ABACAB

Seen from a Swede's vinkel, it's just as sinful to mention a positive word about this album as it was to be Swedish Abba fan in the seventies. Although the main title of this article isn't meant to deal with the latter pop unit, this is a rare opportunity to preach for a prog audience about the Nordic phenomena. It may be of interest. They're not included on Progarch, despite the epic wingbeats of 'Eagle'. Moreover, if this Swede is placed right at the centre of Africa's horn, it makes it even more tempting. Sitting in rural restaurant, surrounded by hyena dens. Baboons cadging for everything edible just a stone throw away. A poster on the wall steals one's attention. To call it misplaced is just a mild statement. The picture is made up of thousands of Ethiopian coffee beans plus two white cups placed like a pair of eyeglaces. Interestingly, when observed from a distance the beans suddenly turns into a John Lennon face. Over the remarkable, as 'Come Together' hasn't more history around here than 'The Fate symphony' on Tetepare Island(South pacific ocean). In point of fact, a poster that isn't new. A precise decade ago, the same Swede was on identical location studying (the long lived) object on the same wall. If the intricate subject music was at stake, it was at least temporarily interupted by a local female who came in sight. Doing extra job serving customers outside university studies. Clad in seventies tight jeans garment all the way up and all the way down. Seemingly above average height, with a weight decided by a fancier to 99 pounds...Resolute, and even stern gaze spoke a language that didn't need any dictionary. A bachelor from foreign shore (in his best years) wasted no time, but scribbled his mobile number on a blank piece of paper. The rest is as they say, history...We had stopped by here at the restaurant, at random, in order to obtain some innocent plain coffee. Sometimes there seems to be a sourish meaning in our unplanned deeds. Back to the basic subject, is Abacab itself meant to be a sideproject in its own article? Even if so, that's precisely the situation for part time solo artist Phil Collins during the early eighties. No matter how succesful it turned out to be, there were an abundance of other directions available. He, Collins, like all other musicians, had by now reached the descent age of 30. Experienced and wise, but energetic enough to tackle a plethora of workload. Abacab became, in fact, just one out of many options for phenomenal stardom. Only a single year after the release of the Genesis album, the percussionist with impressive accompanying group entered the border of Sweden. In order to produce solo recording by one of the female's of Abba, namely Frida. Possibly the Genesis man didn't realize how lucky they were to escape any sort of harrassment from the left wing mob. Let's put this clear; Abba's backing musicians, back in the golden seventies, were banned from entering in certain areas of Sweden. Forbidden to enter clubs/venues, to perform when they were out playing on solo tours. In their own fatherland, yes! This is a bizarre and perhaps unique fact in music history! The main reason for this was that the Swedish progressive movement of the decade before Abacab (not Abbacab!) had a utterly strong leftwing-oriented touch. Abba were seen as the symbol of ultra commercialism and a favorite object of hate. Although they certainly found a vast following on home ground, each and every wiseacre you met detested them to death. Among the banned were leading Swedish guitar player Janne Schaffer, who is also included on Progarch. The author of this article once wandered the beaches of Eastbourne, accompanied by compatriots. Carelessly enough, Abba was mentioned as a 'quite decent' act by myself. The reaction was not long in coming; - "Are you joking" ???. Plus, a few more peccant comments. This in a territory, Great Britain, at a time, where the Swedish fourpiece did two sold-out concerts at London's Royal Albert Hall (actual demand close to 600 gigs...). In The Soviet Union, same year of -77, 'The Album' from the same Swedish quartet sold a few tens of thousands available units (real demand 40.000.000...). Every 3,5 Russkiy, and that's an understatement, hungered for the Scandinavian music disc. The so- called socialist state, but put into context in this article, a gentle breeze. Like everything Collins touched, it turned to gold. Something Going On, by Annifrid Lyngstad. This was a time of omnipresence and a hand everywhere. Everybody wanted to work with Philip Collins. One of the leading music figures in the world, or why not THE leading. From pure heavy metal offers, to full big band swing. Still there was a Genesis, albeit not a carbon copy of their vintage past. To grab the full context of Abacab, one has to approach it the from a correct angle. With an enormous succcess like Face Value, it's an inevitable thing that