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DISCID=4c0ab808,4f0ab708,500ab608,510ab908,530abb08,530abc08,580abc08
DTITLE=Genesis / Invisible Touch (Japanese Pressing)
DYEAR=1986
DGENRE=Progressive Rock
TTITLE0=Invisible Touch
TTITLE1=Tonight, Tonight, Tonight
TTITLE2=Land of Confusion
TTITLE3=In Too Deep
TTITLE4=Anything She Does
TTITLE5=Domino
TTITLE6=Throwing It All Away
TTITLE7=The Brazilian
EXTD=Invisible Touch (Japanese Pressing)\n1986 Atlantic Recording Corp
EXTD=oration\n\nOriginally Released June 1986\n\nAMG EXPERT REVIEW: Wi
EXTD=th Invisible Touch, Genesis' transition from prog rockers to pop 
EXTD=superstars was completed. Filled with slick, synth-heavy, radio-f
EXTD=riendly numbers, the record was their biggest seller. Artisticall
EXTD=y, the record's merits are more dubious. Tony Banks and Mike Ruth
EXTD=erford contribute little of imagination to the musical mix, while
EXTD= the most of the lyrics lack imagination. The sappy ballads "Thro
EXTD=wing It All Away" and "In Too Deep" could easily have come off a 
EXTD=Phil Collins solo album, as could the horn-driven "Anything She D
EXTD=oes." That's not to say they are bad songs per se, but considerin
EXTD=g what the group was capable of, they are comparatively slight. "
EXTD=Land of Confusion" throws some well-needed grit into the mix, but
EXTD= the best material here is the tracks that show some signs of adv
EXTD=enture. The album version of "Tonight, Tonight, Tonight" is far s
EXTD=uperior to the single release, with its soaring chorus augmented 
EXTD=by a long, dark instrumental passage. Meanwhile, "Domino" finds a
EXTD= nice blend between a pop-friendly sound and a progressive struct
EXTD=ure. The wistful "The Brazilian" could fit on any previous Genesi
EXTD=s album, and with interesting percussion and keyboard sounds is a
EXTD= reminder of how good the band could still be.  -- Geoff Orens\n\n
EXTD=Amazon.com Editorial Review\nThere no doubt exists a school of ro
EXTD=ck purists who consider Invisible Touch the album where Genesis o
EXTD=fficially kissed street credibility goodbye and said hello to bee
EXTD=r commercial anthems and puppet extravaganza videos. True, perhap
EXTD=s, but on the other hand, it's great to sing along to a good pop 
EXTD=song, too. And this record has good pop songs in spades, from roc
EXTD=k-solid I'm-not-so-tough-I-can't-cry-style tearjerkers ("In Too D
EXTD=eep," "Throwing It All Away") to zingy, gurgly pop confections ("
EXTD=Land of Confusion," "Anything She Does"). A few slightly more spr
EXTD=awling tracks are also included ("Tonight, Tonight, Tonight," "Do
EXTD=mino," and the instrumental "The Brazilian"), but compared to the
EXTD= band's earlier attempt at art-rock opuses, even these feel a bit
EXTD= candy coated. We are talking about 1987, after all. Thin synth l
EXTD=ines weren't retro. They just were. And we loved it. --Bob Michae
EXTD=ls \n\n\nAMAZON.COM CUSTOMER REVIEW\nDo You Know What You've Begu
EXTD=n?, January 13, 2007\nReviewer: Tom Emanuel (Deadwood, SD USA)\nI
EXTD=NVISIBLE TOUCH (1986) is probably the most divisive album in Gene
EXTD=sis' entire catalogue. Fans of the band's 80s work acclaim it as 
EXTD=one of their crowning achievements, while adherents of the band's
EXTD= 70s prog period generally see it as the album where Genesis offi
EXTD=cially "sold out". \n\nNow, as someone who was introduced to the 
EXTD=band via their 70s repertoire, I'll be the first to admit that IN
EXTD=VISIBLE TOUCH is far more pop-oriented than anything the band had
EXTD= done up to that point. But they hadn't left their progressive ro
EXTD=ots behind entirely. In its nine-minute album form, Tonight, Toni
EXTD=ght, Tonight is a cautionary epic with a brooding middle break, a
EXTD=nd the atmospheric instrumental The Brazilian caps the album in e
EXTD=xotic fashion, climaxing in a Hackett-esque guitar solo from Mike
EXTD= Rutherford. The big treat for prog fans, however, is the ten-min
EXTD=ute-plus Domino. I've been led to believe this song is about some
EXTD= kind of nuclear nightmare, but whatever its true subject matter 
EXTD=it's absolutely stunning, building dramatic tension through multi
EXTD=ple movements to a harrowing climax in classic Genesis fashion. \n
EXTD=\nAs good as these progressive flourishes are, however, the poppi
EXTD=er side of INVISIBLE TOUCH is just as good, if not better. The ti
EXTD=tle track is irrepressibly catchy (it went to #1); Land of Confus
EXTD=ion achieves just the right balance between danceable rock and se
EXTD=aring political commentary (not to mention that brilliant video);
EXTD= and Anything She Does bounces along like an over-excited puppy (
EXTD=to cop a phrase from a review of an ELO album). But it's the ball
EXTD=ads that hit me the hardest, both the desparate In Too Deep and t
