Invisible Touch

Last updated

Invisible Touch
Studio album by
Released6 June 1986 (1986-06-06)
RecordedOctober 1985 – February 1986
Studio The Farm
(Chiddingfold, Surrey)
Genesis chronology
Invisible Touch
We Can't Dance
Singles from Invisible Touch
  1. "Invisible Touch"
    Released: 19 May 1986
  2. "In Too Deep"
    Released: 18 August 1986 (UK)
    18 January 1987 (US)
  3. "Land of Confusion"
    Released: 10 November 1986 (UK)
    31 October 1986 (US)
  4. "Tonight, Tonight, Tonight"
    Released: 23 March 1987
  5. "Throwing It All Away"
    Released: 8 June 1987 (UK)
    8 August 1986 (US)

Invisible Touch is the 13th studio album by the English rock band Genesis, released on 6 June 1986 by Atlantic Records in the United States and 9 June 1986 by Charisma and Virgin Records in the United Kingdom. After taking a break in group activity for each member to continue with their solo projects in 1984, the band reconvened in October 1985 to write and record Invisible Touch with engineer and producer Hugh Padgham. As with their previous album, it was written entirely through group improvisations and no material developed prior to recording was used.


Invisible Touch was a worldwide success and reached No. 1 on the UK Albums Chart and No. 3 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 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 No. 1 on the charts. The album received mixed reviews upon its release and retrospectively, with several reviews, both positive and negative, observing its similarity to Collins's solo records and their commercial pop-oriented sound. In 2007, the album was re-released with new stereo and 5.1 surround sound mixes.


After wrapping up the Mama Tour in February 1984 to support Genesis , the band took a break in activity to allow each member to continue with their respective solo careers. Mike Rutherford formed his group Mike + The Mechanics, Tony Banks worked on his second album of soundtrack material titled Soundtracks , and Phil Collins released his third solo album No Jacket Required which achieved significant worldwide success. In a June 1985 interview, Collins spoke of the band's intention to start work on the next Genesis album that October. [4] This put an end to a false announcement that aired on BBC Radio 1 suggesting the three had split. [5] To Rutherford, the break in group activity had an effect on Genesis'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". [6]

Writing and recording

After each member had spent the past year or so doing solo work, the group had reconvened at The Farm in September 1985 to write and record their new album. [7] The group were joined by engineer and co-producer Hugh Padgham, [8] who had worked with the band since Abacab (1981). Earlier in 1985, the studio was upgraded to a plan supervised by Masami "Sam" Toyishima. [9]

"On day one, we had no songs, no ideas, and a blank bit of paper. Phil was always keen to fill that bit of paper – he was very organised – and we let him."

Mike Rutherford. [10]

Having achieved their greatest commercial success with Genesis, Banks said that the group approached the writing sessions for Invisible Touch with a greater sense of confidence as they had become a big live act in the US, and reached a new level of commercial success worldwide. [11] As with their previous album the band entered the studio with no preconceived ideas, leaving them to develop songs through jamming and improvisations recorded onto cassette tape, [6] a process Collins compared to as "close to jazz". [10] The group had considered their strongest songs were those written collectively, so they repeated this process for Invisible Touch. Collins said: "You never quite know what's going to happen. It's just the three of us chopping away, fine-tuning and honing down all these ideas." [6] In the studio, the band would usually go in at roughly 11am and work until between 1 and 2 am the next morning to keep the momentum and adrenaline going. [7] A typical writing session would start with Collins setting up a drum pattern on their drum machine, leaving Banks and Rutherford to play any idea and Collins singing vocal ideas, which quickly creates an atmosphere to a song. [12] [13] Collins recalled his impetuous attitude during the writing sessions and suggested to piece bits of songs together early, towards which Banks and Rutherford expressed reluctance. The group were left with many ideas to work with as a result, with many potentially strong ideas thrown out. [14] Many of the songs on the album evolved from Banks using the E-mu Emulator to record sounds in the room and listen back for ideas that could be used for a song. Its recording function allowed just 17 seconds to be recorded. [15]

A Simmons electronic drum kit Simmons SDS5 Electric Drum.jpg
A Simmons electronic drum kit