the upcoming Genesis album must be affected. All concerned parts were caught off guard. Both solo albums, let's call 'em the twin albums, from Banks/Rutherford went in total opposite direction. Competent (and held in high esteem by the author), but stringently conservative. Both recorded abroad (Abba Polar studio in Stockhom, just like the case with upcoming Duke). Surprisingly, in both cases overlooked by veteran producer David Hentschel. Banks/Rutherford are considered the cogs and prons of the group, and as such prefering the trampled and habituated road. Even from this perspective; the mere idea of a solo album could be at least partly to find new untried paths!?!? Here it's a safe road more often than not. Basic rock instrumentation in true spirit of later Genesis records. Ex bandmates Gabriel/Hackett are both placed as far away on the spectrum as you can possibly reach. So what about the fifth member? 'Face Value' made it differently; first recording on home ground since 'A Trick of the Tail'. Just like Abacab(the latter in the brand newly constructed The Farm). There's a band photo on the innersleve of Abacab. On the innersleve; not on the cover, or even at the back of the cover. The man in the middle, in case you havn't noticed it, is the drummer/vocalist of the band. His sidemen are remaining two members. A commonday occurance for the casual observer. But not for the affectionado! Not since Foxtrot almost a decade ago, actually the one and only Genesis studio record prior to this including band photos. For what reason are band photos left out all the long way inbetween? Floyd had by the way an almost identical development as their compeers. Because it's a solid part of the band image. How many benign, smiling snapshots with noses/mustache do you find in the old testament? It's like going to soul fair dressed in beach party attire. In the same manner, you don't watch secular faces on a Genesis album. Gabriel broke up this with a vengeance on his solo records. Deliberately so. So did Hackett, not before but after his departure. But the three-piece stuck to old formula. A British music journalist commentated upon the release of Abacab about the lack of a lyric sheet. Quite logically so, all previous albums since ancient times have included one. Didn't Banks/Rutherford do as well? Why on earth not Abacab? The journalist in question failed to study the concept of a certain 'Face Value'. There was not only photo on Face Value, but photos. There was horn section on Face Value, also horn sections. On Abacab there were as many photos as horn sections. One of each*. How cautious it may seem, still an enormous stride away! Someone uttered that Genesis were one of the few bands who were able to both have its cake and eat it. When listening to 'No Reply at All' one can't do much else than agree. Of all the big British progressive 70s bands they're one of a kind. 'Another Brick in the Wall part II' or 'Owner of a Lonely Heart' may be strong competitors, but they only represent the odd riser. Here they're flowing out. 'Reply' is one of quite a few fresh sounding pieces of the Lp. If 'from genesis to revelation' had produced something simular heaven forbid!; the length of 'Supper's Ready' would've been comprised to 4 minutes and 45 seconds! If it's possible to pick one favorite post-Gabriel single then here is a strong candidate. More non-deformable than 'Follow You, Follow Me'. More musical content than 'Invisible Touch'. Banks shines in similar way as with his prolonged seventies pieces. First came 'Fountain of Salmacis', then 'Firth of Fifth'. Here you'll find a fresh deviation. His piano arrangement is just awesome, and you can't help but wonder where he gets everything from. Bass line isn't junior to anything. There is some six-string even if it's strictly limited in audibility. At the end of the mid section. Rutherford has a talent to put the right thing at the right place. Just like John Paul Jones in Led Zeppelin, they both have bass as primary instrument. That is, it's possible to treat other secrets with subtle care. Almost to invisible level, but not an ounce less relevant. You can ask for 0,01% involvement, without threatening a co-worker. Actually it's magic. In a grandiloquent five-piece group it would hardly be feasible. A permanent keyboard wiz would've done everything to turn 'Stairway' into a 'July Morning'. No matter how big Hackett fan you are, it's difficult to pave the way for his involvment on 'Reply'. Only a string-bender reduced to a less virtuoso Segovia. Phillip Collins has no reason to compromise, he goes on, of course, like a trimmed Lamborghini(not only your dreamcar, also a Genesis record label). On both elements; drum/voice. His self-confidence is by now at the very top, an observer may say. But that's not the case, it goes beyond that. One obvious example; when asked about a recorded cover song, if it was written by himself? The straight answer was 'Yeah'. The teamplayer Collins who always has adapted to surrounding environment and given what's best for the totality. All pent up power arrive into daylight, with explosion. Herein lies the formula of Abacab. Observe, not to everybody's liking. I put 'Reply' alongside 'I Know What I Like' among finest singles, even though they belong to different eras. You've heard 'em over and over again, but still always for the first time, spiritually. Why wasn't 'Paperlate' a part of the record as well? The second track with horns from Earth, Wind and Fire. It could easily have been but would've turned a Collins influenced product into a pure Collins follow-up effort. Banks/Rutherford have despite all not lost all descancy. 