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In Review - Invisible Touch by Genesis (with commentary from Nic Collins)
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Listen to In Review - Invisible Touch by Genesis (with commentary from Nic Collins) by Sam Bennett MP3 song. In Review - Invisible Touch by Genesis (with commentary from Nic Collins) song from Sam Bennett is available on Audio.com. The duration of song is 01:13:22. This high-quality MP3 track has 851.463 kbps bitrate and was uploaded on 4 Mar 2023. Stream and download In Review - Invisible Touch by Genesis (with commentary from Nic Collins) by Sam Bennett for free on Audio.com – your ultimate destination for MP3 music.
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This is a discussion about the band Genesis and their album "Invisible Touch." The hosts take turns choosing albums to discuss, and this week it's Genesis. They are joined by Nick Collins, son of Phil Collins, who provides insight into the band's history. Genesis was known for their atmospheric sound in the 70s and had a successful lineup consisting of Phil Collins, Mike Rutherford, and Tony Banks. "Invisible Touch" was their most commercially successful album, reaching number one on the charts. The album was recorded through improvisation and featured complex songs with a mix of instruments and synthesizers. Nick Collins played drums for the band in their final chapter, and they recently had their last show in 2022. Overall, the hosts have a similar taste in music and enjoy exploring different genres together. What's up guys, this is Sam Bennett, I'm Luke Garrison, and this is OBUFM. So this week we're discussing Invisible Touch by Genesis from 1986, and to kind of give y'all a brief glimpse into how we do things here at OBUFM, our schedule if you will is I pick an album one week, and Luke picks an album the next. Last week we did Fleetwood Mac's Rumors, and that was kind of a joint choice to kick things off. So yeah, this week is all about Genesis, and yeah, we're really looking forward to this. We've got a very special guest joining us later on for the track listing, and a little bit of an interview after that. Very honored to have Nick Collins, son of Phil Collins, joining us, and get a little insight into how things were done within his father's band, as well as his band Better Strangers, which I would encourage all you guys to go check out as well. Yep, this album to me, like there's a few songs on here that I've always known, like the big hits, but I've been listening to it, preparing for this episode, and I say I can see why San Francisco is one of the best albums ever. So yeah, it's an interesting dynamic, because last week obviously we picked Rumors by Fleetwood Mac, an album that both of us know really well out of today, and now one of us will pick an album that the other one doesn't really know as well, or even at all. So you have one person that has been listening to this album for years, and the other person that might know a few songs, if any. So you have a newcomer's opinion on the music, as well as someone who's been living with it for a long time. Yeah, for sure. Which I mean, I'm really excited for these future episodes though, because there's a lot of music that I haven't listened to that I'm excited for you to show me, and vice versa. I would definitely say the same. I think you and I have very similar music tastes, as well as very different. I would say mine is a little bit, it's all over the place, but you kind of get the general idea. For sure. You know, the bands that we've already discussed, Fleetwood Mac and Genesis and a lot of those kinds of bands are kind of my vibe, and I feel like you have more of an eclectic taste. Yeah, it started out classic rock for me, for sure, and then more stuff from that era that I wouldn't necessarily consider rock, that I still really like. But yeah, lately I've been getting a lot more modern music, whether that be kind of alternative, or even some pop stuff, I don't know, I definitely listen to everything. I would definitely say, like, if you were to tell high school Sam that he would be listening to alternative music in the future, he would laugh in your face. And most of the alternative music that I listen to now, which it's a lot of it actually, I've gotten through Luke, as well as a few of our friends. So yeah, I think it's an interesting shift there in my musical repertoire, and I think it's a good thing though. For sure, for sure. So getting into a little bit of band history for Genesis, founded in 1967, Genesis is a British progressive rock group noted for its atmospheric sound in the 1970s, and extremely popular albums and singles of the 1980s and 1990s. The band has seen various members come and go throughout their decades of music. The band's most commercially successful lineup consists of Phil Collins on drums and lead vocals, Mike Rutherford on lead guitar and bass, and Tony Banks on keyboards and synthesizers. This trio is a condensed version of the lineup, with the other two notable members being Steve Hackett on guitar and Peter Gabriel on lead vocals, as well as flute. Gabriel and Hackett, who were both gone by the mid to late 1970s, were a huge part of the early sound of Genesis, but it would ultimately be Phil Collins, Mike Rutherford, and Tony Banks who would go on to turn the band into the commercial jiggernaut it became. Yeah, so it's interesting how Phil Collins became the lead singer of this band, because he was in it for a while before. Yeah, he was the drummer for the majority of the records before he became the singer, and after Peter Gabriel left in 1975 to pursue a solo career, which he definitely found, the band really auditioned hundreds of singers in an effort to replace him, and they found their new frontman right behind the kid at the drums. Yeah, I think it's kind of interesting though, because correct me if I'm wrong, but didn't he sing on some songs