EXTD=he crushingly bittersweet Throwing It Away; for whatever reason, 
EXTD=those two songs really strike a chord with me. \n\nBy the time 19
EXTD=86 rolled around, Genesis really wasn't the same band that record
EXTD=ed art-rock classics like SELLING ENGLAND BY THE POUND and FOXTRO
EXTD=T. They had lost two key members, and their sound had changed dra
EXTD=stically with the drastically changing face of rock music. But in
EXTD= spite of its more mainstream aspects, INVISIBLE TOUCH is proof t
EXTD=hat they were still willing to evolve, still willing to explore, 
EXTD=and still willing to take chances. And that's really the spirit o
EXTD=f progressive rock after all, isn't it?\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nI like it a lot better now than I did 15 years ago, Octob
EXTD=er 21, 2002\nReviewer: woburnmusicfan (Woburn, MA United States)\n
EXTD=I hated this album! When it first came out in 1986, I hated this 
EXTD=album with a passion. It had thrown away the fantastic sound of "
EXTD=Three Sides Live" and "Genesis" in favor of synthesizer blips and
EXTD= bleeps, way-too-glossy synth strings, and drums that sounded lik
EXTD=e drum machines even when it was Phil Collins playing up a storm 
EXTD=(rather than playing real drums, he's playing pads that trigger e
EXTD=lectronic drum sounds), and all in the service of a bunch of song
EXTD=s that sounded like pure sellouts.\nFrom today's vantage point, I
EXTD= have to give this album its due. It made Genesis, for a moment, 
EXTD=one of the most popular bands in the world, something I'd always 
EXTD=hoped for. Some of the singles, especially "Land of Confusion" an
EXTD=d "Throwing It All Away" ARE very good. The former is probably Ge
EXTD=nesis' best social comment song. And "Domino" is the last of the 
EXTD=great Genesis long songs; "Driving the Last Spike" and "Fading Li
EXTD=ghts" are jokes by comparison. I still have trouble listening to 
EXTD=the title track -- while it has an impossibly catchy riff, it's c
EXTD=oupled to one of the most insufferable lyrics this side of "Who D
EXTD=unnit?". The lyric is a rehash of Collins and Philip Bailey's sin
EXTD=gle "Easy Lover". "Tonight, Tonight, Tonight" is a good song abou
EXTD=t addiction, even if it is a couple of minutes too long and comes
EXTD= with the Michelob commercial association. "Throwing It All Away"
EXTD= is a melodic ballad centered on a great Mike Rutherford guitar r
EXTD=iff. The slow ballad "In Too Deep" is one song I think MUCH more 
EXTD=highly of today than when it was new (by the way, it was the open
EXTD=ing theme in the movie "Mona Lisa"). "Anything She Does" is a cat
EXTD=chy nothing of a song, with a lively horn part and a lyric about 
EXTD=a man who falls in love with a painting. "The Brazilian" is a sli
EXTD=ght instrumental, with Rutherford's bass and Collins' drumming mu
EXTD=ch more interesting than Tony Banks' synth leads. Its highlight c
EXTD=omes at the end, when Rutherford dares to use Steve Hackett's tra
EXTD=demark wailing guitar sound for an all-too-brief solo. This type 
EXTD=of guitar wail is great for cutting through the Genesis wall-of-k
EXTD=eyboards sound, and it's a shame Rutherford didn't feel comfortab
EXTD=le using this more often in the post-Hackett period...\n\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nIf Only it Was Invisible, October 19, 2001
EXTD=\nReviewer: Jerry G. (shaker hts, oh United States)\nContinuing a
EXTD= trend of extraordinarily bad music that started with 1983's self
EXTD=-titled atrocity, Invisible Touch stands as the best selling albu
EXTD=m of this band's long and varied career. It's their best in sales
EXTD=, one of their worst in quality. The problem is that most of the 
EXTD=songs sound ready made for your morning elevator ride. Or perhaps
EXTD= for walking down the aisle at the local supermarket. If I were a
EXTD= dentist I would certainly put this one at the top of my office p
EXTD=lay list - it's the perfect thing to listen to while getting your
EXTD= teeth pulled. \nThe title track has got to be one of the most ir
EXTD=ritating songs ever recorded. The industrial music folks have got
EXTD= nothing on Genesis here. Give me a pile of scrap metal and a ham
EXTD=mer and I'll make a more appealing sound any day. Tonight, Tonigh
EXTD=t, Tonight is another ridiculous piece of garbage. Land of Confus
EXTD=ion is a pathetic attempt at a political statement while Throwing
EXTD= it All Away is an obvious remake of Taking it All Too Hard, whic
EXTD=h was the only good song on their previous album. Only this time 
EXTD=around they manage to suck the life out of their own creation. Ho
EXTD=w many songs can you make about romance? Give me a friggin' break
EXTD=. Most of the songs are of the type that make no demands on the l
EXTD=istener and would never offend a member of the general public. \n