'Reply' found a place onstage. Understandably, the hornsection wasn't brought along to perform one single song. A mega hit in the USA, the home of EWF. In England did first track, the title track fare better. More as a first-rate song, than a patent single. Titletrack, 'Abacab' stands out as Rutherford's most prolific guitar performance that far. The album- and single versions are fundamentally different, the first one giving the guitarist a lot more room. A generous running time almost double compared to the single (we're in pop land). The track sets the tone for the album with a stripped down and fresh live feel in the studio with bass pedals/guitar and spare keyboards. We've entered a new modish decade! It's worth to notice that the vocal delivery differs live from the studio version. Both Tony/Mike had the courage to add chorus singing onstage with lead singer. The question remains; why not also in the studio? It should for good reasons have been executed here as well. Not least for the sake of variation. On upcoming solo albums there were no sign of pudency. All bandmembers turned into frontmen indeed. The most unique feature with titletrack is still uncredited inclusion of the hornsection. With treated sounds on the instrumental part. This is really unique, not only the horns in themselves but just as much its presentation form. Diametrically transverse to what you asociate the principles of the group. Hackett would've approved of this. It's as mystified as the inclusion of Maria Bonvino on a solo album. The globetrotter me heard song (and album) for the very first time in Brighton/Hove, a local train away from its purchase place. In the same area where Napoleon did surrender. Thus, where Abba won the Eurovision Song Contest (Early April, spring -74) with 'Waterloo'. The battle proceeded to this day, with fully present tanks rooling in the streets of Brighton. Commissioned to, at all costs, to protect us from unwanted forces. Seems unrealistic, but due to other points of concern than the French commandant, namely the ongoing Irish-British antagonism. Genesis played the same night, April 6, out of Eurovision and Europe, in Toledo, Ohio. With Selling England-tour. Full five-piece band, at the pinnacle of its career with an even stronger 'Epping Forest' than in studio. They had the chance to watch glimpses of the Eurovision on tellie, at 04:30 pm from their point of view. That's what undersigned, me, did. But in concordant timezone, placed on a hotel sofa in the capital, some 50 miles away. With fresh Highbury visit. On Abacab is everything allowed, and nothing forbidden. (I can't get no) Keep it Dark, is also included. If the Ep '3×3' included cover features dedicated to both sixties legends Beatles/Stones, then this very track owns properties from the distant -65 song. Though not in the same time signature(6/4 ÷ 4/4), there's a striking similarity in the meaty and naked guitar sound. It's said that Keith Richards wrote 'Satisfaction' in his sleep. Reportedly, Genesis composed their tune in awake state! The lyrics on 'Keep it Dark' goes like the boybook adventure. Like on the majority of Abacab, it melts together with beat an' tone. It works ok, but doesn't put the songwords in its own biosphere. Just something to sing along to. There's no Jon Anderson coming to the rescue with sharpened pencil, and assuredly not own kingpin Gabriel. The 'Trick' album may textually have served as an indian summer, with one member outranking the other. In a wider perspective though, equated with David Gilmour led era of his unpeopled unit. There are only a limited amount of lyric poets, with anyone's ability to put words to a song. Waters, like others mentioned here, rejects politely any involvement from a less theocratic authorization. Roger's true defier came from Roger, more known by the name of Syd. What could've been, never was. Collins does for the first time contribute with an equal part on a Genesis album. At the expence of Banks, who in turn has stepped down both as sonical- and composing force. It's a huge change, you have to go far back in time to find a counterpart. All sounds on the album are a product(decision) by the three