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| Abacab | |
|---|---|
| Name | Abacab |
| Type | studio |
| Artist | Genesis |
| Released | 1981 |
| Recorded | 1980–1981 |
| Studio | The Farm, Surrey; Townhouse, London |
| Genre | Pop rock; Art rock; Progressive rock |
| Length | 45:59 |
| Label | Charisma (UK); Atlantic (US) |
| Producer | Genesis; Hugh Padgham |
Abacab Abacab is the eleventh studio album by the English rock band Genesis, released in 1981. The record marked a stylistic shift for the band, emphasizing streamlined arrangements and electronic textures, and it was produced amid tours, personnel transitions, and technological experimentation. The album's development and reception intersected with contemporary trends in popular music, recording technology, and the careers of the individual band members.
Work on the album began after tours and projects that involved Phil Collins, Tony Banks, Mike Rutherford, and collaborators associated with late 1970s and early 1980s rock scenes. Recording sessions took place at The Farm and at The Town House, with engineering input from Hugh Padgham and assistance from studio engineers who had worked with artists such as Peter Gabriel, Phil Collins (solo) and Genesis (band). The sessions followed production techniques pioneered on records by Peter Gabriel (musician), Peter Gabriel (album), and albums produced at AIR Studios and Advision Studios. The band made extensive use of instruments and equipment popular in the era, including ARP synthesizer, Prophet-5, Fender Rhodes, and drum machines used by artists like Gary Numan, David Bowie, and Roxy Music. The group juggled commitments with Atlantic Records, Charisma Records, and management issues involving Tony Smith (music manager).
The compositions drew influence from progressive-era material by Genesis peers such as Yes (band), King Crimson, Pink Floyd, and contemporaries in the new wave and synth-pop movements like New Order, Depeche Mode, The Human League, and Duran Duran. Arrangements featured concise song structures comparable to works by Elton John, Stevie Wonder, and Paul McCartney while retaining textural elements akin to Brian Eno, Vangelis, and John Cale. Lyrical themes evoked imagery found in songs by Bob Dylan, Leonard Cohen, and Bruce Springsteen, even as production leaned toward the radio-oriented approaches of Fleetwood Mac and The Police. Instrumental approaches referenced techniques used by Robert Fripp, Steve Hackett, Tony Banks (musician), and rhythm concepts similar to Bill Bruford and Chester Thompson.
The album was released by Charisma Records in the United Kingdom and by Atlantic Records in the United States, supported by singles and a world tour that involved concerts at venues like Wembley Stadium, Madison Square Garden, and festivals including appearances with acts such as Genesis (band) sharing bills with U2, The Police, and Peter Gabriel. Promotional efforts included music videos aired on MTV, interviews on programs such as Top of the Pops, and features in publications including Rolling Stone, NME, and Melody Maker. The touring ensemble included session and touring musicians who had worked with Phil Collins, Mike Rutherford, and Tony Banks, and production logistics were coordinated with firms like Live Nation and promoters associated with AEG Presents.
Contemporary critics compared the album to recent releases by Peter Gabriel, Phil Collins (solo), Dire Straits, Paul Simon, and Genesis (band) earlier works, noting a move toward mainstream accessibility similar to records by Phil Collins (solo) and Sting. Reviews appeared in The New York Times, Los Angeles Times, The Guardian, and music magazines such as Q (magazine), Spin (magazine), and Rolling Stone. Commercially, the album reached high chart positions in markets tracked by Billboard 200, UK Albums Chart, ARIA Charts, and GfK Entertainment Charts, with certification milestones monitored by RIAA, BPI, and IFPI.
The album was issued in multiple formats including vinyl LP, cassette, and compact disc, with track sequencing consistent across releases handled by Charisma Records and Atlantic Records. Special editions and reissues were later managed by labels involved in archiving and remastering projects similar to those by Rhino Entertainment, Virgin Records, and EMI Records.
Credits included band members associated with the line-up of Genesis (band) in the early 1980s and production staff who had previously worked with artists such as Phil Collins (solo), Peter Gabriel, XTC, and Phil Collins (drummer). Engineering and mixing personnel had backgrounds with studios like AIR Studios, The Town House, and Trident Studios.
The album influenced artists across genres, informing approaches used by Tears for Fears, Simple Minds, Toto (band), Genesis (band), Marillion, Rush (band), Radiohead, and Coldplay in blending progressive textures with pop songwriting. Its production methods reflected trends also evident in works by Brian Eno, Hugh Padgham, Mutt Lange, and Chris Thomas, contributing to later remix and remaster campaigns overseen by labels like Universal Music Group and archival specialists such as Peter Gabriel’s Real World affiliates.
Category:1981 albums Category:Genesis albums