before this album? Before he became lead singer? There were a lot of songs that he would do harmonies, almost like a dueling part. An example would be, I Know What I Like In Your Wardrobe. The two of them just go off of each other. There's plenty of examples. The Lamb Lies Down on Broadway, which is probably a better example. That's one of the bigger Peter Gabriel Genesis hits. But yeah, Phil Collins' voice is definitely evident within a lot of the Peter Gabriel tracks. But yeah, I just find it so interesting that Phil Collins was in the band, and he sang a lot on those Peter Gabriel tracks, yet they auditioned hundreds of singers to replace Peter Gabriel, not even considering Phil Collins. Yeah, it's very interesting. I wonder if he maybe didn't want to be lead singer. I don't know. I think that, at least in those days, he would consider himself primarily a drummer, which I don't think he gets enough credit as a drummer, but more on that later. I mean, he's a great singer, though. He has a very interesting voice. I'll say that. It's a unique voice. Well, that's the thing. I think it's so interesting. I think Peter Gabriel and Phil Collins' voices are very similar. They're definitely the same. They have that quality to it. Yeah, same style. Yeah, it's something to it that is very similar. It's clear when you'll hear Phil Collins sing one of the Genesis songs that Peter Gabriel released with the band, because it's almost identical. It's kind of like Van Halen, where you have the Roth era and the Hagar era, and I look at it as Genesis BC, before Collins, and then ... I hope that's not sacrilegious. I don't think so. And then Genesis AG, after Gabriel. So ... That's hilarious, actually. But yeah, I mean, Peter Gabriel did very, very well for himself after Genesis. He released an album called So, the same year as Invisible Touch, 1986, which did very, very well. Yeah, is it Sledgehammer on that? Yeah, Sledgehammer. In Your Eyes. In Your Eyes. One of the greatest love songs of all time, if you heard it here first, folks. And Big Time is a great song from that record, as well. So, yeah. So, going forward with the band history, the band's heyday was throughout the 1980s, with albums such as Duke, Abacab, and their 1983 self-titled album, although it would not be until 1986 until they would release one of, if not their biggest album yet, Invisible Touch, which we are discussing today, arguably their most commercially successful. Genesis is kind of known as a progressive rock band, or prog rock, and I think that this is their biggest departure from that label. You don't have to be just like a music fan to know this album, or know these songs. I mean, the casual Genesis fan knows many songs from this record. I would say the songs from this record, especially Invisible Touch, the title track, are songs that the casual fan would know. Well, they would follow this album up in 1991 with We Can't Dance, their final studio album, with Bill Collins, and the band would continue to tour every once in a while, and their last show ever took place on March 26th, 2022, in London. This final concert marked the end of the band, with Collins saying at the end of the show that they now had to go get real jobs. Yeah, it was kind of a sad thing. I actually got to see this last tour, and Phil Collins, for those of you who don't know, he's suffered a great deal of health issues these past few years, and this unfortunately leaves him unable to play drums. Yeah, it's pretty sad. It's very sad. Phil Collins is my musical hero. He's my biggest musical influence in drumming, in singing, in songwriting, in just everything. It's a very sad thing, but our guest today, Nick Collins, his son, is actually the man who Phil decided to step in for him on this tour. Which is pretty perfect. Yeah, as well as his solo tour, which is so impressive. I mean, I've seen him live twice. He nails these parts, guys, and I mean, how could you not? It's in the blood. So yeah, props to Nick, and we're very excited to get a lot of the inside story of what that's like in the next few minutes. Yeah, most definitely. Now, moving on to some more album history, Invisible Touch is a 13-studio album by Genesis, and it was released by Atlantic Records on June 6, 1986. The album was produced by the band, as well as Hugh Padgham, and was written and recorded throughout the late 1985 and early 1986. Invisible Touch was written by the three on a sheer improvisation, as none of the material was developed beforehand. That's pretty impressive, no matter what. Yeah, I mean, I can't imagine, like, it's such a unique way of songwriting, to not come into the studio with anything, and just say, alright, let's just start jamming, and an album that is as good as this album is came from that. I mean, that's pretty impressive. Yeah, what's even more impressive, in my opinion, is how complex some of these songs are. It's not like they just, like... It's not simple pop tunes. Yeah, it's not just four chords that they could have just come up with in the studio and write a melody. These are like... If you look at a song like Domino... Well-written songs. Yeah. Some of these are long. Long, yeah. Barely any of them are under 330. No, no, no. It's a great feat to be able to just improvise something like that. Definitely, definitely. Invisible Touch was recorded at the band's personal recording studio, The Farm, located in Chittingfold, Surrey. A drum machine was used to create a guiding rhythm before the guitar and keyboard parts were fully arranged and re-recorded before Collins would replace the drum machine with its own drums last. The band discussed a song's potential length and whether to write lyrics for it or keep it as an instrumental, like the Brazilians. The lyrics to a track were written after the music was recorded and were penned by a single member as the group considered the individual had a strong enough direction to carry the song's message through. Invisible Touch was a worldwide success and reached number one on the UK Albums Chart and number three on the US Billboard 200. 