What is the **Best** Sounding CD. Forgot how underrated this record is....
What is the **Best** Sounding CD. Forgot how underrated this record is....
"underrated" = you like it more than someone else does.
I like "Abacab" and "Keep It Dark"; the rest of the album leaves me cold.
Ha, was just listening this morning for the first time to a cd someone sent me of the original 14-track double album version of this album, complete with band count-ins. A bit cold and sterile sounding but still a good release. This double-lp presentation definitely makes up for the original last-third quality drop off of the original release.
I've only heard CDs, but I most prefer the 1982 Vertigo.
love it. GENESiS at their sonic apex. here have you my 30th anniversary review (taken from my fb page):
Genesis’ punk album. What had happened? After having seriously been bitten by the writing bug just a few years earlier Phil Collins contributed heavily to this album’s predecessor “Duke“, ran off to do a quickfire solo project and suddenly found himself to be a huge solo star in his own right, readily being lapped up by the mainstream crowd – for decades to come. However he wasted little time in returning to his somewhat startled bandmates and they set off to quickly reconvene and record this one, which, augmented by the thermals of Collins’ newfound solo success (hot air, anyone? hehe), saw Genesis soar even higher in public acclaim than before. Not only the increased public profile of said artist augmented the proceedings. A few years after the much cited upheaval in music gradually executed the old dinosaur bands, it was Genesis who would prove to be most able to adapt to the changing times and thus picked up other bands’ audiences for a while, in fact, the long tour that followed became the largest grossing Genesis tour yet and quickly elevated them onto bona fide stadium band status. However – and here’s the thing – they did not make it easy on everyone and ultimately themselves with “Abacab”, the accompanying album.
A distinct departure from the very composed and crafted “Duke“ album, there is a sense of looseness and sketchiness throughout which turned out to be a good thing and did go some way in establishing the band’s longevity. In reality though it has a heavily fragmented feel, having been put together as a collection of solo compositions and the odd band cooperation by everyone’s consent. In fact, the title track has a distinct jam quality seldom heard before with everything being centered around a heavy bass pedal pulse as well as the odd sharp guitar riff by Mike Rutherford, Tony Banks experimenting with a new peculiar and at times rather shrill synth sound on his Oberheim (and subsequently milking it all the way) and with Collins singing some abstract gibberish over a driving drum beat. It did yield a modest hit single and has become somewhat of a staple in defining late-period Genesis. On stage it really took off with its extended instrumental coda and became a popular concert number. But for those who still envisaged the Genesis of yore, another shock to the system came their way with the funky and upbeat “No Reply At All“ and, yes, that’s the celebrated Earth, Wind & Fire horns there, single handedly dragged into the studio by Mr. Collins, a long time admirer finally at liberty to follow his own quirks and whims. The fans were quick to throw rotten tomatoes, but it is Banks’ patented quickfire cross-hand playing technique (think “The Lamb Lies Down“ or “Mad Man Moon“) that quickly identifies this as a bona fide Genesis track. Said gentleman leads the way on his own “Me and Sarah Jane“ with some nice White Reggae touches and heavy in the atmospherics department but ultimately lacking the cohesiveness to lift this one from the unfortunate blandness that is apparent here. As it was the case with “Abacab“ though, live it worked well enough. Rutherford’s “Keep It Dark“ is something of a lost gem in Genesis’ catalogue, often overlooked, its minimalist character, being based on a single ominous guitar loop and restrained performances, gives it a lovely contemporary vibe – Genesis does Ultravox in some way.
With Side One being enough of a mixed bag, side two kicks off with the group composed “Dodo/Lurker”, a nod towards Genesis’ brit prog rock roots which were never really exorcised properly. And it’s far from being a loss, they have achieved a nice and contemporary version of their heritage here, with more sublime White Reggae and New Wave colourings and excellently ambient vibes with more of these spine chilling quiet-to-loud dynamics that Genesis have always excelled at. They are kind of overdoing it with the Post Punk contemporariness though on the oddball “Who Dunnit“ which is basically Collins ranting and squeaking over a heavy-handed beat and more annoying synth squeals courtesy of Banks. Hands down, it is a brave display of the band letting loose and just having some mindless fun, which is an achievement in itself for them. To many “Man on the Corner“ is the much maligned prototype for the ensuing onslaught of whiny, world weary Collins-ballads that were to follow in the coming years and ultimately making him some sort of highly successful persona non grata within the music consuming community that refuses to be lobotomized by mass media. However, that song works very well and offers some beautiful melancholia with its spacy arrangement, the gentle drum machine (a latter day Genesis trademark, ironically adopted by one of the finest drummers ever to walk this planet), a plaintive keyboard melody and the lone, desperate vocals. The album pretty much ends here for me though, Rutherford’s “like it or not“ is nondescript at best. Thanks. I don’t. They are attempting another epic album closer with “Another Record“, which however fails in pretty much every department and, to make matters worse, even has some of that atrocious synth harmonica that became such a common annoyance during the 1980s. If you have to have a harp on this one, get Mark Feltham. Or none at all. It would improve things significantly.
Still, a prime example of a band which epitomizes musical meticulousness better than most just letting things go for a while, actually having fun and along the way reinventing themselves and casually changing things around. And it didn’t harm them the slightest, the listening world was ready to meet those changes and enjoy them all the same. This, in turn, meaning that no further Genesis review on my behalf of anything that came after this one is required. Aren’t you glad?
