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DISCID=610af309,730af109,840b0e09
DTITLE=Genesis / Abacab 
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 September
EXTD= 14, 1981\nCD Edition Released 1987 ??\nAtlantic Gold CD Edition Released
EXTD= June 7, 1994\nRemastered CD Edition Released November 29, 1994\n\nAMG EX
EXTD=PERT REVIEW: After gaining some limited commercial success with Duke, Gen
EXTD=esis went for the jugular of American radio with the well-crafted pop of 
EXTD=Abacab. While there are still some traces of their art rock past, the alb
EXTD=um is primarily filled with a new wave sound and concise songs. Phil Coll
EXTD=ins, who replaced Peter Gabriel years earlier as the lead vocalist, was f
EXTD=inally comfortable with his role as the leader of the band, and his influ
EXTD=ence is more prominent. Although he's not a strong vocalist, Collins more
EXTD= than makes up for it with passionate performances. "Man on the Corner," 
EXTD=a modest hit, managed to make social commentary about the homeless withou
EXTD=t feeling preachy. Abacab rose to number seven on the charts, which is a 
EXTD=tribute the band's ability to bring intellectual pop to the masses with c
EXTD=atchy melodies. Genesis is no ordinary pop band -- they use driving beats
EXTD= and unusual syncopation (by pop standards) on the title track and "No Re
EXTD=ply at All," a song that employs the horn section from Earth, Wind & Fire
EXTD=. This album is one of their most enjoyable, and it gave Genesis the succ
EXTD=ess and recognition they deserved. -- Vik Iyengar\n\nAmazon.com essential
EXTD= recording\nPhil Collins might be swinging away the late '90s, but in 198
EXTD=1 he was sharpening his pop chops, from his first solo offering to this, 
EXTD=the first Genesis album to break the hallowed million-copy mark stateside
EXTD=. But Abacab wasn't entirely about charting Top 40 singles ("No Reply At 
EXTD=All," "Man on the Corner," and the title track); it still exhibited some 
EXTD=late-stage evidence of a trio courting the art-rock muse that had graced 
EXTD=its past ("Who Dunnit," "Dodo," "Keep It Dark"). However, by 1983's epony
EXTD=mous follow-up, the hit factory that was Genesis in the mid- to late-1980
EXTD=s was operating full steam ahead, and the angel Gabriel's spectre had all
EXTD= but vanished. Then, there were truly only three. --Bob Michaels\n\nAmazo
EXTD=n.com Customer Review\nperfect balance between musicianship/production/co
EXTD=mmercialism , October 16, 2005 \nReviewer: Darren S. Wools "duke 1980" (m
EXTD=inneapolis)\n1981 - This is a pivotal album for genesis because around th
EXTD=is time there were many changes occurring. This was the first genesis alb
EXTD=um following phil's first solo album (face value) and this gave him alot 
EXTD=of confidence and he was writing much more aggressively on abacab. this a
EXTD=lbum was also the first recorded in their newly purchased studio (The Far
EXTD=m). This gave the 3 as much time to record and produce as they needed. Al
EXTD=so, dave hentschel had left after many years of production help and was r
EXTD=eplaced by hugh padgham. Padgham would become a genesis production regula
EXTD=r after this album. He also worked with phil on his solo albums and worke
EXTD=d with others such as sting. Finally, this is the first and only time gen
EXTD=esis used outside muscicians on a studio album. Earth, Wind, and Fire pla
EXTD=yed horns on No reply at All and Paperlate(which was not on the album). G
EXTD=enesis showed they could be great muscicians and have equal commercial ap
EXTD=peal in one album. Abacab is a great song. It is very simple but very tec
EXTD=hnical at the same time. It shows that sometimes less is more. This album
EXTD= also shows the improtance of the drum machine in genesis music. It was u
EXTD=sed as background rhythm with live drums over it just like songs in DUKE 
EXTD=where genesis first introduced the drum machine in their music. Man on th
EXTD=e corner is an awesome song with great drum patterns both electronic and 
EXTD=acoustic. Again, phil's voice is only getting stronger and more confident
EXTD=. overall, a great album and it shows the strong musicianship of the 3 gu
EXTD=ys and constant evolution of the band. This was a great time for genesis 
EXTD=fans because they never knew what they were going to get. Also, there are
EXTD= rare b-sides around likr you might recall, paperlate, naminau, submarine
EXTD=, and me and virgil. You can fine some of these on the second archive set
EXTD= (1976-1992) \n\nAmazon.com Customer Review\nanother great album--where t
EXTD=he "new" Genesis truly arrived, February 27, 2005 \nReviewer:  Dave "miss
EXTD=ing person" (United States)\n"Abacab", originally released in September o
EXTD=f 1981, was a major turning point for Genesis--indeed, this is the album 
EXTD=that truly marks the beginning of the "pop"-era Genesis, as it's generall
EXTD=y referred to. There's a certain timeless gloss & punchiness here that se
EXTD=ts this album apart from all of the Genesis albums that came before it, a
EXTD=nd it 'sets the stage', so to speak, for their next couple of albums that
EXTD= followed. It's not exactly a coincidence either--David Hentschel who co-
EXTD=produced the previous two albums was gone, & this album was co-produced b
EXTD=y Hugh Padgham who had also co-produced Phil Collins' debut solo album fr
EXTD=om earlier the same year. "Abacab" was also the first album the group rec
EXTD=orded at their own studio. Now, don't get the wrong idea--contrary to wha
