Abacab

Greetings from a nicely decorated bomb shelter. It's a calm saturday morning in Belgium. The weather forecast predict snow storms in our country on monday. But that's nothing compared to the storm that I expect to appear in this thread  . You've seen it in the title: I thought it was time to talk about that wonder of '80's prog, that album full of delight, that album where Genesis proved themself to be truly progressive once again. Ladies and gentleman... meet Abacab!

this is a trick question, there aren't any good songs on abacab, so its impossible to pick a favorite ???

rocknrobin wrote: this is a trick question, there aren't any good songs on abacab, so its impossible to pick a favorite ???

E-Dub wrote: I'm guilty of the same thing on the Clutching At Straws thread by splitting up "Warm Wet Circles" and "That Time Of The Night", so I can't fault you because I see your logic. Then again, logic has never been a strong trait of mine. I love the "Dodo/Lurker" combo a lot and probably one of my favorite Genesis songs. Period. As for the album, I think it was the very first one I bought back when I was a kid after seeing "Abacab" on MTV (The VERY first video I ever saw on MTV, come to think of it.) As much as I love the album, I have to side with Cristi in why they put "Who Dunnit" on there. I have to skip that song every time. E

Yeah, no need to split Dodo/Lurker IMO. Lurker is a bit silly but it ends quite triumphantly, with plenty of symphonic credentials. It gets my vote, but only just.

Me & Sarah Jane is an excellt track too, and is a good example of what post Duke Genesis could have been like. Despite the drum machine, Banks built a constantly changing and very emotional piece of music around that simple beat. It was a true and effective blend of old and new Genesis.

Shame the rest of the album is a steaming crock of horse sh!t, but there you go.

Abacab is a controversial album, and imho is arguably the patchiest, least consistent album they've ever recorded. That doesn't mean it's their worst, though, there are a few gems. The title track, Dodo/Lurker, Like It Or Not, Keep It Dark and Me and Sarah Jane all stand up, but almost all of them sound better in live versions. However, 'Dodo' gets my vote here.

E-Dub wrote: One of the dark horses from Abacab that I like is "Keep It Dark". Has sort of a warped LP sound to it, but I love the chorus. Always enjoyed "Man On The Corner", too. E

Slartibartfast wrote: Who Dunnit? gets no respect.  It's very weird and off the wall, and that's why I like it.  Beats the hell out Misunderstanding from Duke.  Sounds like Phil is singing Was it you or was it me or was it XTC.  And weknow weknow weknow Eno.   I liked this album when it came out.  It was a bit of different direction for the band.  I started to lose interest in Genesis with the Mama album, which I never bought.  My last LP would be Invisible touch.  I did get the CD for Calling All Stations recently, because it was available dirt cheap.  I suppose one day I will have to complete my CD collection with the Mama album, Invisible Touch, and that other one from the '80's I've never heard.

Snow Dog wrote: So many good songs to choose from.   I normally vote for the sublime Abacab, but this time I'll go with Whodunnuit?

Moogtron III wrote: Blacksword wrote: Me & Sarah Jane is an excellt track too, and is a good example of what post Duke Genesis could have been like. Despite the drum machine, Banks built a constantly changing and very emotional piece of music around that simple beat. It was a true and effective blend of old and new Genesis.   Agreed! Me & Sarah Jane proved that there was room for a progressive '80's Genesis.   As for the drum machine: Genesis was one of the few bands that could make a good use of it, on Me & Sarah Jane but also with Duchess on the Duke-album. But I do think it's a pity that Collins didn't do so much of his sensational drumming anymore through the years

Yeah Duchess is a great song too; simple but full of feeling. Genesis were one of few prog bands who could write simple songs that 'worked' alongside their more complex offerings. 'Afterglow' and 'Undertow' spring to mind, as do 'Timetable' and 'Chamber of 32 Doors'

The drum machine was originally just a 'writing tool' that Banks was keen on using, but with all the new wave stuff going on around them, and the increased use of electronics in pop they thought it a good idea to include it in some songs. In all fairness they didn't use it excessively, and it works very well on Mama. This track seems to divide people, but I like it's cold, atmospheric simplicity. It was in the charts at about the same time that I first heard 'Dance on a Volcano' on the Radio 1 Friday rock show. I was hooked on Genesis from that point, but only really got to grips with a few of their 80's songs.

I agree about Phils drumming taking a nosedive after Duke. Tragic! When you listen to his performances on Los Endos, In that Quiet Earth, Dukes End etc, it seems unbelievable he would want to simplify things to the extent that he did. It wasn't just style it was his distinctive sound too. Using synth drums on Invisible ouch was a bad move. It was a homogenised drum sound, and could have been anyone playing. Oh well, at least we have all those brilliant albums recorded between 1970 and 1980 to indulge in..