Location: The Duke City. Gems-A-Bems , Apr 12, Location: Perth Australia. The Cat 3 , Apr 12, HaileyMcComet likes this. Location: Europe. DTK , Apr 12, Location: Germany. Location: Berkshire. Location: Kaohsiung. Hidden categories: Articles with hAudio microformats. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.
Mixtapes Forums Lyrics Artists add Journals. Artists - G. Anything She Does is found on the album Videos, Vol.
Genesis — Anything She Does. You know, You decorate the garage wall, Hang in people's halls, Live in secret drawers, If you could look around you, Wonder what you'd see. That's all you really are I know, Editorial dreams. They can't make you real, Tell me where you came from, And where you're going to.
I won't ever, no I'll never get to know her, Or be the cause of anything she does. I won't ever, no I'll never get to hold her. Do you think this aching could be love? Oh you know, You've figured in some fantasies. You would not believe, What you've had to do, Life goes on around you all because of you.
Rutherford really blasts out his chords, and Banks returns to form on what is clearly his song with a very strong keyboard lead over Collins singing very strongly. The point about these tracks is that they continued to prove that they werre still a rock group with progressive leanings first and foremost - not a singles band. Again, I feel that many people buying this LP on the strength of the singles would have rushed out to buy previous albums when they realised just how complex and beautiful the longer tracks were.
The way the first, slow, movement gives way to a harder edge is stunning. Throwing it all Away is another very good commercial track which is exceptionally pleasing to the ear. Then the last track, Brazilian, probably my favourite Banks moment in the history of the band. This keyboard track is a piece of sheer genius, with Collins especially backing very strongly on his now trademark drum machine.
Every time I hear this track, I hear something new and this demonstrates the genius of Banks. A great way to end an album which I regarded as a very solid return to form. I would probably award 3. To start things off, I really do not know what's so wrong or awful about this album. I can understand why prog afficionados would think it was not prog for the most part; it isn't but just to say that it isn't a work of progressive music doesnt mean to say that it's awful.
However, I might be drawn towards supporting the album from default; seeing as it was one of the first albums I remember ever listening to alot. Let me explain As a child, I can solidly remember listening to these songs alot; my parents put on this album quite a bit when I was young. This was a long time before I started to introduce music to myself, and I really liked the album 'Invisible Touch' as an infant.
A good decade or so before I would start really getting into prog, 'Invisible Touch' was already well-listened to. When I finally got into prog, I searched everywhere for the CD now being into Genesis' earlier stuff, I wanted to go back and listen again to the album that had been with me as a child but I could not find it I have to say that upon first listen, I was really blown away by how familiar, yet how unfamiliar all of the music was.
I consciously felt my memories of childhood being brought to the forefront. With a progressive outlook on music, 'Domino' really stood out to me as being epic. After a few repeated listens, the pop tendencies of the album began to age the album a bit too quickly. The album is songwritten very thoughtfully, but as time went on, I became weary of all of the songs on here that sound a bit too much like Phil Collins' solo career; very balladesque and slow.
Even though they are very well written ballads, there's just too much of it on one album. Highlights include the incredibly catchy and lovely 'Invisible Touch' while being a pop song, I still love it and the epic 'Domino. From a solely progressive viewpoint, this is a non-essential album with a few highlights. From an honest viewpoint however, it's a special album to me, and on a general music sight I would gladly rate it a 4.
A great, intelligent pop album, but unessential by progressive standards. Tracks like the title tune, ''Land of Confusion'' and ''In Too Deep'' either are disgusting on first listen or quickly wear out their welcome into meh territory.
Most songs are filled with ''icepick-through-the-skull'' not a good description synths and annoying gated drums. Perfect for the 80's, but over twenty years later it sounds like mush. Thinking ''Tonight, Tonight, Tonight'' is a prog song by length is just wishful thinking; it's an annoying dance tune stuck on repeat maybe not literally, but it feels as such for nine minutes.
I got lucky and had a few free listens because my uncle used to own this album on vinyl. This at best looks awkward in a prog collection, although if you can avoid this record, do so.
And don't even ask what do I think about second half. Here's how to appease record labels. Sell out and forget your solid prog roots and rebuild a new fan base of teeny bopping girly dancers.
They succeeded. This sold like hot cakes and rocketed to number one. I own the vinyl and it cost me 50 cents at a second hand store; that's what it is worth too! Banks, Collins and Rutherford were now in charge and sold completely out to a mediocre crystalline 80s sound that was not even close to progressive. Domino was Ok as a ten minute romp into prog territory but it never measures up to the classic sound the band was famous for.