The album features Collins playing on a Simmons electronic drum kit, but he also used an acoustic kit on songs that were left off. In order to capture more of a sound from the Simmons kit rather than feeding it directly into the mixing desk, Padgham also fed the tracks through a mixer and into a PA system before playing it "very, very loud" in the studio. Padgham later said that the Simmons sounded "a bit thin and toneless." [16]

After some jam sessions had been put to tape the band listened back to them, picking out the strongest moments and tried to arrange them into a song. [17] So the group would lay down guide tracks with a drum machine, Collins singing, guitar and keyboard, before they'd work on the parts and replace the guide ones, before Collins would replace the drum machine with his own drums (which he did most of the time). [7] They might discuss its potential length or whether to write lyrics for it or leave it as an instrumental. [6] The lyrics for a track were written after its music had been recorded; the band felt that having one member responsible for a song's lyrics was ideal as they had a strong enough direction to carry the message through. [18] Collins wrote the words for "Invisible Touch", "Tonight, Tonight, Tonight", and "In Too Deep"; Rutherford wrote "Land of Confusion" and "Throwing It All Away". [17] Banks wrote for "Domino" and "Anything She Does". [18]

The group came up with a greater number of songs for Invisible Touch which required time to select a final track listing. This was not the case with Genesis, as Banks said that "if a song was around, we put it on". [19] Rutherford noted that Genesis had a dark mood to it, yet Invisible Touch had a bigger energy. [20] During the writing sessions Collins realised the band were coming up with fresh and unique material that it had not done before, "which is not easy after 15 albums", and considered them stronger than those on Genesis. [6] Banks maintained this view, thinking the shorter tracks on Invisible Touch were stronger than the previous album. [6] Collins later revealed that at no time did the band record their parts together as a playing unit. Initially, he would sing a guide vocal with Banks and Rutherford playing guide piano and guitar parts respectively, but each instrumental part would be re-recorded, with his drums put down last. [21]


Side one

"Invisible Touch" originated as the band were working on "The Last Domino", the second part of "Domino". During the session Rutherford began to play an improvised guitar riff with an added echo effect, to which Collins replied with the off-the-cuff lyric, "She seems to have an invisible touch, yeah". This led to Collins writing the lyrics to the song, with his improvised line becoming its chorus hook. He wrote the lyrics based around a person who gets under one's skin which he had "Known a few. You know they’re going to mess you up, but you can't resist". [10] [22] The group wanted to keep the song simple in structure, but thought an eight-bar bridge with a key change and using a sequenced keyboard part complimented the arrangement. Banks produced eight different versions in step time, some ideas for which he had thought of ahead of time while others were a rough improvisation. The chosen version was the "most random" one. [15] As the band performed "Invisible Touch" in a lower key on tour, Banks had to produce a new sequenced section which was "a real drag" as he was unable to make one as strong as the one on the album. [15] Rutherford expressed a desire for the band to explore different musical themes for the song, but later felt the lyric had "always felt so comfortable" to him and saw no reason not to. [23] Collins rates the track highly and picked it as his favourite Genesis song. [10] He added: "It's a great pop song. It encapsulated the whole record and it pushed Genesis into a bit of an R&B area, a little like a Prince thing", and also compared his drumming on the track to American singer Sheila E, of whom he is a fan. [23] [10]

The basis for "Tonight, Tonight, Tonight" came about from Banks, who spent some time improvising with different sounds from his keyboards over a rhythm Collins and Rutherford were playing. [22] Similar to that of "Invisible Touch", Collins then came out with the word "monkey" and explored it vocally which led to the song's working title to be "Monkey/Zulu". The rest of the song's lyrics were then written around the word. [22] Rutherford thought the track resembled the "old-style Genesis" as it covers more ground musically with a "fairly involved" instrumental section in the middle. [22] Banks agreed with Rutherford's view on the song, pointing out its comparison in terms of its complexity. [6]

The lyrics to "Land of Confusion" were written by Rutherford, and they were the last set of words written for the album. Rutherford was behind schedule to get the lyrics to the song finished, but thought the "time was right" for him to write a protest song. [24] He was struck with the flu when it was time for Collins to record the song's vocals. He recalled Collins "came over to my house ... he sat on my bed like a secretary ... I was in a kind of delirious state with a very high temperature and I dictated it to him and I remember thinking, 'I think I told him the right thing ... Was it all rubbish or was it any good?'". [23]

The lyrics to "In Too Deep" were written by Phil Collins after he was approached to write a song for the soundtrack of the movie Mona Lisa.