EXTD=\nThere are two good songs on this album that actually make it wo
EXTD=rth owning if you're obsessed with the band and have almost every
EXTD=thing else. These are Domino, which is a long, powerful piece tha
EXTD=t blows the somewhat similar Home by the Sea (from Genesis) out o
EXTD=f the water, and the Brazilian, a short instrumental. \n\nIt's un
EXTD=fortunate that this album, more than any other, has come to defin
EXTD=e what the general public remembers as Genesis. Perhaps this is u
EXTD=navoidable given the fantastic sales it achieved, but it makes fo
EXTD=r a great deal of embarrassment when you say that Genesis is one 
EXTD=of your favorite bands. The smiles just fade right off of peoples
EXTD=' faces and they soom find someone else to talk with. And the fac
EXTD=t is that you would want them to react that way. All thanks to In
EXTD=visible Touch, the album that sealed the fate of this once great 
EXTD=band and turned it forever into a bad joke.\n\n\nHalf.com Details
EXTD= \nProducer: Genesis, Hugh Padgham \n\nAlbum Notes\nGenesis: Phil
EXTD= Collins (vocals, drums, percussion); Mike Rutherford (guitar, ba
EXTD=ss); Tony Banks (keyboards, synthesizer, bass).\n\nRecorded at th
EXTD=e Farm, Surrey, England in 1985 & 1986.\n\nWhen Genesis reconvene
EXTD=d to record 1986's INVISIBLE TOUCH, Phil Collins had a thriving s
EXTD=olo career in both music and film, Tony Banks was recording movie
EXTD= scores, and Mike Rutherford was doing well in Mike & the Mechani
EXTD=cs. Though it may have seemed impossible for the band to do bette
EXTD=r as a unit, this record spun off five Top 5 hits including the c
EXTD=hart-topping title track. By tapping into a baby-boomer market th
EXTD=at had lots of disposable income, Genesis became an adult contemp
EXTD=orary god.\nINVISIBLE TOUCH represented the perfect hybrid that G
EXTD=enesis had been striving for: a pop sound mated with prog-rock fl
EXTD=air. "Tonight, Tonight, Tonight" demonstrated this perfectly. Des
EXTD=pite being over eight minutes long, the topic of dysfunctional re
EXTD=lationships had enough universal appeal in it to be used in a bee
EXTD=r commercial. "Land of Confusion," a straightforward number comme
EXTD=nting on the pervasive greed of the '80s was one of the album's h
EXTD=it singles along with the soft-rock ballad "Throwing It All Away.
EXTD=" The Domino Suite ("In the Glow of the Night," "The Last Domino"
EXTD=) may have been a nod to the band's more progressive past, but th
EXTD=e sweeping instrumental, "The Brazilian," truly harkened back to 
EXTD=Genesis' art-rock glory days.\n\nIndustry Reviews\n...The product
EXTD=ion is so mid-'80s - it was nevertheless impossible to go anywher
EXTD=e for a good 12 months without hearing 'Invisible Touch', 'Land O
EXTD=f Confusion', 'In Too Deep' or 'Tonight Tonight Tonight'....the r
EXTD=esult rarely sounds anything less than ruthless in its commercial
EXTD=ism.   Mojo (03/01/2001)\n\n\nROLLING STONE REVIEW\nIf ever there
EXTD= were a time for Genesis to abandon art rock in favor of a pure p
EXTD=op approach, that time would be now. The pop hits, after all, wer
EXTD=e what finally catapulted the trio out of its cultact status, and
EXTD= a flair for Top Ten singles has made stars of Phil Collins and M
EXTD=ike (and the Mechanics) Rutherford. So why not jettison the extra
EXTD=neous arrangements and get down to business?\n\nBecause without t
EXTD=hat tendency to orchestral pomposity, it really wouldn't be Genes
EXTD=is. Take, for example, "Anything She Does." The song opens with a
EXTD= brisk, synthesized brass figure that could easily have been copp
EXTD=ed from one of Collins's solo efforts, but instead of continuing 
EXTD=on in that groove (as Collins would), Genesis hits the brakes, dr
EXTD=opping back into a quirky skank that effectively halves the beat.
EXTD= It's a real showoff move, and entirely typical of the Genesis ca
EXTD=non.\n\nExcept that such tricks are no longer the focus of each t
EXTD=rack. Instead, every tune is carefully pruned so that each flouri
EXTD=sh delivers not an instrumental epiphany but a solid hook. Much o
EXTD=f the credit for this belongs to Tony Banks, whose synth style ha
EXTD=s never seemed more appropriate; it's his keyboards that set the 
EXTD=mood for "In the Glow of the Night" and maintain the tension in "
EXTD=Tonight, Tonight, Tonight."\n\nIn the end, though, what essential
EXTD=ly distinguishes this from the next Phil and the Mechanics projec
EXTD=t is that no single player dominates the sound, that each member 
EXTD=keeps his touch invisible. And that, as it turns out, is plenty p
EXTD=op enough. (RS 480 - Aug 14, 1986)  -- J.D. CONSIDINE
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=Part One - In The Glow Of The Night\nPart Two - The Last Domino
EXTT6=
EXTT7=
PLAYORDER=
