On this day in music history: July 19, 1986 - “Invisible Touch” by Genesis hits #1 on the Billboard Hot 100 for 1 week. Written by Tony Banks, Phil Collins and Mike Rutherford, it is the biggest hit for the progressive rock band from Godalming, Surrey, UK. While his third solo album “No Jacket Required” is still riding high in the charts, Phil Collins re-joins his Genesis band mates keyboardist Tony Banks and guitarist/bassist Mike Rutherford in the Fall of 1985 to begin work on the follow up to their previous album “Genesis”, released two years earlier. Recording at their studio The Farm in Chiddingfold, Surrey, the idea for what will become “Invisible Touch”, evolves out of an in studio jam session while the band are working on the track “The Last Domino”. Rutherford begins playing the songs signature riff as Collins improvises the line “she seems to have an invisible touch”. Realizing they’re on to something, they begin crafting a song around those parts. The trio agree that it is a hit, deciding that it not only will it be the title track of their next album, but be released as its first single. Issued on May 19, 1986, “Invisible Touch” is an immediate smash. Entering the Hot 100 at #45 on May 31, 1986, it climbs to the top of the chart seven weeks later. The week that “Invisible Touch” tops the US singles charts, Genesis’ former lead singer Peter Gabriel move up to number two on the Hot 100 with “Sledgehammer”. It marks the first time in Billboard chart history that a band and one of its former members have held down the top two positions on the Hot 100. Gabriel succeeds Genesis at the top of the chart the following week on July 26, 1986, giving him his highest charting single in the US as well. “Touch” is also released with an extended 12" version, remixed by John “Tokes” Potoker (also having previously remixed Collins’ “Sussudio” and Gabriel’s “Sledgehammer”). In the UK, Virgin Records issues a limited edition 7" vinyl single of the song pressed on clear vinyl with custom labels, and packaged in a die cut fold out sleeve. “Invisible Touch” is the first of five consecutive top five singles to be released from the album, helping propel it to over 6x Platinum status in the US.
April has been nothing but a steaming shit sandwich fresh out of satan’s deep fryer but I managed to snap a few this week out of sheer spite anyway
1. For my orchid hags. If these make it out of their hospital stay intact, I’ll assume stewardship and follow Lena’s lead and name them, except instead of Please or Thank You it’ll be Petulant Indignation or Furious Insistence or similar
2. The limoncello is finally done and it came out perfect, and in my head an ancient italian strega from the amalfi coast in a floral-print apron who’s been making her own aperitifs/digestifs for 60 years is nodding at me with warm approval, even though I used store-bought vodka instead of grain alcohol and steeped for 4 weeks instead of 40 or 80 days or whatever. I had to use weatherproof vinyl label stock for these since they’ll be stored in the freezer so here’s hoping that shit holds up ¯\_(ツ)_/¯
Here’s all the new Overwatch stickers!! I’m also gonna restock on D.Va, Junkrat, and Zarya from the old batch. :^)
I’m ordering from a sticker service I’ve never used before, so I hope they turn out okay…….. the new ones will be vinyl instead of label paper though, so ideally they’ll be longer lasting and water resistant. WE SHALL SEE, I SUPPOSE….
For this weeks track premiere i’m privileged to bring back DM Hardware with their labels new vinyl release showcasing Jock Club. As a storied and celebrated figure of the American Southwestern DIY community, he has dropped an impressive array of club tracks and intricate compositions. Releasing primarily from his home base label and collective, Ascetic House, Jock Club makes his debut on DM Hardware with “In The Kings Court”, a pulsating and aggressive club tool 12". Through 4 tight and technical tracks, Jock Club unleashes with a fury reserved solely for the late night dance floor.
I’ve opened a shop on Etsy, where I’ll be selling these tea labels that I painted a while back. The shop can be found here
They are all printed as an aprox. 6 X 9 cm waterproof vinyl sticker, and they are dishwasher safe. Perfect size to stick onto the front of mason jars or empty tin tea canisters! The blank part of the banner can be filled in with dry-erase marker or with a sharpie to specify exactly what kind of black tea it is. They can be stuck to walls, laptops, and any other smooth surface as well.
Each illustration was drawn with a dip pen in india ink, then painted with watercolour. Please consider checking out the shop and supporting my art.
On this day in music history: April 14, 1980 - “British Steel”, the sixth album by Judas Priest is released. Produced by Tom Allom, it is recorded at Startling Studios in Ascot, UK from January - February 1980. After an extended world tour to promote their previous studio release “Killing Machine/Hell Bent For Leather” and the subsequent live album “Unleashed In The East”, Judas Priest return to the studio at the beginning of 1980 to work on their next full length LP. The band record the album on the English country estate (Tittenhurst Park) formerly owned by John Lennon (now owned by Ringo Starr). It is their first album to feature all original material written by the band, and the first to include new drummer Dave Holland (replacing Les Binks). The album is the British heavy metal bands breakthrough release in the US, and includes the classics “Breaking The Law” and “Living After Midnight”. The album is remastered and reissued in 2010 as a CD/DVD 30th anniversary edition with the CD including two live bonus tracks. The DVD features live performances, and a documentary on the making of the album. It is remastered and reissued as a 180 gram vinyl LP by UK label Simply Vinyl in 2001, with a later reissue from Sony Legacy in 2008. And in 2010. UK reissue label Back On Black releases various pressings of “Steel” on red, clear, blue and standard black vinyl, also as a limited edition picture disc. “British Steel” peaks at number four on the UK album chart, number thirty four on the Billboard Top 200, and is certified Platinum in the US by the RIAA.