Side two

Banks gained inspiration for "Anything She Does" from pictures of scantily clad women the band would cut out and place on the wall of their recording studio. [22]

"Domino" is a track split into two sections—"In the Glow of the Night" and "The Last Domino". Banks wrote the lyrics on the idea that often politicians fail to think through what they have started off, and the consequences of their actions. [25] Rutherford thinks "Domino" is "one of the best things" the band has done. [26] He was aware that due to the popularity of MTV and the increased pressure to deliver hit singles, people would often forget about their longer songs like "Domino", which would be dwarfed by the shorter, more commercial hits. [27]

"Throwing It All Away" developed from a guitar riff from Rutherford, who also wrote the lyrics. Collins described it as like a "one-note samba". [28] It was a heavy guitar song in its original form, with Collins "drumming in a John Bonham style". However, as the chorus developed, its mood changed to that of a softer one "matched by the single love-song lyric". [29]

"The Brazilian" is an instrumental track. Collins recalled it was put together when the group were "fooling around" in the studio, and he had been experimenting what sounds that could be programmed into one electronic Simmons drum kit. [30]

Additional material

Three additional songs—"Feeding the Fire", "I'd Rather Be You", and "Do the Neurotic"—were recorded during the album's sessions but were cut from the album's final track selection. They were subsequently released as B-sides across the five singles released from the album. The tracks were included in the 2007 box set Genesis 1983–1998 as well as the 2000 box set Genesis Archive 2: 1976–1992 .


Invisible Touch was first released on 6 June 1986 in the US by Atlantic Records; [31] its release in the United Kingdom followed on 9 June 1986 by Charisma and Virgin Records. [32] The album reached number one on the UK Albums Chart for three weeks from 21 June 1986 during a 96-week stay on the chart, [33] and peaked at No. 3 on the US Billboard 200 during an 85-week stay. [34]

Genesis released five singles from Invisible Touch from 1986 to 1987—"Invisible Touch", "Throwing It All Away", "Land of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight". Each one reached the top five on the US Billboard Hot 100 chart, making Genesis the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna. [35]

In 1987, Genesis received an American Music Award nomination for Favorite Pop/Rock Band, Duo, or Group. At the Brit Awards in 1987 co-producer Hugh Padgham was nominated for British Producer, [36] while Phil Collins was nominated for British Male Artist for his contribution to the album. In 1988, the band received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion". [37] It was also nominated for MTV's Video of the Year Award, but lost to their former lead vocalist Peter Gabriel's "Sledgehammer". "The Brazilian" received a Grammy Award nomination for Best Pop Instrumental Performance.

In 2007, the album was reissued with a new stereo and 5.1 surround sound mix. [38]

Critical reception

Professional ratings
Review scores
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [1]
Blender Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [39]
Kerrang! Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [40]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [41]
The Village Voice C+ [42]

The album received a mixed reaction from music critics upon release. J. D. Considine gave it a positive review for Rolling Stone , stating that "every tune is carefully pruned so that each flourish delivers not an instrumental epiphany but a solid hook. Much of the credit for this belongs to Tony Banks, whose synth style has never seemed more appropriate; it's his keyboards that set the mood for 'In the Glow of the Night' and maintain the tension in 'Tonight, Tonight, Tonight'." [43] Daniel Brogan of the Chicago Tribune was not as impressed, claiming the album had "none of the inventiveness, illumination or power" of former Genesis singer Peter Gabriel's album So , released the prior month. He thought the contributions from Rutherford and Banks "seem far less apparent than usual", and that the first side of the album "could almost pass as outtakes from No Jacket Required". He concluded: "Will the Free World ever tire of Phil Collins?" [44]

Several of Brogan's criticisms were mirrored in a review from Steve Hochman of the Los Angeles Times . Hochman asked "Was this record really necessary?" and stated the album "could easily pass as a Collins album. His thin voice and familiar MOR&B songwriting dominate, with only occasional evidence of input from Rutherford and Banks". He also suggested the record "was made to provide material for the next season of Miami Vice ". [45] Associated Press writer Larry Kilman disagreed, who opened his review with "Genesis have come up with an irresistible Invisible Touch ... This is far from a Collins solo effort. The band's material is more complex than Collins' pop sound". He complimented the album's "great variety", picking out "Tonight, Tonight, Tonight" as a highlight which reminded him of "the spare, art-rock sound of the early Genesis". [46]

