n, working its way through different moods; it truly takes you on
EXTD= a journey. "Dodo" starts off with an exciting, dramatic blast be
EXTD=fore the irresitible synth riff kicks in which is followed by a c
EXTD=ontemplative minor-keyed section & eventually works its way back 
EXTD=to the opening section in thrlling fashion. All that said, this a
EXTD=in't a run of the mill "pop" album by any means! Yes, there are s
EXTD=ome strongly pop-rock-flavored tracks, but they're great in their
EXTD= own right, like the hyperactive, highly melodic "No Reply At All
EXTD=", Phil's haunting ballad "Man On the Corner", & Mike's plodding,
EXTD= yet soulful & soaring ballad "Like It Or Not" with wonderfully p
EXTD=assionate Phil vocals. The ultra crafty "Keep It Dark" is catchy 
EXTD=as well as effectively dramatic, and the jokey, quasi-atonal & re
EXTD=petitive "Who Dunnit?" is a tad annoying, but overall it's exhili
EXTD=rating silly. Quite simply, "Abacab" is one in a long string of m
EXTD=asterpiece albums that Genesis put out. Like so many of their oth
EXTD=er albums, "Abacab" is a supremely rich listening experience from
EXTD= an astonishingly creative & consistent band, Genesis. \n\nTower 
EXTD=Records.com Product Notes:\nGenesis: Phil Collins (vocals, drums)
EXTD=; Mike Rutherford (guitar, bass); Tony Banks (keyboards).\n\nReco
EXTD=rded at the Farm, Surrey, England.\n\nDigitally remastered by Nic
EXTD=k Davis, Geoff Callingham & Chris Blair.\n\nAt the dawn of the '8
EXTD=0s, many '70s prog-rockers (Yes, Rush, etc.) trimmed away the mus
EXTD=ical fat in an attempt to keep current. Genesis's sonic reduction
EXTD= was an unprecedented aesthetic and commercial success. Though tr
EXTD=aditionalists cried foul, ABACAB was in fact more inventive and m
EXTD=emorable than its comparatively leaden predecessor DUKE.\n\nThe R
EXTD=&B rhythms and punchy Earth, Wind & Fire horns on "No Reply At Al
EXTD=l" foreshadow Phil Collins's more commercial solo career, but the
EXTD= track breathes with an undeniable vitality. The symphonic grande
EXTD=ur of old is gone, replaced by a sparser, more rhythm-oriented st
EXTD=yle. In this manner, each individual part of the arrangements rec
EXTD=eives greater focus and import. As always, there are some agreeab
EXTD=ly unusual song subjects, such as the alien abduction of "Keep It
EXTD= Dark." "Whodunnit" sounds more like Devo than like Gentle Giant,
EXTD= but the skewed melodic sensibility is a link to Genesis's Gabrie
EXTD=l-era glory days. Utilizing simpler melodies and more syncopated 
EXTD=rhythms ("Me and Sarah Jane" even sports a reggae feel), ABACAB s
EXTD=imultaneously simplifies and expands the Genesis sound.  Muze/MT
EXTD=S Inc.\n\nEditorial Reviews:\nQ (11/96, p.64) - 3 Stars - Good - 
EXTD="...A step by step guide to acquiring heavy rotation on US radio.
EXTD=.."\n\nMojo (3/01, p.82) - "...The band streamline their sound fo
EXTD=r the most direct, commercial set so far in their career...The ti
EXTD=tle track features the horn section from Earth, Wind & Fire..."\n
EXTD=\nCMJ (1/5/04, p.10) - Ranked #14 in CMJ's "Top 20 Most-Played Al
EXTD=bums of 1982".\n\nROLLING STONE REVIEW\nThe irony of singer-drumm
EXTD=er Phil Collins' recent solo disc, Face Value, charting higher th
EXTD=an any previous Genesis LP apparently hasn't been lost on the ban
EXTD=d as a whole. Abacab, Genesis' third outing as a trio, not only f
EXTD=eatures a blast from the Earth, Wind and Fire brass section (whic
EXTD=h was largely responsible for the R&B overtones of Face Value) in
EXTD= "No Reply at All," but most of the album quakes with a radically
EXTD= stripped-down sound, traceable to the thoroughly modern mood of 
EXTD=Collins' record and his deep-echo ricochet drum technique.\n\nXTC
EXTD=, for example, marks the spot in the industrial rumba "Keep It Da
EXTD=rk," while the sonic distances between piano, percussion and voic
EXTD=e in the upbeat, Peter Gabriel-like mantra "Another Record" appro
EXTD=ximate the wide-open instrumental spaces of the Police. With the 
EXTD=exception of their dueling solos in the prolonged, pseudopunk Eme
EXTD=rson, Lake and Palmer-style title track, Tony Banks exhibits admi
EXTD=rable restraint on keyboards, and utility guitarist Mike Rutherfo
EXTD=rd generally concentrates on his pumping bass. Throughout, the no
EXTD=vel sparseness of the group's arrangements and some highly rhythm
EXTD=ic interplay contrast sharply with the forbidding ivory-tower art
EXTD=istry that has been Genesis' bread and butter in the past.\n\nArt
EXTD=-rock lovers who are confused by the manic, Ian Dury-type follies
EXTD= of "Who Dunnit?" may be able to take solace in more typical Gene
EXTD=sis fare like "Me and Sarah Jane," with its classical gestures, a
EXTD=nd the pop of "Like It or Not."\n\nThough you can't actually danc
EXTD=e to Abacab, it does prove there's life left in the band yet. (RS
EXTD= 357 - Nov 26, 1981)  --  DAVID FRICKE
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