Editing Invisible Touch (section)

==Songs==
===Side one===
"[[Invisible Touch (song)|Invisible Touch]]" originated as the band were working on "The Last Domino", the second part of "[[Domino (Genesis song)|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 (music)|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".<ref name=guardian2014>{{cite web|url=https://www.theguardian.com/culture/2014/oct/14/how-we-made-invisible-touch-phil-collins-mike-rutherford-genesis|title=Phil Collins and Mike Rutherford: How we made Invisible Touch|first=Laura|last=Barnett|date=14 October 2014|work=The Guardian|access-date=1 February 2017}}</ref>{{sfn|Bowler|Dray|1992|p=202}} Collins later said that "large chunks" of the lyrics are about his first wife Andrea Bertorelli, to whom he was married from 1975 to 1980.{{sfn|Collins|2016|p=122}} 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 complemented 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.<ref name=KM87>{{cite magazine|url=https://thegenesisarchive.co.uk/keyboard-magazine-february-1987-tony-banks-feature/|title=Tony Banks|first=Ted|last=Greenwald|pages=51, 53–55, 57|magazine=Keyboard|date=February 1987|access-date=6 September 2021}}</ref> 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.<ref name=KM87/> 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 to change it.{{sfn|Bowler|Dray|1992|p=203}} Collins rates the track highly and picked it as his favourite Genesis song.<ref name=guardian2014/> He added: "It's a great pop song. It encapsulated the whole record and it pushed Genesis into a bit of an [[Rhythm and blues|R&B]] area, a little like a [[Prince (musician)|Prince]] thing", and also compared his drumming on the track to American singer [[Sheila E]], of whom he is a fan.{{sfn|Bowler|Dray|1992|p=203}}<ref name=guardian2014/>

The basis for "[[Tonight, Tonight, Tonight]]" came about from Banks, who spent some time improvising with different keyboard sounds over a rhythm Collins and Rutherford were playing.{{sfn|Bowler|Dray|1992|p=202}} 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 lyrics were then written around the word.{{sfn|Bowler|Dray|1992|p=202}} Rutherford thought the track resembled the "old-style Genesis" as it covers more ground musically with a "fairly involved" instrumental section in the middle.{{sfn|Bowler|Dray|1992|p=202}} Banks agreed with Rutherford's view on the song, pointing out its complexity.<ref name=1986presskit/>

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]].{{sfn|Reissues Interview|2007|loc=09:58–10:55}} 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?{{'"}}.{{sfn|Bowler|Dray|1992|p=203}}

The lyrics to "[[In Too Deep (Genesis song)|In Too Deep]]" were written by Collins after he was approached to write a song for the soundtrack of the British crime drama film ''[[Mona Lisa (1986 film)|Mona Lisa]]'' (1986). He wrote the chorus during some spare time at a hotel in [[Sydney]], Australia, but he was unable to write verses for it until the band were recording the song in the studio. They had difficulty in writing a chorus, so Collins suggested the part that he had written.<ref name=BB19870307/>

=== 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.{{sfn|Bowler|Dray|1992|p=202}} It features a brass sound that Banks sampled from "some tape" that he had; he clarified that the brass was not from the [[Phenix Horns]], the brass section for [[Earth, Wind and Fire]] that were previously used on ''Abacab''.<ref name=MM86/>

"[[Domino (Genesis song)|Domino]]" is a track split into two sections—"In the Glow of the Night" and "The Last Domino". Banks wrote the lyrics based on the idea that politicians often fail to think through their ideas and the consequences of their actions.{{sfn|Reissues Interview|2007|loc=08:46–09:47}} Rutherford thinks "Domino" is "one of the best things" the band has done.{{sfn|Bowler|Dray|1992|p=205}} 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" in favor of the shorter, more commercial hits.{{sfn|Reissues Interview|2007|loc=07:27–08:21}}

"[[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".{{sfn|Reissues Interview|2007|loc=13:24–10:47}} It was a heavy guitar song in its original form, with Collins "drumming in a [[John Bonham]] style". As the chorus developed, its mood changed to that of a softer one "matched by the single love-song lyric".{{sfn|Bowler|Dray|1992|p=204}}

"[[The Brazilian]]" is an instrumental based around a sample that Banks had recorded on his E-mu Emulator playing throughout the track, which he achieved by sticking a knife onto the keyboard. He realised he could have done it electronically, but the knife "looks better that way."<ref name=MM86>{{cite magazine|url=http://www.muzines.co.uk/articles/that-genesis-touch/4910|title=Tony Banks: That Genesis Touch|first=Paul|last=Colbert|date=July 1986|magazine=Making Music|via=Muzines|access-date=27 July 2021}}</ref> Collins recalled it was put together when the group were "fooling around" in the studio, and he had been experimenting with sounds that could be programmed into his Simmons kit.{{sfn|Reissues Interview|2007|loc=14:40–15:14}}

===Additional material===
Three additional songs - "Do the Neurotic," "Feeding The Fire," and "I'd Rather Be You" - were recorded during the album's sessions but were cut from the album's final track selection. They were subsequently released as [[A-side and B-side|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]]''.