In a retrospective review from Stephen Thomas Erlewine for AllMusic, the album received three stars out of five. He commented that "Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album ... Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths" and he claimed "the heavy emphasis on pop tunes does serve the singer, not the band". However, he said that "[the] songs had big hooks that excused their coldness, and the arty moments sank to the bottom". [1] Mark Putterford of Kerrang! remarked on how the album showed "new ideas, new sounds, but still very definitely Genesis". [40] The Rough Guide to Rock describes Invisible Touch as "calculated and oddly emotionless AOR" and stated the hits were "by now barely distinguishable from Collins' songs as a solo artist". [47] In 2014, Stevie Chick, writing for The Guardian , said the album's "bright, polished pop title track, the baby boomer agit-rock of 'Land of Confusion', the genuinely affecting ballad 'Throwing It All Away' – could have easily fitted on his [Collins's] solo albums". Chick reserved particular praise for "Domino", saying the track "proved a final gasp of brilliance before the blandness of 1991's We Can't Dance and 1997's inexplicable, Collins-less Calling All Stations ". [48]

Ultimate Classic Rock ranked Invisible Touch as the 13th best album by Genesis, stating "On the dark day in Genesis history when this record was released, the band fully transitioned from art-rock glory to radio-ready piffle, replete with all the worst that '80s overproduction had to offer. The fact that just the tiniest bit of the 'old' Genesis is discernible in a couple of tracks is the only thing that edges this album a notch ahead of We Can't Dance." [49]


Genesis performed 4 shows at London's Wembley Stadium The old Wembley Stadium (cropped).jpg
Genesis performed 4 shows at London's Wembley Stadium

The Invisible Touch Tour consisted of 112 shows between September 1986 and July 1987. The core trio were joined by their usual touring musicians, drummer Chester Thompson and guitarist Daryl Stuermer. Every song on Invisible Touch was performed live, except for "Anything She Does" which was used to introduce the band at the opening of each concert. It began with a sold out North American leg, each date of which grossed $300,000 on average. It was followed by the band's first and only tour of Australia and New Zealand. The tour concluded with four sold-out shows at London's Wembley Stadium, totalling 288,000 people in attendance which set a new record. The final show was a benefit in aid of The Prince's Trust and attended by Charles, Prince of Wales and Diana, Princess of Wales, a fan of the group. The Wembley shows were filmed and released on home video in 1988 entitled Invisible Touch Tour . In 2003, it was reissued on DVD and renamed Genesis Live at Wembley Stadium.

Track listing

All tracks written and arranged by Tony Banks, Phil Collins and Mike Rutherford. [6]

Side one
1."Invisible Touch"3:29
2."Tonight, Tonight, Tonight"8:53
3."Land of Confusion"4:45
4."In Too Deep"4:58
Side two
1."Anything She Does"4:09
2."Domino" 10:44
3."Throwing It All Away"3:53 [lower-alpha 1]
4."The Brazilian" (instrumental)4:50
Total length:45:42


Credits are adapted from the album's sleeve notes. [8]



Chart performance


Sales certifications for Invisible Touch
RegionCertification Certified units/sales
Australia (ARIA) [74] 3× Platinum210,000^
France (SNEP) [75] Platinum501,900 [76]
Germany (BVMI) [77] Platinum500,000^
Hong Kong (IFPI Hong Kong) [78] Gold10,000*
Italy (FIMI) [79] Platinum100,000*
Japan (RIAJ) [80] Gold128,100 [80]
New Zealand (RMNZ) [81] 4× Platinum60,000^
Spain (PROMUSICAE) [82] Gold50,000^
Switzerland (IFPI Switzerland) [83] Platinum50,000^
United Kingdom (BPI) [84] 4× Platinum1,200,000^
United States (RIAA) [85] 6× Platinum6,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Notes and references


  1. The original album sleeve lists "Throwing It All Away" with an incorrect running time of 4:41. [8]


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We Can't Dance is the fourteenth studio album by English rock band Genesis, released on 28 October 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. It is their last studio album recorded with drummer and singer Phil Collins before his departure in 1996 to pursue solo projects full time. Production began after a four-year period of inactivity from the group, following the commercial success of Invisible Touch (1986) and its tour.

