On September 18, 1981 "Genesis" released their 11th studio album "Abacab".
The album marks a pivotal moment in "Genesis's "career as they transitioned from their progressive rock roots toward a more streamlined, accessible pop-rock sound. This album was a bold departure, dividing fans, but it allowed the band to tap into new audiences and shape their identity in the 1980s. The change of sound and style in "Abacab" was so extreme that you could barely hear the progressive brilliance of "Genesis" through the synthesizers, drum machines and brass section, as if it was a different band.
It was the beginning of the 80's, long and complicated progressive tracks where archaic
and "Genesis" had to adapt in order to survive, so the transition that started in "Duke", just a year earlierת had to be completed.
With Phil Collins’s growing influence following the success of his solo debut "Face Value", "Genesis" embraced a new, collaborative atmosphere during the recording of "Abacab". This openness allowed for more fluid musical experimentation, leading to simpler, catchier songs.
The title track “Abacab” perfectly encapsulates this shift, with its minimalistic, rhythmic structure, sharp, modern production and 80's synth sound. The song title reflects its structural simplicity, derived from the song’s arrangement of sections: A (verse), B (chorus), and C (bridge), even though Mike Rutherford said that the final version of the track is more like "Accaabbaac". The song developed from a group jam session that had them playing along to a looped electronic drum track.
“No Reply at All” stands out as a another example of this new direction. It sound more of a Phil Collins solo song than a "Genesis" song. Collins brought in "Phenix Horns" which is "Earth, Wind & Fire’s" horn section, an idea carried over from "Face Value". Initially met with hesitation by Tony Banks who wanted to emulate the brass keyboard sound that was used on some parts on "Duke", the "Phenix Horns" gave the song a funky, infectious groove, signaling a departure from "Genesis’s" dense, chord-heavy past. Collins admitted that he feared backlash for this bold move but was ultimately satisfied with the result.
The new minimal approach continues through most of the album. In "Keep It Dark” which tells the story of a man who gets abducted to a surreal and peaceful alien planet, the band takes two bars of a drum pattern previously recorded and plays the song on top of it. “Man on the Corner”, driven by Collins’s strong vocal melodies and atmospheric arrangements, explores urban loneliness, is backed by a simple Roland TR-808 drum machine and minimalist synths that emphasize the song’s emotional weight.
Despite the new direction, "Genesis" didn’t completely abandon their progressive roots. “Dodo/Lurker” and “Me and Sarah Jane” offer glimpses of the band's earlier complexity, featuring dynamic shifts, layered arrangements, and darker lyrical themes. These songs maintain some of the intricate songwriting that "Genesis" was known for, but they are more concise and focused than the sprawling epics of their 1970s catalog.
The band's change in direction was emphasized by the departure of longtime producer David Hentschel, who had worked with Genesis since 1975. He was replaced by Hugh Padgham, who had previously collaborated with Phil Collins on "Face Value" and on Peter Gabriel's third album. His influence, particularly in capturing Collins's live drum sound, added a new dimension to the record. The band’s use of drum machines in the songwriting process gave Collins more freedom to improvise vocals, resulting in a looser, more experimental feel. This was a departure from their earlier practice of over-rehearsing songs before recording.
The timing of "Abacab’s" release, shortly after the emergence of MTV, played a crucial role in the album’s success in America. The music videos for “Abacab” and “No Reply at All” helped Genesis reach a wider audience, and the band gained new fans who were drawn to their polished, radio-friendly sound.
it is interesting to note that the "Abacab" sessions resolted in more songs that were left off the album. "Paperlate", "You Might Recall", and "Me and Virgil", were included on the third live album "Three Sides Live", released in 1982, While "Naminanu" and "Submarine", originally part of a four-song suite with "Dodo"/"Lurker", were released as B-sides on the album's singles.
The Critical reception of "Abacab" was mixed. While some praised the band’s evolution, others were less enthusiastic. Rolling Stone highlighted the irony of Collins’s solo success influencing "Genesis’s" sound, while NME dismissed the album as “beautifully produced but nothing worth talking about.” Despite the divided opinions, "Abacab" showed that "Genesis" still had plenty of creative life left in them.
Ultimately, "Abacab" marked a bold reinvention for "Genesis". The band’s willingness to embrace simpler, more commercial sounds may have alienated some of their earlier fans, but it also allowed them to thrive in the 1980s. The album remains a pivotal moment in their evolution, bridging the gap between their progressive past and their future as pop-rock icons.
For Listening: Spotify, Apple Music
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