bandmembers. Hugh Pagdham is credited as engineer. That doesn't mean a laidback, indifferent, absent studio companion moving levers up/down(on command). But still not up to title co-producer. It's the same situation for guitarist David Rhodes on 'So' album. He could just as well been entitled co-producer. It's less about what you've accomplished, more what was contracted in advance. Rhodes got co-writing credit for 'That Voice Again' as a consolation. Writing is just as much grey area as production. The drummer of Genesis knows about this lay. He happened to share in 'Intruder' on an earlier occasion. Collins, again, explained the situation; - 'we got tired of having others producing us'. That's probably a reason, but this tiredness was sped up by the release of winner Face Value. The latter managed completion with one single producer, namely the artist himself. As a co-incidence, engineer was a Hugh Pagdham. So why the need of four co-producers here? If it wasn't for Face Value though, you would've seen an independent producer on Abacab. David Hentschel. Or other name. In any case, Hentschel's vast rule was by now reduced to a fond memory. If you're amused by the subject (which you are), how do you summorize Hentschel's time? To call it a mixed bag is not a devaluation of the same. Even though all his decisions or co-decisions weren't of correct nature. The producer had det thankless assignment to take over after defected Peter Gabriel. Where do you find the true successor for original singer? Actually there is no replacement to be found. Collins did a great job in his way, an outsider could possibly have done as well. But in a new, alternatively, carved out way. In came a synthetic enclosed sound from bare and straight studio walls. Out went the saga sonorous flute from the misty depths of primal forest. Cum other divergence . An equation that doesn't rhyme. Even if Banks progressed on his numerous synth keys. Steve wasn't able to hire brother John neither as replacement (nor as session player). If any was fitted as guest it's definately the best choise. John was there since day one ready to offer his magical instruments to the band. Both closely related, and musically brilliant. The siblings Hackett had to operate outside the realm of Genesis. The E.W.F. horns had the nerve to disrupt this strict order! Not only twice, but threefold... It's not less interesting to pose the question; who came first, the hen or the egg? Regarding the gated reverb there's no doubt about it. 'Frida drums' defined a Scandinavian local resident with music on the agenda. The thunderlike (but dehydrated) drum sound was a collaboration between Pagdham, Collins and Gabriel. It spread like wildfire. Like all great progresses it started by chance. Phil rejoined his former band pal (who was unable to hire permanent band). But that was as it turned out to everyone's benefit. Abacab is not as good as 'P.G.III'. Moreover, it's not as good as Face Value. But let's get to the point, how strong could Abacab have been(with the right executive producer)? Well, it seems like a lot..Every single track on '3x3' is to be included on the album. 'Paperlate' is a tad less exciting than 'Reply' but still able to compete. If you are a wintered fan from 1971 you'll vote for the any version of maudlin 'Submarine' as well. But it doesn't even stop there. Behind all this figured material en masse which wasn't considered appropriate for the new decade. If one consider what was left out on Duke you'll understand the principle. 'Open Door' got the thumbs down. It's like deleting 'Blood On the Rooftops' from -76. You don't find the song selection on Abacab just. Nobody does. It requires a throughout explanation. In everyday speech, to reach out to record buyers who don't have viola da gamba or contrabassoon on the listening meny. In everyday speech, a more sales friendly orientation. That's the method. It wouldn't be a true Genesis album if there wasn't at least one gigantic Banks composition of central character. The intro may fox you with its almost indolent and easy-going character. But that's just a trick, 'Me and Sarah Jane' builds up on you step by step. From the light-hearted, but you're soon engrossed by the swirling musical drama. Just as many fans are aware of, every single section of the composition is unique and not repeated or heard again. The striking quality of the song is that there are obvious traits from a past but entirely adapted to the new environment. A highly succesful combination. The only Banks composition on Abacab where the band return to its 'all titles done by all' philosophy. At least almost. Three individual tracks democratically distributed. So still done by all. It wouldn't 've happened if it wasn't for..properly..the solo album from Mr. Collins. 'Man on the Corner' serves as a well-intentioned hangover from the same. Every single song on Face Value is superior 'Corner' and, once again, the reason why it's included is for previous success half a year earlier. 