<i>A Trick of the Tail</i> 1976 studio album by Genesis

A Trick of the Tail is the seventh studio album by English progressive rock band Genesis. It was released in February 1976 on Charisma Records and was the first album to feature drummer Phil Collins as lead vocalist following the departure of Peter Gabriel. It was a critical and commercial success in the UK and U.S., reaching No. 3 and No. 31 respectively.

<i>Genesis</i> (Genesis album) 1983 studio album by Genesis

Genesis is the twelfth studio album by English rock band Genesis, released on 3 October 1983 by Charisma and Virgin Records in the UK and by Atlantic Records in the US and Canada. Following the band's tour in support of their 1982 live album Three Sides Live, Genesis took an eight-month break before they regrouped in the spring of 1983 to record a new album. It is their first written and recorded in its entirety at their studio named The Farm in Chiddingfold, Surrey, and the songs were developed through jam sessions in the studio with nothing written beforehand. Hugh Padgham returned as their engineer.

<i>Wind & Wuthering</i> 1976 studio album by Genesis

Wind & Wuthering is the eighth studio album by English progressive rock band Genesis. It was released on 17 December 1976 on Charisma Records and is their last studio album to feature guitarist Steve Hackett. Following the success of their 1976 tour to support their previous album A Trick of the Tail, the group relocated to Hilvarenbeek in the Netherlands to record a follow-up album, their first recorded outside the UK. Writing and recording caused internal friction, for Hackett felt some of his contributions were dropped in favour of material by keyboardist Tony Banks.

<i>...And Then There Were Three...</i> 1978 studio album by Genesis

...And Then There Were Three... is the ninth studio album by the English rock band Genesis. It was released in March 1978 by Charisma Records and is their first recorded as a trio of singer/drummer Phil Collins, keyboardist Tony Banks, and bassist/guitarist Mike Rutherford following the departure of guitarist Steve Hackett. The album marked a change in the band's sound, mixing elements of their progressive rock roots with shorter material, and Collins contributing to more of the group's songwriting.

<i>Duke</i> (album) 1980 studio album by Genesis

Duke is the tenth studio album by English rock band Genesis, released in March 1980 on Charisma Records. The album followed a period of inactivity for the band in early 1979. Phil Collins moved to Vancouver, Canada, in an effort to salvage his failing first marriage, while Tony Banks and Mike Rutherford recorded solo albums. Collins returned to the UK after his marriage ended and wrote a significant amount of material, some of which was used for Duke and some was later reworked for his first solo album, Face Value. Duke contained a mix of individually-written songs and tracks that evolved from jam sessions in mid-1979, while recording took place at the end of the year. The break in activity rejuvenated the band, and they found the album an easy one to work on.

<i>Abacab</i> 1981 studio album by Genesis

Abacab is the eleventh studio album by English rock band Genesis, released on 18 September 1981 by Charisma Records. After their 1980 tour in support of their previous album, Duke (1980), the band took a break before they reconvened in 1981 to write and record a new album. Abacab is the first Genesis album recorded at The Farm, a recording studio bought by the group in Chiddingfold, Surrey. It marked the band's development from their progressive roots into more accessible and pop-oriented songs, and their conscious decision to write songs unlike their previous albums.

<i>3×3</i> 1982 EP by Genesis

3×3 is the second extended play by the English rock band Genesis, released in May 1982 on Charisma Records. Its three songs were originally written and recorded for their eleventh studio album Abacab (1981), but they were not included on the album's final track selection. 3×3 reached No. 10 on the UK Singles Chart. In the US, its tracks were included on the international edition of the band's live album Three Sides Live (1982). The lead track, "Paperlate", peaked at No. 32 on the US Billboard Hot 100 singles chart and No. 2 on the Billboard Mainstream Rock Tracks chart.

In Too Deep (Genesis song) 1986 single by Genesis

"In Too Deep" is the fourth track on the 1986 Genesis album Invisible Touch. It was released as the second single from the LP in the UK and the fifth single in the US. The single was a success in America during the summer of 1987; it reached the No. 3 spot on the US Billboard Hot 100 chart, and the No. 1 spot on the Adult Contemporary chart. The song was only performed live during the 1986 North American legs during the Genesis 1986/1987 Invisible Touch world tour. An October 1986 performance of the song was included on the 1992 live album The Shorts.

