"fooling around" in the studio, and he had been experimenting with sounds that could be programmed into his Simmons kit. 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. Release Invisible Touch was first released on 6 June 1986 in the US by Atlantic Records; its release in the United Kingdom followed on 9 June 1986 by Charisma and Virgin Records. 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, and peaked at No. 3 on the US Billboard 200 during an 85-week stay. 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. 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, while 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". 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. Reception 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