47 minutes Collins verses 47 minutes Genesis. A rather peculiar situation telling you that the group no longer always is a number one priority. It was this dilemma that discouraged Steve Hackett from pursuing parallel careers. Neither fish nor fowl. Hackett himself contributed to the invalidation of 'done by all' through his almost singlehandedly shaped 'Acolyte'. You're fully excused if you crave for 'Hand in Hand' in the place of 'Corner'. Closing track on side A on F.V. The drummer on fluent piano keys. Children choir falls like a light drizzle on us. The horns are in full bloom. If you had any misgivings with this instrumentation before now you're a believer. 'Like it Or Not' finally, from Rutherford, closes the circle. A capable offering that could've been even nicer with a more well thought out distribution. First half is clearly preferable to second one. Melody based with no instrumental orgies. In case you havn't noticed it, another huge change on the record. Phil Collins vocal style. The first three albums somehow form a unity. By the time of Duke the successor of Gabriel reaches his finest hour as Genesis front man. Fantastic bootleg material like 'Ripples' and 'Moonlit Knight' are sovereign. From Royale Drury Lane where a true fan goes on pilgrimage every calendar year. Or ought to do. Then came the solo album.. The voices on Abacab are a result of the mega success; Venturesome, unrestrained, fancy-free, resounding, utterly self-assured. Collins owns the air and space around him. Both founders and constables of the band, that is Banks/Rutherford, are looking the other way. There is no other controller available. So what we're saying is that Abacab stands for regression? It's up to yourself to adjudge. If you consider the sales figures it's the opposite way. That was lucky if you cared about the future of the band. Hackett's 'Acolyte' didn't go unnoticed. It would be strange if 'Face Value' did. At least one of the members, M. Rutherford, annonced his departure from entity Genesis. The cash-flow generated from single- and Long play sales in the year of -81 made the bass player think better. Not least observable on 'Dodo/Lurker'. We're talkin vocals. Do you even know where to stop listening to Dodo and start with Lurker? Some folks even complain about that one song is missing. On studio they come after each other like other tracks, on Live album it's Dodo/Lurker together!? Once you've noticed 'Squonk' ingredients the next one is 'I know what I Like'. It's not in the league of my all time favorite Genesis tunes. Although there are suggestive parts. Just like the the wolly mammoth, the flightless dodo bird is projected to be brought back via de-extinction. With functioning DNA. Like so many others, it went extinct with man's thirst of dicovery. As there were plans to turn Abacab into a Lamb project, double-Lp, there was room for another 'The Waiting Room'. In this presentation; 'Who Dunnit?'. On the double it's a necessity. Playful, discrepant, droll..Outside this concept, more hesitant. Irrespective of what panjandrum Ahmet Ertegun said or not. Some reviewers even take this passage seriously. The symptomatic for the album is that the only omitted track from the stage is completive 'Another Record'. For unknown reasons, but you simply can't perform everything. It deserved a better fate. 'Me and Virgil' stole its position on a couple of occasions on tour. Not a bad replacement. Actually ''Another Record' is the finest closing song since 'Los Endos'. A real highlight on the album that saves your night like a bottle of Chateau l'Evangile in place of oxygenated tap water. No wonder that Abacab was a No.1 hit all the way from the top of the eiffel tower down to Saint Tropez. The song makes up for a few perpetrated clangers and turns your listening experience into a rosy farewell. In absence of (harmonica player) Stephen Hackett a stylish synth from the keyboardist is befitting. Everything about 'Another Record' seems to be weighed on scales. The production, great intro, bridge, matching lyrics, and smart vocal. The drum pattern just as much. A realistic wish if duo McCartney/Lennon had trudged about in the freshly spun decade of the eighties. It will definately do just as well here. At the time of the release of Abacab the division between band/solo was practically non-existent. It wasn't 'Genesis' anymore but 'Genesis with Phil Collins'. Phil Collins band had been even more passable, as one scribe put it. For the person-in-the-street who passes you with a dripping mustard sausage in hand; either combination would've worked. As long as you can croon along to 'In the Air Tonight'. A track that just as well could've decked a Genesis outing. The track never did; but the costume from where it came fitted well. (To Raymond Shulman)

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