Phil was always keen to fill that bit of paper – he was very organised – and we let him." "On day one, we had no songs, no ideas, and a blank bit of paper. Earlier in 1985, the studio was upgraded to a plan supervised by Masami "Sam" Toyishima. They were joined by engineer and producer Hugh Padgham, who had worked with the band since Abacab (1981) and produced the album with the group, with Paul Gommersall as assistant engineer. Invisible Touch was recorded between October 1985 and February 1986 at The Farm, the band's private recording studio in Chiddingfold, Surrey. Rutherford felt that the break affected the group's musical style: "We had done so much work outside the band, it seemed we had gone through a lot more musical changes, although the development is largely unconscious." Writing and recording This put an end to a false announcement that aired on BBC Radio 1 suggesting the three had split. In the summer of 1985, towards the end of his solo tour, Collins confirmed that Genesis had agreed to start work on a new album that October. The group followed this with a period of inactivity to allow each member to continue their respective solo careers Mike Rutherford formed his group Mike + The Mechanics and had success with their debut album, Tony Banks concentrated on film scores and released Soundtracks (1986), and Phil Collins released his third solo album No Jacket Required (1985), which was a major worldwide commercial hit. In February 1984, the band completed their 1983–1984 tour in support of their previous album Genesis (1983), which became their biggest selling album at the time of release and spawned the UK top five hit " Mama".
In 2007, the album was re-released with new stereo and 5.1 surround sound mixes. The album received mixed reviews upon its release and retrospectively, with its more pop-oriented approach and perceived similarities to Collins' solo work receiving both praise and criticism. Genesis became the first band and foreign act to have five singles from one album reach the top five on the US Billboard Hot 100, with " Invisible Touch" being their first and only song to reach No. It remains the band's highest selling album after it was certified multi-platinum for over 1.2 million copies sold in the UK and 6 million sold in the US. Invisible Touch was a worldwide success and reached No. As with their previous album, it was written entirely through group improvisations and no material developed prior to recording was used.
After taking a break in 1984 for each member to continue their solo career, the band reconvened in October 1985 to write and record Invisible Touch with engineer and producer Hugh Padgham. But those songs had big hooks that excused their coldness, and the arty moments sank to the bottom, obscured by the big, bold pop hooks here - pop that was the sound of the mainstream in the late '80s, pop that still effortlessly evokes its time.Invisible Touch is the thirteenth studio album by the English rock band Genesis, released on 6 June 1986 by Atlantic Records in the United States and on 9 June 1986 by Charisma/ Virgin Records in the United Kingdom. Of course, the title track is the frothiest thing the band ever did, while "In Too Deep" and "Throwing It All Away" are power ballads that could be seen as Phil projects, but "Land of Confusion" was a protest tune and "Tonight, Tonight, Tonight" was a stark, scary tale of scoring dope (which made its inclusion in a Michelob campaign in the '80s almost as odd as recovering alcoholic Eric Clapton shilling for the brewery). There is a difference between Collins and Genesis - on his own, Phil was lighter, and Genesis was often a bit chillier.
In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why.
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