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| Invisible Touch (album) | |
|---|---|
| Name | Invisible Touch |
| Type | studio |
| Artist | Genesis |
| Released | 6 June 1986 |
| Recorded | May 1985 – February 1986 |
| Studio | The Farm, Surrey; AIR Studios, London |
| Genre | Pop rock, progressive pop, soft rock |
| Length | 35:02 |
| Label | Atlantic, Virgin, Charisma |
| Producer | Genesis, Hugh Padgham |
| Prev title | Genesis |
| Prev year | 1983 |
| Next title | We Can't Dance |
| Next year | 1991 |
Invisible Touch (album) is the thirteenth studio album by the English rock band Genesis. Released in June 1986, it marked the group's peak of commercial success with a polished pop-rock sound that produced multiple hit singles and extensive international touring. The album was produced by the band with engineer and co-producer Hugh Padgham, recorded at the group's private studio The Farm and at AIR Studios, and features a combination of studio experimentation and concise songwriting.
During the mid-1980s, members Phil Collins, Tony Banks, and Mike Rutherford were at different points in their careers, with Collins enjoying solo success following albums such as No Jacket Required and Rutherford involved with Mike + The Mechanics. The trio entered The Farm in Surrey with co-producer Hugh Padgham and engineer Nick Davis to craft material that balanced radio-friendly singles with the band's established progressive roots. Sessions were informed by contemporary production techniques used by Peter Gabriel, Kate Bush, Sting, U2, and Duran Duran, including gated reverb drum sounds popularized by Padgham and Collins, and the use of the ARP Quadra and Emulator samplers alongside Roland and Yamaha keyboards. Writing was collaborative: Banks supplied keyboard textures influenced by Brian Eno and Vangelis, Rutherford contributed guitar hooks and basslines reflecting his work with Mike + The Mechanics, and Collins brought rhythmic ideas shaped by his collaboration with drummers such as Phil Manzanera and producers like Hugh Padgham.
The album's composition blends pop structures with elements of progressive rock and art pop, channeling influences from Peter Gabriel-era sonic experimentation and the melodic sensibilities of Elton John and Paul McCartney. Tracks range from uptempo pop anthems to ballads; lyrics address themes of love, alienation, media scrutiny, and interpersonal conflict, echoing topics covered by artists such as Bruce Springsteen, Paul Simon, and David Bowie. The title track foregrounds a danceable groove created with drum machine programming and gated drums, while songs such as "In Too Deep" employ lush keyboard pads reminiscent of Toto and Christopher Cross. Banks's keyboard arrangements incorporate textures associated with New Order and Roxy Music, and Rutherford's guitar work nods to stylists like The Police and Dire Straits. Collins's vocal delivery alternates between intimate balladry and stadium-ready choruses, reflecting his crossover appeal seen on Face Value and later solo work.
Released by Atlantic Records in the United States and Virgin Records and Charisma Records in the United Kingdom, the album was supported by multiple singles, extensive radio airplay, and the world-spanning Invisible Touch Tour. Singles such as the title single, "Throwing It All Away," "Land of Confusion," and "In Too Deep" were promoted via music videos directed by notable filmmakers and clips that received rotation on MTV and VH1. The band performed on televised specials and award ceremonies alongside appearances at festivals and arenas associated with acts like Genesis's peers Phil Collins, Sting, U2, and Bruce Springsteen. Marketing campaigns coordinated by label executives at Atlantic and Virgin emphasized the album's mainstream pop appeal and targeted markets in North America, Europe, Japan, and Australia.
Upon release, critical response was mixed to favorable. Some reviewers praised the songwriting craft and production polish, drawing comparisons to contemporary pop-rock albums by Peter Gabriel, Paul McCartney, and Phil Collins. Others criticized what they viewed as a move away from the band's progressive rock heritage associated with albums like Selling England by the Pound and The Lamb Lies Down on Broadway, arguing that the record favored radio-friendly hooks over complex arrangements. Major music publications and critics referenced work by Rolling Stone (magazine), NME, and Melody Maker in their coverage, while retrospective assessments often situate the album within the broader 1980s pop-rock landscape alongside Duran Duran, Tears for Fears, and Genesis' contemporaries.
The album became Genesis's most commercially successful studio release, reaching number one on the UK Albums Chart and topping the Billboard 200 in the United States. Multiple singles charted highly on the Billboard Hot 100, including a run of consecutive Top Five hits that placed Genesis among the era's most successful acts alongside Madonna, Michael Jackson, Prince, and Whitney Houston. The Invisible Touch Tour saw strong ticket sales at venues like Wembley Stadium, arenas in North America, and major European amphitheaters, contributing to robust album sales and certifications from organizations such as the RIAA, BPI, and ARIA.
All songs written by Tony Banks, Phil Collins, and Mike Rutherford. 1. "Invisible Touch" – 3:25 2. "Tonight, Tonight, Tonight" – 7:55 3. "Land of Confusion" – 4:46 4. "In Too Deep" – 3:22 5. "Anything She Does" – 4:19 6. "Domino" – 6:08 7. "Throwing It All Away" – 3:53 8. "The Brazilian" – 2:56
- Genesis: Phil Collins – lead and backing vocals, drums, percussion; Tony Banks – keyboards, backing vocals; Mike Rutherford – guitars, bass, backing vocals. - Additional musicians: Daryl Stuermer – lead guitar (touring and studio), Chucho Merchan (bass overdubs on some editions), session keyboardists and backing vocalists associated with 1980s pop productions. - Production: Produced by Genesis and Hugh Padgham; engineering and mixing by Padgham and assistants; mastering by engineers affiliated with Abbey Road Studios and commercial mastering houses used by Atlantic Records and Virgin Records.
The cover artwork, designed for the album's release by graphic artists commissioned by Genesis's record labels, features a stylized abstract motif and typography consistent with 1980s art direction trends influenced by designers who worked with Peter Saville, Storm Thorgerson, and agencies servicing Virgin Records and Atlantic Records. Packaging included liner notes with credits and photography of the band, and later reissues featured remastered audio and expanded artwork coordinated by label archivists and art directors tied to archival releases from Charisma Records and major labels.
Category:1986 albums Category:Genesis (band) albums Category:Albums produced by Hugh Padgham