ジェネシス* – Invisible Touch = インヴィジブル・タッチ

Slickly produced, drenched in reverb and swathed in synths, 1986's "Invisible Touch" finds Genesis deviating greatly from their theatrical, progressive roots and entering the realm of MTV exposure and public recognition. Streamlined, calculated and boldly commercially viable, "Invisible Touch" may, on the surface, appear to be a Phil Collins album in all but name. Despite that, the album retains a modicum of the chilly atmosphere and arty slant evident on Genesis' pre-1980 output. In fact, the multiform second side accords with the band's stark, complex and overblown predecessors -- "Tonight, Tonight, Tonight", "Domino" and "The Brazilian" -- albeit with the welcome addition of emotional and banal qualities, particularly on the numbers presenting Collins as a lonely man suffering at the hands of a woman.

Now a three-piece unit, Genesis opted to incorporate inventive, stirring and snappy flourishes into simpler song structures, thus broadening their already cross-sectional appeal. Enhancing their status as a seminal British arena rock act, "Invisible Touch" was the culmination of their collective musicianship and songcraft, becoming their biggest-selling album and spawned five charting singles, all of which received heavy MTV and radio airplay. From the catchy protest tune "Land of Confusion", elegantly energetic title track to the smooth power ballads "In Too Deep" and "Throwing It All Away", the album contains eight equally exceptional gems.

"Invisible Touch" was not meant to alienate their original fanbase. Collins and his two bandmates saw fit to produce the accessible yet florid "Domino", but such attempts to claw back credibility could not prevent them from being deemed "sell-outs". Once the album hit the charts, it appealed to Collins' recently acquired yuppie audience as much as the general music consumer, only more conversely cynical, romantic, sophisticated and tonally dark than either camps were accustomed to.

Somewhat inevitably, the album has not been given a fair hearing, with the prog crowd regarding it with as much disdain as the supposedly frivolous "No Jacket Required". I believe any detractors should really listen beyond side one. Simply being a lush, melodic collection of classy, well-executed compositions does not translate to "programmed rather than played instruments". Being so overproduced, glossy and immaculate, it is an undemanding and wholly entertaining listen from start to finish. Widely considered a guilty pleasure or a landmark '80s classic rather than simply a great album, "Invisible Touch" is one of many hugely popular records resented by derisive critics. Instead of celebrating the merits of such fine-drawn and refined music released by professional musicians, if it has been made less challenging and therefore coherent, it is somehow poorer quality. By virtue of its pure pop richness, there is no clangers or filler to be had here, nothing on this album should make you feel guilty. If you enjoy it, then who cares? Snobbery has caused many styles of music to be overlooked, with a joyful, catchy chorus or recognizable riff being labelled MOR. Considering music is meant to be a cultural activity, nobody should be made to feel ashamed of their musical tastes, but the '80s incarnation of Genesis is by no means godawful, not by a long shot, so don't listen to the naysayers who yearn for them to return to their early phase. In order to stay relevant, bands must adapt and construct fresh, satisfying and meaningful material to suit their fans, label and the masses. It's a difficult balancing act and one that Genesis most definitely accomplished.

"Invisible Touch" should be considered for what it is: a consistent, lyrically interesting and musically modernized foray into the melodic, hook-laden pop rock unabashedly designed for radio. Sourced from group improvisations, such impetuosity meant that only the strongest songs made the cut, with no previous material being used. Ideas and contrivances were finessed beyond jam sessions and arranged into songs, which allowed the band to formulate substance. Without echoing the dense, spare, deeply pretentious Peter Gabriel era as they had done previously, Collins, Tony Banks and Mike Rutherford became individual musicians with their own distinctive approach to playing their instruments. Having said that, Rutherford's guitar riffs (audible only on "Land of Confusion") and basslines are too buried in the mix so he is not heard as much as he should, but Collins' appropriately thin voice, thunderous electronic drumming and Banks' mood-setting keyboards greatly offset such deficiencies.

ittedly, Collins presiding over the proceedings at the expense of the other ' input and the formulaic though still irresistible '80s overproduction has diminished the album's potency ever so slightly, but not so much that it becomes unlistenable. Far from it. "Invisible Touch", replete with well-written and performed songs boasting an alacrity that never once declines, deserves to be held in much higher regard than it is.

Rating: 4.5/5