Search - Genesis :: Invisible Touch

Mike W. from IRVINE, CA
Reviewed on 4/27/2021...

A Year Later ... The wrong information on Genesis - 'Invisible Touch' is still here.

The new live album from Jay Gordon and The Penetrators shows how great this power trio is in front of an audience at the Screaming Chicken, an old roadhouse in San Bernardino. The group covers eight standards from the rock and blues worlds including Willie Dixon's Good Morning Little Schoolgirl, White Rabbit, Grand Funk's Heartbreaker, Honky Tonk Women, Runaway, Rock Me, That Was Yesterday and Marshall Tucker's Can't You See.

2 of 4 member(s) found this review helpful.

Jes G. (jesgear) from EAST MOLINE, IL
Reviewed on 6/15/2016...

"Tonight, Tonight, Tonight"
"In Too Deep"

0 of 1 member(s) found this review helpful.

Yeah, it's more pop-oriented. So what? It's still good.

H. Jin | Melbourne, Australia | 11/28/2009

(4 out of 5 stars)

"'Invisible Touch' is the most accessible and mainstream album from Genesis, so expect plenty of moaning and groaning from old-school fans about "selling out" and this being nothing more than a Phil Collins solo album in disguise. Yes, it's much more pop-oriented than other Genesis albums, but so what? A good song is a good song. And this is not some sudden blatant grab for mainstream glory, because the band had been moving in this direction ever since 'Duke'.



Only two songs, 'In Too Deep' and 'Throwing It All Away' replicate the more adult contemporary style of Collins' solo work, and it's true that these would probably be more at home on a Collins album than a Genesis one. But despite their pop direction, the other songs are clearly Genesis. The title track is driven by an insistent guitar line and punchy drums, and makes a shift into a more urgent, keyboard-tinged bridge. 'Tonight, Tonight, Tonight' is an extended piece driven by Tony Banks' siren-like keyboard, while the protest anthem 'Land of Confusion' is one of the most direct "rock" songs they ever made, and again features a sudden shift into an unusual bridge. The slightly silly 'Anything She Does' is another of the band's humourous, satirical pieces in the mould of 'Illegal Alien' or 'I Can't Dance'.



The other two songs are the only ones that can truly be called art-rock. 'Domino' is a multi-part epic that comes closest to recalling their prog heyday, whereas 'The Brazillian' is reminiscent of Tony Banks' solo work; a quite unsettling synth and electronic drum driven instrumental. Critics might argue that these two are the token "prog" efforts, but they prove that Genesis can still deliver complicated, progressive songs when the mood takes them.



It's certaintly not "classic" Genesis, and in its unashamed pop direction it's not really representative of their art-pop 80's and 90's work either. But the songs are still strong and memorable, and there are enough little arty flourishes from Banks and Rutherford to keep this from being Collins-lite. Who cares if the songs are a bit shorter if they still contain strong melodies and clever ideas?









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Waiting rooms rejoice

IRate | 01/22/2010

(3 out of 5 stars)

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Not a total letdown in the least, that is if you already pre-file this in "lesser-incarnation version", the band actually eases into its plastic production and nails a few out of the radio station."