Tuesday, January 22, 2013

"Invisible Touch" – Genesis



"Invisible Touch" – Genesis

Well I've been waiting, waiting here so long
But thinking nothing, nothing could go wrong, ooh now I know
She has a built in ability
To take everything she sees
And now it seems I'm falling, falling for her.

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.

Well I don't really know her, I only know her name
But she crawls under your skin, you're never quite the same,
and now I know
She's got something you just can't trust
It's something mysterious
And now it seems I'm falling, falling for her.

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.

She don't like losing, to her it's still a game
And though she will mess up your life,
You'll want her just the same, and now I know
She has a built in ability
To take everything she sees
And now it seems I've fallen, fallen for her.

(Key change)

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.
She seems to have an invible touch yeah (OOOH!!)
She seems to have an invisible touch yeah
invisible touch...

She seems to have an invisible touch...





Patrick Bateman: Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where, uh, Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. 

Christy, take off your robe. 

Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. 

Sabrina, why don't you, uh, dance a little. 

Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as, uh, anything I've heard in rock. 

Christy, get down on your knees so Sabrina can see your ass. 

Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and, uh, Against All Odds. 

Sabrina, don't just stare at it, eat it. 

But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
American Psycho (2000)

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