|Produced by Genesis and Hugh Padgham|
|Released on June 1986|
|UK CHART POSITION #1 . . . US CHART POSITION #3 . . .|
PLATINUM RECORD (8/7/96), 5x PLATINUM (4/16/92)
|Find it at GEMM|
F ew acts have the good fortune to release an album as popular and pervasive as Invisible Touch. More than half of these songs ended up on regular radio/MTV rotation (noting, as I write this, that “Land of Confusion” might be the most visually unappealing video I’ve ever seen). This reached a saturation point for some, who found little distinction between Phil Collins’ solo music and the work of Genesis (as ballads like “Throwing It All Away” and “In Too Deep” would have felt at home under either moniker). At this stage, the band was working from a set formula that included downbeat ballads wrapped in seductive melodies, longer instrumental works that suggested vaguely exotic dreamscapes, and songs with a social conscience. In fact, “Tonight, Tonight, Tonight” is little more than a mix of “Mama” and “Man of Our Times.” If the first side of music runs smoother than a Japanese train (i.e., like a Phil Collins record), Tony Banks exerts his influence on the second side with the two-part “Domino” and the closing instrumental, “The Brazilian.” As clever as Banks can be, his growing interest in percussive and nonmusical sounds (heard on “Land of Confusion”) contributes to what can be a dry and brittle-sounding record. With Phil often playing electronic percussion and Mike Rutherford reduced to random bass lines and snippets of guitar, it’s on Tony’s shoulders to champion the softer side of Genesis; a challenge he sometimes accepts (“In The Glow of the Night”) and sometimes declines (“Invisible Touch”). Genesis started on this path with Abacab, and cultivated a new audience in the process while alienating some old fans. Professionally, the trio was at the top of the mountain, their inevitable descent evidenced on We Can’t Dance and completed with Congo. The notion that Invisible Touch is product occasionally haunts me, but all records are product in some sense, and any one that makes millions of people happy must be a good thing.
|81641-1-E back cover||81641-1-E lyric sleeve|
TONY BANKS -- keyboards, synth bass
PHIL COLLINS -- drums, vocals, percussion
MIKE RUTHERFORD -- guitars, bass
Hugh Padgham -- engineer
Geoff Callingham -- technical assistance
Baker Dave -- sleeve design
John Swannell -- photography
return to GENESIS discography
|REGION||RELEASE DATE||LABEL||MEDIA||ID NUMBER||FEATURES|
|UK||June 1986||Virgin||LP/CD/CS||GENLP/CD/MC2||lyric sleeve|
|US||June 1986||Atlantic||LP/CD/CS||81641||elpee picture label, lyric sleeve|
|CAN||June 1986||Atlantic||LP/CS||78 16411/4||lyric sleeve|
|GER||1986||Virgin||LP||207 750 630|
For more discographies visit...
© 2004 Connolly & Company. All rights reserved.