Gone are the musical interludes. Hyper lyrics and musicianship only to be replaced by that 80s synth radio friendly pop sound, and awful synthesized drums, and processed vocals. The album sold huge amounts due to the singles 'Invisible Touch' and 'In Too Deep' showing a balladic Collins singing about love, love, love. In other words no different to other radio bands. The fans were becoming female as a result of course but all of the innovation and creativity was being sucked out of the group and becoming plastic and not a bit fantastic.
I like 'Land of Confusion' because the melody grew on me and I actually liked the film clip at the time. It was fun when I was a teen but nowadays it is so dated and better forgotten.
The band were certainly innovative in their MTV clips. The song 'Throwing it All Away' was self prophetic as the band were throwing away everything that made them great. The clip to this was again innovative with the band filming themselves during rehearsals and it features some great backstage footage.
Overall though this is an atrocious album. Even the album cover is corny with a stupid design that the average person could emulate on a computer. I changed my rating to 1 star, as 2 stars is being too kind. And yet, underneath all of the stuff that bothers me, this is still, for the most part, a full- fledged Genesis album, and not a glorified Phil Collins album.
There are still bizarre maybe not by traditional prog standards, but certainly by the standards of "mainstream" pop extended keyboard-centered instrumental breaks, driving some of the song-lengths far past the bounds of a regular pop albums.
There are still Rutherford-penned pop songs with decent guitar presence, and some unconventional lyric topics, and there's even a full- fledged instrumental at the end! Yes, this album has more of Phil's fingerprints on it than previous ones had had, but this was still just as much Tony and Mike's band as anybody's.
Granted, that also means they should get about as much blame for the album's failings as does Phil, but acknowledging their presence helps make it easier to avoid getting blinded by those failings.
And, you know, the songs are far from universally sucking. The only track on here that clearly belongs more on a Phil solo album than on a proper Genesis album is the ballad "In Too Deep. Yes, I know that it like pretty much all the singles here was a huge hit, but it definitely was targetted more for fans of Phil than fans of Genesis.
The other song on this album that I seriously dislike is the opening title track, yet there's a major difference between this song and "In Too Deep": for all of its flaws, it's still clearly more of a Genesis song than a transplant from a Phil solo album, if only because it originated from Phil improvising lyrics over an early version of the second half of "Domino" discussed more later.
Plus, it's playfully up-tempo, has an okayish melody, has a light-but- decent guitar presence, and has very active work from Tony. Unfortunately, these positive elements are largely cancelled out, thanks to the song featuring one of the most awkwardly sung and written choruses come on, do you really think that "She seems to have an in- vees-eee-bul touch" is on par with the typical pop song Phil had done in the band before?
I've ever heard in a hugely popular song. The song also has a lot of the production, um, tendencies that I mentioned previously, but as much as I could forgive a lot of the other material of these flaws, the weaknesses in the song make it so I can't here.
That leaves six tracks, which are all flawed but which are all basically good. Still, the percussion programming is decently clever, the keyboards do a good job of building and releasing tension when necessary, and the vocal melodies are memorable without being cheezy. Plus, as tacked on as I think the lengthy instrumental passage might be in principal, I enjoy it when it's on, and I never feel like I've had my time wasted or anything like that.
The song has a lot of things going against it in terms of good taste: the overwhelmingly 80's nature of the drum track, the corny while taking on an "epic" vibe in places synths, the ridiculous lines about "my generation will put it right" that evoke images of The Walker Brigade from Saturday Night Live.
And yet, I can't stop liking the song. The melody is incredible, creating an urgent feel in the verses while the intense synthesized bass drum pummels along underneath, and the pseduo-universalistic synths work better for me than reason says they should.
Plus, I'd be hardpressed to name an 80's Genesis song I'd rather do in karaoke, were the opportunity to come up. Of the four remaining tracks, I actually held a dislike for two of them at first, but not anymore.
It's tempting to lump "Throwing it All Away" in with "In Too Deep," but that's a mistake; "Throwing it All Away" is much more Rutherford than Collins, and it stands up to any straight-forward pop ballads that he wrote before excepting "Ripples," which is clearly in a separate class all together.
Unlike "In Too Deep," there's no glop whatosever in the song unless you count anything Phil sung during this era as gloppy, which you shouldn't , and the hooks don't come across as tacky at all. The other song I disliked before but could never bash now is "Anything She Does," kind of the band's answer to "Pictures of Lily. The remaining tracks, then, largely destroy the idea of considering this album just another 80's pop album.