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 albums sold in the US. 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 number one on the charts. I don't know if that's been beaten since, but that's pretty impressive. That is really impressive, actually. It's interesting that Invisible Touch is their only number one, but they have that many songs that have been on the Hot 100. The album sees the utilization of many 1980s-esque instruments like the electronic Simmons drums, the 808 and Roland TR-727 drum machine, the Roland Pad 8 trigger, and a variety of synthesizers like the Emu emulator. The album also features Phil Collins' signature gated reverb drum sound. We talk about this being all improvised, but I'm sure the studio they were in had so many instruments. All the bells and whistles. Everything in there. So many keyboards. You would see just sitting around. Yeah. Let's talk about Tony Banks for a minute. Tony Banks is up there with Nick Rhodes of Duran Duran or Mike Lindup of Level 42. He's a keyboard wizard and knows exactly what he's doing. He's a genius when it comes to just the piano alone, but knowing how to utilize all these weird sounds and things like that to create all these Genesis tracks is very impressive, especially when you have to consider the model of a synthesizer back then. It's not like it is today where you just go to Guitar Center and you have all these different sounds available. Synthesizers were very complex back then. You had to plug in certain things. It was just a monster. So props to Tony Banks for knowing how to do that and knowing how to do it so well to where all these tracks sound as great as they do. Yeah. There's multiple tracks on here and related songs like my Genesis in general that I've heard where I hear a part that I think is just some random sound that they edited in there and then I realize it's actually got played so far and I'm like, that's crazy. One, I don't know how it sounds like that and two, from a musical perspective, if you turn those parts into a piano part, it would still sound so good. Yeah, it's totally obscure, but it's also very melodic and there's plenty of examples of that which we'll obviously get into with the track listing. And now the fun part. Please, everybody, welcome to OBUFM, our very first guest, Nick Collins. Hey, how's it going, guys? What's up, man? How are you? I'm good. How's it going? Good. We are so honored to have you. Thanks for doing this, man. Of course, man. No problem at all. So, we're going to start off with a little bit of an interview before we do the track by track. Is that cool? Yeah, no problem. Okay. Getting into the interview. So, what is your personal favorite Genesis track, whether it be to play live or just to listen to? That's a good question. I think to play live, just based on the songs that were on the set, Cinema Show was always good fun to play. Yeah. You know, more prog song and 7-8's always like a fun time signature to play on and I mean, I always loved that song growing up, you know, playing to like the Indy Cage medleys and stuff. That was always a cool feature of it. So, that's definitely probably up there with playing. I'm trying to pick off the top of my head other ones that we played. Probably like Home by the Sea, like the second bit of that was lots of fun also with all, you know, the Simmons triggers and stuff. Yeah. So, you used triggers on the kit for the second Home by the Sea, right? Yeah. So, like for, depending on obviously which song, but yeah, there was no point in having a real Simmons kit there. Right. So, we basically got sounds from the records and put them in the triggers and out, you know, in front of the house, they would blend. The real drum sound with some of the triggers, I think if you go and just trigger, it gets a bit thin and not as powerful, so blend it in with the real kit. It's got a really cool sound, but yeah, that was a big crucial part. I mean, you know, some of the songs were like just Simmons stuff like Invisible Touch, Home by the Sea, stuff like that and then you had ones that were more like gated reverb sounds like Mama and stuff. Mama is probably one of my favorite songs. I mean, I love playing it too, but as a more listening track, I think Mama is definitely up there. And then even, I'm trying to think now, like even going back to some of the older stuff, when I just did the Drumeo shoot, where you're kind of, I was going through it, I just kind of learned a bunch of material. Again, some of the stuff that, you know, never made it to rehearsals and kind of fell back in love with some old songs that I hadn't played in years. So, a lot of stuff, including Wuthering, obviously. And honestly, a lot of, pretty much almost all the songs on Selling Love by the Power It kind of changes, you know, it's like different phases because growing up, I was, you know, listening to a lot of the more pop era, or just like, you know, the more 80s era, just because that's, you know, as a kid, that's what I was listening to, and what I was more familiar with. So, you know, every kind of, every couple months, you kind of discover new things, or you fall kind of, you know, you get back into some older records, just depending on the mood. But yeah, I think that's kind of a, you know, ballpark figure of the songs that I'm into. Yeah. Okay. So, describe what it was like being such an important part of the final chapter of Genesis. Well, I mean, it's very kind of you. I appreciate that. No, it was great. Honestly, I had a lot of fun. I mean, obviously, starting off drumming for my dad and his little band was, it felt like a nice progression that I kind of needed to kind of get used to. But yeah, it was a lot of fun. It was a lot of fun. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. 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