Mama (Genesis song) 1983 single by Genesis

"Mama" is a song by the English rock band Genesis, released as the first single in 1983 from their self-titled album. It is recognisable for its harsh drum machine introduction composed by Mike Rutherford, which leads into minimalist synthesizer lines in a minor tonality and finally Phil Collins' reverb-laden voice. It remains the band's most successful single in the UK, peaking at No. 4 on the UK Singles Chart. It also made the top 10 in Switzerland, Austria, Norway, Ireland and the Netherlands. It was less popular in the US, only reaching No. 73 on the Billboard Hot 100. A 1992 re-release of the single managed to reach the Top 40 in Germany.

Invisible Touch (song) 1986 single by Genesis

"Invisible Touch" is the title track and first single from the 1986 album of the same name by the English rock band Genesis. The song is a group composition which featured lyrics written by drummer and singer Phil Collins.

Follow You Follow Me 1978 single by Genesis

"Follow You Follow Me" is a love song written and recorded by English rock band Genesis. It was released in February 1978 as the first single from their ninth studio album, ...And Then There Were Three... (1978). The music was composed by the band, and the lyrics were written by bassist and guitarist Mike Rutherford.

Throwing It All Away 1986 single by Genesis

"Throwing It All Away" is the seventh track on the 1986 album Invisible Touch by Genesis. It was the second single from the album in 1986, reaching No. 4 on the Billboard Hot 100 and No. 22 in Britain, where it was released as the last single of the album in 1987. In the U.S., it also went to No. 1 on Billboard's Adult Contemporary chart in October 1986 and the Album Rock Tracks chart in August 1986. The working title was "Zephyr and Zeppo".

Tonight, Tonight, Tonight 1987 single by Genesis

"Tonight, Tonight, Tonight" is the second track on the 1986 album Invisible Touch by Genesis, released on 23 March 1987 as the fourth single from the album. It peaked at No. 3 in the US and No. 18 in the UK. The working title was "Monkey, Zulu".

Taking It All Too Hard 1983 single by Genesis

"Taking It All Too Hard" is the sixth track from the 1983 album Genesis by Genesis. It is known for Tony Banks' work on his Yamaha CP-70 electric piano.

Abacab (song) 1981 single by Genesis

"Abacab" is a song by the British rock band Genesis, released on 14 August 1981. It was produced by Genesis and distributed in the United States by Atlantic Records and Warner Music Group. The song, written by Tony Banks, Phil Collins, and Mike Rutherford, was featured on Genesis' album of the same name and was a top 10 hit on the British pop chart, where it peaked at No. 9. The song was the second single from the album in the US, where it peaked at No. 26 on the Billboard Hot 100 chart in early 1982. It stayed in the Top 40 for six weeks.

<i>Genesis Live at Wembley Stadium</i> 1988 video by Genesis

Invisible Touch Tour is a live video by the English rock band Genesis, released in 1988 on Virgin Music Video. It was the first concert ever shot in High Definition and cameras and lenses had to be flown in from the USA and Japan. It was directed by Jim Yukich and produced by Paul Flattery of FYI. It was edited at the band's facilities known as The Farm by Jerry Behrens and David Foster. It documents the band's four sold out shows at Wembley Stadium in London between 1–4 July 1987 at the end of their Invisible Touch Tour promoting their thirteenth studio album, Invisible Touch. A limited edition release included a CD single containing the live version of "Domino" as performed on the video. In 2003, the video was reissued on DVD and renamed Genesis Live at Wembley Stadium.

"Domino" is a song written by the band Genesis for their 1986 album Invisible Touch. The song was the sixth track on the album. The music was written by the band, while the lyrics were written by keyboardist Tony Banks. The song is divided into two parts, "In the Glow of the Night" and "The Last Domino".

<i>The Way We Walk</i> 2002 video by Genesis

The Way We Walk – Live in Concert is a 2002 double DVD featuring live performances from the We Can't Dance tour by Genesis. The footage was videotaped on 8 November 1992 at Earls Court in London, and first released on VHS in March 1993 as Genesis Live – The Way We Walk – In Concert. It was also available on PAL format LaserDisc.