Genesis – Abacab
I’ve been meaning to review this album for two or three years now, and it’s such an odd beast to get a grip on. This is Genesis in flux, and yet Genesis finding its feet. Several years after losing Peter Gabriel to a solo career, the remaining trio of founding members soldiered on, and yet sometimes you’d think they were clinging to the past. Abacab is an album full of good songs, but it’s also an album with something of a serious identity crisis.
The title track – edited down to little over half of its original running time – received healthy radio airplay at the time of the album’s release, but along with songs like “Me And Sarah Jane”, “Keep It Dark” and “Who Dunnit?”, “Abacab” represents the majority of this album’s personality. Phil Collins, Tony Banks and Mike Rutherford seemed to be trying to hang onto the prog-rock sound of the Gabriel era, with meandering song structures (“Sarah Jane” in particular can’t seem to latch onto any one particular melody, trying out several melodic lines and discarding them in turn – it’s almost like early Split Enz). This isn’t necessarily a bad thing – I quite like “Abacab” and “Keep It Dark”, and they demonstrate that, when he used to try to emulate Gabriel’s throat-thrasing vocal style, there used to be a raw power to Phil Collins’ voice which his latter-day career has carefully buried.
It’s in songs like “Man On The Corner” and especially “No Reply At All” that one finds hints of the future Genesis sound. The latter in particular is bouncy, with some Motown-style brass work and a lighthearted lyric. “Man On The Corner” is again somewhat brooding and dark, with just a hint again of the Peter Gabriel influence, but it’s indicative of my favorite era of Genesis – songs better suited to Collins’ vocal range and style, but falling somewhere between the Gabriel-era Genesis sound and Collins’ later self-styled reinvention of himself as a soft-pop balladeer. It may not be the original sound mandated in the Gabriel/Hackett era, but it was the best possible style for the Collins-led Genesis.
Abacab, in retrospect, is a bit of a mixed bag – but, being a bit of a transitional piece (despite having been preceded by two other albums with the Banks/Collins/Rutherford lineup), it was bound to be. They were really starting to get it here.
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- Abacab (7:02)
- No Reply At All (4:41)
- Me And Sarah Jane (6:00)
- Keep It Dark (4:34)
- Dodo / Lurker (7:30)
- Who Dunnit? (3:22)
- Man On The Corner (4:27)
- Like It Or Not (4:58)
- Another Record (4:30)
Released by: Atlantic
Release date: 1981
Total running time: 47:04
Peter Gabriel’s last outing with Genesis is something I’ve heard since I was kid, barely able to comprehend the bizarre quasi-mythological story being told in the songs. Now I’m an equally perplexed adult, still barely able to “get” The Lamb Lies Down On Broadway, despite the nice new remastered CD edition which has the complete original libretto and lyrics. And yeah, this is one rock opera which demands a thorough reading of its rhyming, sometimes humorous libretto.
This album is one of my guiltiest pleasures in my entire music section. Part of me cringes at how far Genesis fell from its progressive roots to this penultimate studio album – well, penultimate so far, anyway – which consisted largely of typical mid-’80s rock/pop numbers and the crooning ballads with which Phil Collins was becoming more associated at the time. And for that harsh assessment, I’m reluctantly forced to admit that I like the ballad “In Too Deep”. There are actually a few hints of the band’s more progressive