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Invisible Touch Import

4.0 out of 5 stars 181 customer reviews

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Invisible Touch
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Audio CD, Import, January 20, 2009
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Editorial Reviews

Product Description

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.

There no doubt exists a school of rock purists who consider Invisible Touch the album where Genesis officially kissed street credibility goodbye and said hello to beer commercial anthems and puppet extravaganza videos. True, perhaps, but on the other hand, it's great to sing along to a good pop song, too. And this record has good pop songs in spades, from rock-solid I'm-not-so-tough-I-can't-cry-style tearjerkers ("In Too Deep," "Throwing It All Away") to zingy, gurgly pop confections ("Land of Confusion," "Anything She Does"). A few slightly more sprawling tracks are also included ("Tonight, Tonight, Tonight," "Domino," and the instrumental "The Brazilian"), but compared to the band's earlier attempt at art-rock opuses, even these feel a bit candy coated. We are talking about 1987, after all. Thin synth lines weren't retro. They just were. And we loved it. --Bob Michaels

Track Listings

Disc: 1

  1. Good Morning Little School Girl
  2. White Rabbit
  3. Heartbreaker
  4. Honky Tonk Woman
  5. Runaway
  6. Rock Me
  7. That Was Yesterday
  8. Can't You See

Product Details

  • Audio CD (January 20, 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Atlantic
  • ASIN: B000002IJ2
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (181 customer reviews)
  • Amazon Best Sellers Rank: #102,888 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
Alright, I admit I'm not a huge fan of latter day Genesis. As a relative youngin', I started getting into Genesis between Abacab and their 1983 self-titled release. I got into them by breaking my teeth on their progressive masterpieces from the '70s -- Foxtrot, Selling England by the Pound and The Lamb. That era marked the imaginative, creative peak of Genesis as master songwriters and musicians whose capabilities transcended music and delved into areas of experimentation few dared to travel.

When the '80s rolled around and Peter Gabriel and Steve Hackett had left, Genesis decided it was time to shed their past and move into the future. At that time, that consisted of synthesizers, electric drums and the like.

With a past the likes of what Genesis had, the brilliant, complex compositions and flowery lyrical tales, who was better suited to create catchy hooks that translate into top 40 hits? These guys had years of experience at this.

If Invisible Touch had been released by any pop-group du-jour, it probably would have been lauded as one of the greatest pop albums of all time. Since this particular album was released by a band called "Genesis" that had an extremely loyal and long time audience, many dismissed it as trash. The fact is, though, that all the incredible artistry that defined Genesis was in full play here. These guys are true masters of their art. Their art is music. Not progressive monster masterpieces, not pop prowess, but music, plain and simple. And Genesis is right up there with the best, regardless of the genre they are working within at the time.

In some other reviews, I saw some bashing Invisible Touch as selling out (recall the beer commercials?). You know what?
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Format: Audio CD
It's easy to kick Phil Collins around, Lord knows, making him out to be a sap-meister, or worse yet, a corporate shill. But "Invisible Touch" is the moment in between the end of Genesis as prog-rock pioneeers and the ascendancy of Collins as soft-rock staple (and all the baggage that brings) where Collins actually truly shines. Having listened to this album for the first time in nearly a decade, I am eerily surprised at how good this album still sounds. "Land of Confusion", which at time of release could be deemed a bit over-the-top, sounds far more relevant today than ever. The men of steel, the men of power, are losing control by the hour, indeed.

But the real highlight, apart from "Land of Confusion" and "Domino", is actually the balladeering, which - after this album for Collins - just becomes overly saccharine. There's some transcendent quality to both "In Too Deep" and "Throwing it All Away" that save them from the schlock factor of that horrific Tarzan song. When Collins sings "Who will light up the darkness/Who will hold your hand/Who will find you the answers/When you don't understand", it's done in a way that is simple and effective, and not the amp-the-hystrionics-up-to-level-11 way. And it's actually quite lovely, really.

Chalk it up to the playing power of Banks and Rutherford - and to the perfect amount of restraint. It succeeds quite amply, and for the AOR genre, this is clearly best-of-breed.
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Format: Audio CD
Genesis released "Invisible Touch" in mid-1986, and what an incredible album it is, once again putting their one-of-a-kind knack for powerful, intelligent music on full display.

Phil Collins was a full-blown superstar at this point. His 1985 solo album "No Jacket Required" had been a huge smash, and in addition to the hit singles from that album, he scored smash hits with the 1984 soundtrack song "Against All Odds", as well as his 1984 Philip Bailey duet "Easy Lover". However, the superstardom didn't throw Phil off track in the slightest as far as continuing to make great music was concerned. I want to add also that Phil Collins is NOT running the show alone on here--keyboardist Tony Banks is a genius, and his distinctive compositional brilliance and masterful keyboard layers are all over such tracks as "Tonight Tonight Tonight" and "The Brazilian".

Again, this album was produced by Genesis & Hugh Padgham, and without a doubt, the production is slick, but to excellent effect--the album packs a load of punch, & their compositional creativity is still in full force, which is saying a lot. It's simply hard to get away from using words such as "dramatic" and "arresting" when talking about this album. No one should be ashamed to like this music.

Yes, the album opening title track is a somewhat sugary pop song, but it's still a lot of fun with its tunefulness & catchy riff.
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Format: Audio CD
"Invisible Touch" was the album that sent Genesis into the pop stratosphere. It remains the most commercially sucessful album they ever released, selling millions of copies and giving the band FIVE Top Five singles, including the #1 title track. It is also the album that many old Genesis purists love to hate, saying that the band completely sold out with this release. With "Invisible Touch," Genesis became a HUGELY successful band overnight, and some fans didn't like it.Personally, I think the old Genesis purists are being way too harsh on the group for this one. Consider the facts: it was the MTV-heavy mid-80's, Peter Gabriel & Steve Hackett were long gone, both Phil Collins & Mike Rutherford had recently had huge solo successes prior to the album's release, and "keyboard & drum machine" pop music was *everywhere* at this point in time. How could Collins, Rutherford, and Tony Banks NOT be influenced by all of this? "Invisible Touch" was the result of all of these influences surrounding the band in 1986. You couldn't expect them to do "Selling England By The Pound 2." Times had changed--and so had the band---and Genesis had to do something different. So they did. Granted, "Invisible Touch" is the most polished album Genesis have ever done, but that certainly doesn't make it BAD. Underneath all the polished production lies an album that still contains pure, intelligent Genesis music, albeit Genesis music fashioned for the mid-80's. Nevermind the massive sales---it's a very good, very credible Genesis album.Besides, the band didn't *completely* abandon their prog roots on this one.Read more ›
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