Genesis: Abacab - 1981

 

After changing their emphasis on 1980's Duke album, while still finding it difficult to shake off their old prog instincts, it became more obvious here that the Phil Collins-led Genesis Mark Two was a completely different beast to Peter Gabriel's seventies proggers. They were two distinct bands, really. 

The synths are still here (I guess that was just the Genesis sound) but there is a richness of bass and texture that had previously been absent. Furthermore, despite their new poppy ambitions, this is very much an album and decidedly uncommercial in so many ways. It's actually quite deep.

On many occasions during this album you can hear the group trying to show off their post punk and even on occasions their punk credentials. Look, it is not really either of these things but there is definitely an art rock vibe to it. Initially the album bored me, but after a few listens I found it more and more credible. As with all Genesis's stuff, it is not fundamentally for me, but I can appreciate it.

Abacab is an excellent, lengthy opener - an edited version was released as a single - and immediately one notices a warmer, deeper sound, despite the presence of those typically Genesis keyboards. The track is driven along by a huge, throbbing bass line and, although Phil Collins' voice is a bit grating (as it always was for me), there is a grinding beat to it that is almost funky. Well, not quite but it is a pounding number, that's for sure. The drum and synth sounds are excellent - deep and sonorous. It is one of Genesis's best tracks. 

No Reply At All uses the brass section from Earth, Wind & Fire and has a poppy, funk-lite soulfulness to it as well as being pretty obviously Genesis Mark Two. It has some catchy white funk guitar backing and I must say it is a really infectious and appealing number.

Me And Sarah Jane is an interesting song about a man inventing an imaginary lover/companion for himself. Some have said it has a reggae backing, but if it does, it is only a slight one. Either way, it's a good song. Talking of lyrically intriguing songs, Keep It Dark  is also quirkily odd, about a man being kidnapped and then let go because he had no money. There is a sort of post-punky noir feeling to this which is repeated on the post punk meets prog, Talking Heads and Peter Gabriel-influenced industrial grind of Dodo/Lurker (the closest thing here to the previous Genesis sound) and the clumsy attempt to go all punk minimalist in the thrash of Who Dunnit? This track has Collins using his ill-advised hammy cockney accent.

Like It Or Not is typical Collins ballad, reminiscent of his solo work and Man On The Corner has Collins going all Another Day In Paradise philosophical, wondering exactly what is on the man on the corner's mind. Deep stuff, eh? However well meant, it all sounds a bit sixth form to me. The album closes with the solid and chunky Collins rock of Another Record - full of those archetypal big drums. The best stuff is in the album's first half but it has certainly been an interesting journey, this album. I won't dismiss it as easily as I have done in the past.