Invisible Touch by Genesis

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Invisible Touch by Genesis
Invisible Touch by Genesis

Album Released: 1986

Invisible Touch ::: Artwork

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1.Invisible Touch3:29
2.Tonight, Tonight, Tonight8:53
3.Land Of Confusion4:46
4.In Too Deep5:02
5.Anything She Does4:09
7.Throwing It All Away3:51
8.The Brazilian4:50


The protagonist in the film American Psycho called Invisible Touch Genesis' undisputed masterpiece - that (and possibly the fact that he killed people) was the reason he was a public menace.

I can at least say I like the mega 80's pop hit “Land of Confusion”. While I'm not a huge fan of the very blocky drum-machine / bass (a sound many a pop band utilized post-1985), it does have an extraordinarily catchy melody, and Phil Collins sings it in a convincingly boisterous way. Tony Banks' keyboards also play excellent textures at just the right times, and Michael Rutherford comes in with a few gruff electric guitar licks to help give it a bit of drive. Yes indeed, that's a good song.

Unfortunately, everything else is crap.

Well, maybe not *crap* per se, but er ... disappointing. What happened? Didn't I just state in my review of 1983's Genesis that it was not only one of the best albums of their career, but a landmark pop album for the entire godforsaken 80's? Invisible Touch isn't even close to that.

The album's opening number is the title track, and it makes for an OK listen as long as you've already committed to sitting through it. The melody is hooky, although I don't care much for the stilted way Collins sings the chorus ... She seems to have! An invisible touch, yeah! She reaches in! And! Grabs! Right! Hold! Of your Heart! On the bright side, these guys continue to showcase their abilities for creating more or less interesting textures, but unfortunately such practices aren't consistent over the whole album.

You can hear proof that Genesis were losing their instrumental touch with the closing number “The Brazilian”, which annoys me more than it fascinates me. The drum machines flutter about in a cluttery fashion, and I couldn't be less interested in the dull melodic theme Banks comes up with his synthesizer. It lacks the inspiration of the previous album.

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by Reviewer: Don Ignacio (blogging at Don Ignacio's Album Reviews)

It pains me to say it now, but when I was a teenager starting to take an interest in popular music back in the eighties, the only thing I knew about Phil Collins was that he was that fellow who sung the words take a look at me nooww, in a song taken from a film I hadn't seen. I wasn't aware that Collins was a member of the band Genesis, or even that there was a band called Genesis.

Then along came Invisible Touch with its accompanying singles, and before long I'd bought the record. Then further down the track I became much more familiar with the history of the band (hey, that bloke who sings about sledgehammers used to be with them too!), and Genesis has now become one of my favourite progressive acts.

But this album remains the one I know the best, and I believe it also remains their most under-rated, very much maligned by ... well, nearly everyone.

True, there's not always a lot to it. The title song and its stable mate "Anything She Does", are both light and catchy, but not much more, while the two ballads - "In Too Deep" and "Throwing It All Away" - are pretty standard fare, although listenable all the same.

But what really powers the record for me are, firstly "Tonight, Tonight, Tonight", a compelling song throughout its running time, from Collins' powerful singing and drumming, to Tony Banks' mysterious keyboards in the wonderful instrumental break that just builds and builds, sweeping me away effortlessly. It's a song I never tire of. Then comes "Land of Confusion", another pretty straightforward piece, but one that punches with so much conviction (and had a pretty snazzy video to match) that it has to be another highlight.

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by Reviewer: The Doctor

Although Invisible Touch was a step down for Genesis, because it was the first of the band's albums I heard, I'm loath to trash it, but at the same time I'd rather not lose all credibility by praising it.

About half the album is well-known due to being played on the radio - the wonderful synth/rocker "Land of Confusion" also had a great video, and "Tonight, Tonight, Tonight" is actually interesting despite its nearly 9-minute running time.

"Domino" isn't really worth its nearly 11-minute length though, and whilst "The Brazilian" is dullsville, and "Anything She Does" is a blah generic 'rawk' song, the rest is decent enough - "In Too Deep" has a cute albeit cheesy falsetto part, and the title track is a pretty good pop tune.

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by Reviewer: Cole Reviews

I've been a big fan of Genesis since the release of their 1980 album Duke. Before that, I didn't really understand any of their work - it was too artsy, too 'intellectual'.

It was on Duke where Collins' presence became more apparent, but Invisible Touch is the band's undisputed masterpiece, an epic meditation on intangibility. It deepens and enriches the meaning of the preceding three albums.

Listening to the brilliant ensemble playing of Banks, Collins, and Rutherford I can practically hear every nuance of the instruments. And in terms of lyrical craftsmanship, the songwriting hits a new peak of professionalism. Take the lyrics to "Land of Confusion" ... in that song, Collins addresses the problems of abusive political authority.

"In Too Deep" is the most moving pop song of 80's - about monogamy and commitment, it's an extremely uplifting track, with lyrics as positive and affirmative as anything I've heard in rock.

Collins' solo career seems to be more commercial and therefore in a narrower way more satisfying, especially with songs like "In the Air Tonight" and "Against All Odds". But he's more effective within the confines of a band than as a solo artist.

Genesis' massive mid-80's hit-making years made the band an easy target within the hipper rock circles, and old-time Genesis prog fans became increasingly dismayed by the band's move to the kind of pure pop beloved by radio and MTV programmers.

The impetus for Invisible Touch appeared to be the massive solo success enjoyed by Collins - the singles Genesis released in 1983 struggled to match the transatlantic chart-topping feats of Collins solo, and the album came at a time where he was at a commercial peak as a soloist. So Genesis were swept along in his wake, so to speak - the boundary between solo Collins and band Collins became blurred.

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by Reviewer: Adrian Denning (blogging at Adrian's Album Reviews)