INVISIBLE TOUCH

In 1986, Genesis recorded what was to be their highest selling album of all time. By now the group consisted of Phil Collins, Mike Rutherford, and Tony Banks. Live assistance was from Daryl Stuermer on guitar and bass along with former Weather Report drummer, Chester Thompson. This trio had previously recorded four albums after guitarist Steve Hackett's departure (They recorded two albums with Hackett after former frontman, Peter Gabriel's departure).

Genesis's departure from progressive rock to pop and soft rock began with their 1981 album, Abacab.This would continue onto their 1983 album, Genesis. Now both of those albums are still fine pieces of music but pale in comparison to such works as A Trick of the Tail and the epic The Lamb Lies Down on Broadway. Genesis would finally start re-exploring their progressive roots with Invisible Touch.

Beginning with the hit single and title track, "Invisible Touch" the listeners find themselves off to a quick start. The opening song is a fast paced poppy smash with upbeat guitar licks and a trademark Tony Banks keyboard solo. I find this a very fun and cheerful song, a major departure from the dark opening song, Mama, from their previous album. But in any case, we end up sliding into darkness with the second track, "Tonight Tonight Tonight".

Opening with a startling drum loop and eerie bleeping keyboards, we hear one of the album's longer tracks. The lyrics tell of an drug addicted individual trying to get their latest fix and the music only adds to the misery. The third song is slightly lighter but has a doomladen political edge. "Land of Confusion" was another popular hit for the band, partly due to it's infamous music video featuring twisted caricatures of the band and US president Ronald Reagan. The lyrics are a simple criticism of Cold War policies and the fear of an armed exchange between east and west. Musically it's supreme. I couldn't stop listening to this song after I first heard it. The bizarre keyboards, edgy guitar riff, and marching drumbeat all add up to the fearful overtones of the song.

Next up is the glamorous "In Too Deep". Here is where the poppier and romantic side of the band shows up. This song grew on me after awhile. It doesn't exactly work as a Genesis song, but it would probably fit in well on any Phil Collins solo album. Song five is the frantic "Anything She Does". It sounds a bit like a holdover from the Abacab sessions with its fast paced guitar riffs and choir of horns. Again, not one of my favorites on the album.

Now we come to the epic of the album, and no progressive rock album is complete with out it's epic(s). "Domino" is a great throwback to the fans of older Genesis. It starts off slowly and builds to a wild climax. Tony Bank's superb keyboard work holds the song together and directs it forward. Beginning at the 4 and a half minute mark, we find ourselves moving lightspeed from the relaxed nature of the song to a jumpier side of the band. An interesting fact to note is that the song Invisible Touch started out as an unused section of Domino and the similarities between the two songs are quite interesting.

We come full circle to the pop side of the band with "Throwing it all away". This song has a very serene feel to it, as if you're sitting on a cliff watching the sun set. Again, I'm not a fan of the pop side of the group, but this song is worth a listen once in awhile. Finally, the final song on the album and my favorite. "The Brazilian" is the only instrumental track of the album and is an excellent conclusion to a fine piece of work. Largely synthesized, once again, Banks shines here with his talented keyboard work and carries us off into the abyss.

While it isn't a complete rehash of Genesis's past achievements in the prog area, Invisible Touch is still a fine effort and is their most polished release of the 1980s aside from 1980's Duke. Songs such as Domino and The Brazilian are worthy examples of how Genesis was still able to retain its roots even in a new era of music.