![]() "Tonight, Tonight, Tonight" experimented with Banks' multi-layered synth arrangements more tastefully, but "The Brazilian" simply seems like filler. While "Domino" is a successful "experimental" pop epic, "The Brazilian" seems like an unnecessary instrumental with synthesizer experimentation that just isn't all that interesting. While "In Too Deep" is a deeply emotional, soulful ballad and one of the band's best songs from their pop-era, the same can't be said for the hopelessly boring "Throwing It All Away." Definitely one of the biggest products of Collins' solo influence, the song sounds like if you took "That's the Way of the World" by Earth, Wind and Fire and sucked the soul out of it to fit an easy-listening format. The first half is definitely where all the best things happen though, because the second is a bit of a mixed bag. The title track is an iconic synth-driven power ballad that allows Phil to give one of his strongest vocal performances, while "Land of Confusion" is a heavier number that primarily showcases Mike Rutherford's high guitar chords and catchy main riff. The other hits (excluding one, but we'll get to that) are great as well, despite their more poppy nature. The biggest thing that comes to mind is the tension-and-release tactic between the verses, choruses, and the uplifting vocal interlude that follows the way the major and minor notes/chords intertwine gives the song a very unique touch. "Tonight." in particular has a full synthesizer-driven instrumental section in the middle in fact, most of the song's strength's are driven by Tony Banks' keyboard work. As was said before, the first half of the experience is dominated by the big singles like the title track, "Tonight, Tonight, Tonight," "Land of Confusion," and "In Too Deep." Immediately, the one that should surprise most listeners is "Tonight, Tonight, Tonight" remember the single version that's played on the radio frequently? Well, that's not the version present here this one is a whopping nine minutes! This song and the eleven-minute "Domino" represent the most progressive tendencies of the album with their sprawling length (at least by pop Genesis standards) and some added complexity in the songwriting. However, commercialism aside, Invisible Touch isn't nearly as bad as you might expect it to be if you can accept the poppy nature of the record, it becomes a stronger listen as well as one of their most emotional ones. Furthermore, the four biggest smash hits were crammed into the front of the album it's obviously a popular choice for pop artists to kick an album off with a strong opening single, but having four at once seems a bit ridiculous (although I have seen it happen before). On the surface, Invisible Touch is probably a 70s Genesis fan's worst nightmare there's barely a touch of progressive rock to be found, and a good handful of the songs would fit very nicely in adult contemporary radio stations. Once 1986's Invisible Touch came around, the sound of Collins' solo work almost completely overtook the band's work (with a few notable exceptions) so why, after all of this, would it actually end up being such a solid listen? Soon, Steve Hackett left as well and the remaining trio pressed onward once Collins started his own very profitable solo career in soft rock music, elements of his work started creeping into Genesis' sound until their progressive roots disappeared completely (this happened around the Abacab era). Who once was a musically and lyrically complex progressive rock outfit was slowly transforming into a pop/rock band once original vocalist Peter Gabriel left and Collins took over the mic. Review Summary: The best Genesis pop album along with Duke, Invisible Touch is one of the group's most underrated efforts.īy the time the mid-80s came around, Genesis and their singer/drummer Phil Collins essentially became synonymous with each other in the public eye, especially when it came to the band's big hits.
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