EXTD=t certain people will try to make you believe, this is not an album of li
EXTD=ght & frothy 'sell-out' pop songs. The level of musical intelligence & so
EXTD=phistication is still astonishing, & track after track is intoxicatingly 
EXTD=catchy. The 7+ minute title track starts the album off with a bang--it's 
EXTD=got an arresting moody atmosphere, & it's simply loaded with savvy keyboa
EXTD=rd & guitar licks from Tony Banks & Mike Rutherford respectively, laid ov
EXTD=er Phil Collins' crisp drumming. Tony Banks' solo composition "Me And Sar
EXTD=ah Jane" is a definitive example of his compositional brilliance--it flow
EXTD=s seamlessly from section to section, working its way through different m
EXTD=oods; it truly takes you on a journey. "Dodo" starts off with an exciting
EXTD=, dramatic blast before the irresitible synth riff kicks in which is foll
EXTD=owed by a contemplative minor-keyed section & eventually works its way ba
EXTD=ck to the opening section in thrlling fashion. All that said, this ain't 
EXTD=a run of the mill "pop" album by any means! Yes, there are some strongly 
EXTD=pop-rock-flavored tracks, but they're great in their own right, like the 
EXTD=hyperactive, highly melodic "No Reply At All", Phil's haunting ballad "Ma
EXTD=n On the Corner", & Mike's plodding, yet soulful & soaring ballad "Like I
EXTD=t Or Not" with wonderfully passionate Phil vocals. The ultra crafty "Keep
EXTD= It Dark" is catchy as well as effectively dramatic, and the jokey, quasi
EXTD=-atonal & repetitive "Who Dunnit?" is a tad annoying, but overall it's ex
EXTD=hilirating silly. Quite simply, "Abacab" is one in a long string of maste
EXTD=rpiece albums that Genesis put out. Like so many of their other albums, "
EXTD=Abacab" is a supremely rich listening experience from an astonishingly cr
EXTD=eative & consistent band, Genesis. \n\nTower Records.com Product Notes:\n
EXTD=Genesis: Phil Collins (vocals, drums); Mike Rutherford (guitar, bass); To
EXTD=ny Banks (keyboards).\n\nRecorded at the Farm, Surrey, England.\n\nDigita
EXTD=lly remastered by Nick Davis, Geoff Callingham & Chris Blair.\n\nAt the d
EXTD=awn of the '80s, many '70s prog-rockers (Yes, Rush, etc.) trimmed away th
EXTD=e musical fat in an attempt to keep current. Genesis's sonic reduction wa
EXTD=s an unprecedented aesthetic and commercial success. Though traditionalis
EXTD=ts cried foul, ABACAB was in fact more inventive and memorable than its c
EXTD=omparatively leaden predecessor DUKE.\n\nThe R&B rhythms and punchy Earth
EXTD=, Wind & Fire horns on "No Reply At All" foreshadow Phil Collins's more c
EXTD=ommercial solo career, but the track breathes with an undeniable vitality
EXTD=. The symphonic grandeur of old is gone, replaced by a sparser, more rhyt
EXTD=hm-oriented style. In this manner, each individual part of the arrangemen
EXTD=ts receives greater focus and import. As always, there are some agreeably
EXTD= unusual song subjects, such as the alien abduction of "Keep It Dark." "W
EXTD=hodunnit" sounds more like Devo than like Gentle Giant, but the skewed me
EXTD=lodic sensibility is a link to Genesis's Gabriel-era glory days. Utilizin
EXTD=g simpler melodies and more syncopated rhythms ("Me and Sarah Jane" even 
EXTD=sports a reggae feel), ABACAB simultaneously simplifies and expands the G
EXTD=enesis sound.  Muze/MTS Inc.\n\nEditorial Reviews:\nQ (11/96, p.64) - 3 
EXTD=Stars - Good - "...A step by step guide to acquiring heavy rotation on US
EXTD= radio..."\n\nMojo (3/01, p.82) - "...The band streamline their sound for
EXTD= the most direct, commercial set so far in their career...The title track
EXTD= features the horn section from Earth, Wind & Fire..."\n\nCMJ (1/5/04, p.
EXTD=10) - Ranked #14 in CMJ's "Top 20 Most-Played Albums of 1982".\n\nROLLING
EXTD= STONE REVIEW\nThe irony of singer-drummer Phil Collins' recent solo disc
EXTD=, Face Value, charting higher than any previous Genesis LP apparently has
EXTD=n't been lost on the band as a whole. Abacab, Genesis' third outing as a 
EXTD=trio, not only features a blast from the Earth, Wind and Fire brass secti
EXTD=on (which 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 strippe
EXTD=d-down sound, traceable to the thoroughly modern mood of Collins' record 
EXTD=and his deep-echo ricochet drum technique.\n\nXTC, for example, marks the
EXTD= spot in the industrial rumba "Keep It Dark," while the sonic distances b
EXTD=etween piano, percussion and voice in the upbeat, Peter Gabriel-like mant
EXTD=ra "Another Record" approximate the wide-open instrumental spaces of the 
EXTD=Police. With the exception of their dueling solos in the prolonged, pseud
EXTD=opunk Emerson, Lake and Palmer-style title track, Tony Banks exhibits adm
EXTD=irable restraint on keyboards, and utility guitarist Mike Rutherford gene
EXTD=rally concentrates on his pumping bass. Throughout, the novel sparseness 
EXTD=of the group's arrangements and some highly rhythmic interplay contrast s
EXTD=harply with the forbidding ivory-tower artistry that has been Genesis' br
EXTD=ead and butter in the past.\n\nArt-rock lovers who are confused by the ma
EXTD=nic, Ian Dury-type follies of "Who Dunnit?" may be able to take solace in
EXTD= more typical Genesis fare like "Me and Sarah Jane," with its classical g
EXTD=estures, and the pop of "Like It or Not."\n\nThough you can't actually da
EXTD=nce to Abacab, it does prove there's life left in the band yet. (RS 357 -
EXTD= Nov 26, 1981)  --  DAVID FRICKE
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