Great review, iguana, though I'm not forgiving at all about "Man on the Corner." To me, Abacab is half a good album; the first half through "Dodo/Lurker" is terrific. Every song after that is a turd.
"Arf." -- Frank Zappa, "Beauty Knows No Pain" (live version)
Then put another record on and be done with it!Originally Posted by ThomasKDye
I agree...although 'No Reply At All' isn't great (the song is good, the arrangement just doesn't work for me). Much of the album actually sounds better on the 'Three Sides Live' album- there's more energy to it, I think. After 'Dodo/Lurker' the only thing I like is that moody intro to 'Another Record' but not the song itself. Indeed that intro has nothing to do with the song, really. They could have included better material like 'You Might Recall' ('Paperlate' has never done much for me).
Sorry, I missed your initial question. I don't believe the mid 90s 'definitive remasters' are that well thought of for any of their albums and the 2007 CD is a remix (never heard it). I've only ever had an older Virgin/Charisma CD of this one...sounds pretty good to me. Really I'd love to see their whole catalogue get a proper remaster of the calibre other 60s/70s rock acts are now receiving...with the original mixes, and the proper track indexes ('Three Sides Live' was completely botched in this regard).
Last edited by JJ88; 01-13-2015 at 04:03 AM.
Abacrap -well someone had to say it!
My favourite Genesis album. Shame it wasn't the planned double. No justification why I like it, or arguments in its defence, I just like it very much, and you can't argue with that! ��
Abacab, Me And Sarah Jane, Keep It Dark and Dodo/Lurker are fine. Rest varies from ok to awful.
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
It's telling that the band did not play a single song off abacab during the 2007 reunion tour.
I seem to recall some comment from Phil disparaging that album. Something about it being a relic of the 80s or something like that.
AHEM, back to the OP's actual question...
I upgraded from the original Atlantic CD version (1994?) to the remastered box set version (2007), but to be honest I'm not sure it was a huge improvement. It probably benefited from the overall top end boost and wider spread all of the remasters received, though I'm sure someone here (paging Jeff Carney...) will blast it as being too hot and "toppy." YMMV.
The remaster might be worth getting for the video extras, though if you want the B-sides and all that you'll need the full '76-'82 box set.
And for the record I really dig Abacab. It helped that it was released just as I was coming of age as a music consumer and it's got a sound that I've always loved. I'm even fine with the oddball tracks like "Who Dunnit?". Probably my least favorite songs are "Man on the Corner" and "Me and Sarah Jane", which seems like an odd throwback to stuff like "One for the Vine".
Last edited by Paulrus; 01-13-2015 at 11:29 AM.
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
The original US-issued Atlantic came out in 1988 or 1989. The remaster was 1994. The box set was remixes. The remixed Abacab sounds by far the worst of any that I have, to my ears. IMO the sound got progressively worse with each new issue.
So much for the album not being progressive!
Just don't tell Steven Wilson, for heaven's sake.
My original vinyl release is the only one I like.
DSC05346.jpg
I was going to say the same, though I think they even left it alone on the WCD tour as well! It was really a transitional album for them, in terms of overall sound- it's much more sparse than their previous releases, perhaps down to the change in producer. But song-wise it's not one of their strongest albums IMHO, so it's not a surprise little of it endured.
Paulrus, the version you are talking about is not a remaster- it's a remix, so it's totally different. I don't know this particular one but the remixes I do have are often radically different, with some elements missing from these new mixes that were there originally (there's a guitar sting on 'Misunderstanding' missing-in-action, some of the vocals from 'A Trick Of The Tail' etc.). There are endless CDs hauled over the coals by audiophiles which I don't find as bad as all that, but most of these I genuinely really struggle with. Too loud and too shrill, vocals way too high up in the mix at the expense of the band. I think 'Trick' was a total botch, for example.
The mid 90s Genesis CDs aren't anything great (they certainly don't compare with what we get now of The Beatles/solo, Pink Floyd etc.), but nor are they too objectionable for the most part...at least not compared with these remixes, by the same person Nick Davis!
Last edited by JJ88; 01-13-2015 at 12:14 PM.
There's a Wilson remix of Abacab?
can't be saved.... not only because of the 80's production, but also pityful songwriting
but if I must choose a version, try the Blue & grey dominant artwork, instead of the beige & green or the yellow & blue
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
That's another thing. That album artwork has to be the worst in the entire Genesis catalogue (though the self-titled album cover is not that great). No Roger Dean here, that's for sure.can't be saved.... not only because of the 80's production, but also pityful songwriting
but if I must choose a version, try the Blue & grey dominant artwork, instead of the beige & green or the yellow & blue
Welcome to the 80s... lots of that going on then. Just a bad time for Miami Vice neon and simple design.
My bad -- I'm one of those who forever misuses remix/remaster (you say toe-may-to, I say toe-mah-to).
Again, I think it might be a generational thing. As a graphic design student I was influenced by the work of the early 80s, so the Abacab artwork looks strikingly contemporary to me -- in a good way. I like it much more than the artwork for the albums that came afterward.
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
Aside from the phenomenal title track, the best thing about Abacab is that it 'could' have sounded like Duke...
See discussion on the 'Dodo Suite'
The album does have merit, and is in many ways the bands bravest effort, but it's fate (along with perhaps Trespass, ATTWT, Shapes and Stations)
is that NO ONE would EVER cite it as their favourite Genesis album. A position that any one of their other recordings could find themselves it.
Two other people in this thread already have, and we're only on page one.
@rael74. See a few posts further up. I cited this as my favourite Genesis album. ��
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