The album's centerpiece is the ten-minute "Domino," basically two pop songs duct-taped together and featuring Phil singing Tony's brand of prog lyrics. The lyrics, of course, are kind of silly and supposedly, Phil disliked singing them, to the point that there were later quotes hinting that part of the reason he quit the band later was because he was tired of singing this song live , but they're silly in an addictive, non-preachy sort of way.
Plus, while there are some pretty ridiculous moments in the arrangements especially in the keyboards , they're ridiculous in a way that's grown on me rather than off me over the years. And, of course, the melodies are mostly very good, especially in the chorus of the "Glow of the Night" and in the "But you gotta go domino" groove in the second half. And finally, the album ends with "The Brazilian," a fine instrumental.
It has a good set of riffs for Tony's keyboards, and the percussion underneath is very interesting. Even Mike's generic mid's guitar soloing works very well in this piece! This commercially oriented release has gathered somewhat of a cult classic following in some circles but I personally can rarely get through this album in one sitting.
Some of the prog-era fans may argue that Domino and The Brazilian are still two very creative tracks, but I personally have a problem with the terrible 80's production and the fact that the former sounds better on live albums like Live - The Way We Walk Volume Two - The Longs and especially Live Over Europe The 9 minute long version of Tonight, Tonight, Tonight is overblown beyond any reason and is one of the main reasons why I can's enjoy this album.
Even the band members seemed to agree with this since all of their live albums feature a much shorter version of that composition.
In Too Deep and Throwing It All Away are decent ballads but they completely fade in comparison to material on Duke and instead sound more more like Phil's solo material. Still my main grudge comes with the fact that Invisible Touch doesn't really feel like the creative collaboration I was expecting from Genesis as a band, it's doesn't even feel like a team effort! Moments that do work are few and, most often than not, seem too artificial for their own good.
There is only one rating for these types of albums. The latter is one of the better songs they did in the s. The title track is one of the better pop singles of the decade.
I hadn't listened to the album for years but I never remembered the verses being so catchy and memorable. Still hate the rest of the song though. The album version of "Tonight, Tonight, Tonight" is longer than the radio edit because of the great instrumental middle section.
This is the the proggiest of the hit singles from the album. I honestly didn't remember much about this track. The rest of the track is nothing special. Even at this point they still have longer than average songs.
At least one person who bought this album must have thought: "Songs over 5 minutes long I find it amusing how Phil gets blamed for everything while Mr. Gabriel with his album So and Mr. Not recommended for prog fans but some may enjoy it. On the surface, Invisible Touch is probably a 70s Genesis fan's worst nightmare; there's barely a touch of progressive rock to be found, and a good handful of the songs would fit very nicely in adult contemporary radio stations.
Furthermore, the four biggest smash hits were crammed into the front of the album; it's obviously a popular choice for pop artists to kick an album off with a strong opening single, but having four at once seems a bit ridiculous although I have seen it happen before. However, commercialism aside, Invisible Touch isn't nearly as bad as you might expect it to be; if you can accept the poppy nature of the record, it becomes a stronger listen as well as one of their most emotional ones.
As was said before, the first half of the experience is dominated by the big singles like the title track, "Tonight, Tonight, Tonight," "Land of Confusion," and "In Too Deep.
Well, that's not the version present here; this one is a whopping nine minutes! This song and the eleven-minute "Domino" represent the most progressive tendencies of the album with their sprawling length at least by pop Genesis standards and some added complexity in the songwriting. The other hits excluding one, but we'll get to that are great as well, despite their more poppy nature. The title track is an iconic synth-driven power ballad that allows Phil to give one of his strongest vocal performances, while "Land of Confusion" is a heavier number that primarily showcases Mike Rutherford's high guitar chords and catchy main riff.
The first half is definitely where all the best things happen though, because the second is a bit of a mixed bag. While "In Too Deep" is a deeply emotional, soulful ballad and one of the band's best songs from their pop-era, the same can't be said for the hopelessly boring "Throwing It All Away.
While "Domino" is a successful "experimental" pop epic, "The Brazilian" seems like an unnecessary instrumental with synthesizer experimentation that just isn't all that interesting. Also, one more thing: where the hell is Mike Rutherford? Invisible Touch Remaster. Tonight, Tonight, Tonight Remaster. Land of Confusion Remaster. In Too Deep Remaster. Anything She Does Remaster. Domino Pt. Throwing It All Away Remaster. The Brazilian Remaster. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers.For other uses, see Invisible touch. Invisible Touch is the thirteenth studio album by the English rock band Genesis, released on 6 June by Atlantic Records in the United States and 9 June by Charisma and Virgin Records in the United Kingdom.