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I love Genesis, there's no denying it: they have and will always have my infinite esteem. But talking about them is difficult, partly because they are a highly talked-about band, and partly because their fans don't represent a united group at all. It's clear that the great divide that splits the group's history in two has also been reflected over the years among their supporters, generally distinguishing the "Gabrielites" from the "Collinsians." The former are particularly hostile towards the post-'77 production, and many of them are ready with guns blazing to criticize the albums of the Collins era.
That said, I would like to point out that there exists a group of fans with slightly more flexible attitudes who, although with the necessary distinctions, take Genesis and their production for what it is: a way of making music, debatable if you like, but perfectly legitimate; these fans appreciate the entire output of the band, I reiterate, with due objectivity and necessary critique. If it's true that the records from the early period remain absolute masterpieces, it's also true that the "pop turn" has nonetheless managed to generate, among others, albums of great value. I believe that 'We Can't Dance' is among these.
An album from 1991 that finds the band still in great shape five years after the synthetic binge and the enormous success of the hardly salvageable 'Invisible Touch', compared to which it represents a significant step forward. First of all, the sound changes a lot: out go the electronic drums, out goes Hugh Padgham, the architect of Genesis's 80s sound, and in comes Nick Davis, who rediscovers the effectiveness of more stripped-down arrangements, rich keyboard sounds, very dry and direct drums. The drum machines remain with their typical, somewhat cliché liquid sound since the days of 'Duke', while the bass parts are absolutely not up to par, but the results still manage to surprise the more attentive listeners. The album was recorded at The Farm studios, and the music, all composed from improvisations, with nothing reworked, was collectively written by the trio.
It starts with No Son Of Mine: metronome ticking, distorted guitar with a rhythmic role, and Banks' famous "mooing" (i.e., an altered and sampled effect of Mike's guitar) create a dramatic atmosphere that perfectly suits Collins's powerful drumming with sharp hits and cymbal scans. The chorus is less effective with its overly sleek crystal clear keyboard sound, very evocative and intense instead is the ending, with Mike's guitar precisely embellishing in the background. Phil is also excellent in the singing part and the text is very beautiful, telling a grim story of domestic violence and escape. An excellent start that presents the Genesis of the 90s well. Following is the fast and sly Jesus He Knows Me, an ironic song against the evangelicalism of TV preachers, with a very simple but effective rhythm, opened by Tony's electric and skewed synth sound and supported by Mike's chord strikes. Around halfway, there's a funny almost reggae interlude that contributes to the song's pleasant listening.
With Driving The Last Spike comes the first great surprise. An aquatic drum machine sound immediately supported by the electric guitar opens this exciting ten-minute crescendo that moves from the tender tones of a ballad to more frantic phases where the drums travel dry and steady; the guitar dialogues with the keyboards in thrilling back-and-forth exchanges, but also performs hard riffs and rhythmic scans. The interesting text enriches the piece even more, and talks about the workers who built the British railways in the 1800s, paying a high blood tribute. A surprising and original piece, far from past glories but which attests to the rediscovered artistic vein of Mike, Tony, and Phil.
I Can't Dance is a curious song, with a rhythmic guitar riff over which the voice and synth unravel, and in the second part also the piano. Remark the bizarre effect from Tony's synthesizer and Phil's very "black" voice, singing very well a sarcastic text against empty tabloid beauties. With Never A Time we encounter a rather flat song, reminiscent of the horrid It's Gonna Get Better from the 'Genesis 'album, forgotten without any regret. Everything is ordinary, diligent keyboards, guitar embroidering in the background, impeccable voice, but very few emotions.
Things definitely improve with the long and evocative Dreaming While You Sleep, in which a highly reverberated drum machine creates a sound carpet on which Mike's guitar carves long and haunting notes while Tony limits himself to refinements and Phil's voice remains muted; the song rises in the extremely intense chorus, where the drums explode with powerful hits and Collins goes wild (a vague memory of Mama?). The ending is beautiful with Rutherford's long notes and Tony's rich keyboards, and once again the text is noteworthy, written by the guitarist: the gloomy story of a hit-and-run driver who, after hitting a girl, is tormented by remorse all his life. Tell My Why is another somewhat so-so song, but Mike's arpeggios are cute on the reborn 12-string, while the rest doesn't stand out for originality. The ratings go up with the next Living Forever, a very cheerful song, opened by excellent jazzy drumming working with brushes and cymbals (I believe there are also electronic percussion which, however, don't annoy), rhythmic guitar riffs, and keyboards that stand out with airy notes. The ending is instrumental and characteristic, with Tony prominently in a solo, but Mike also makes himself heard, while Phil demonstrates once more all his class.
Sharp reversal of trend with Hold On My Heart: it will please Collins's fans, but insufficient for slightly more sophisticated tastes. It can provide a certain atmosphere, to be generous, but a band like Genesis has the right to be asked for more. A similar discourse for the irritating Way Of The World, which has very little to appreciate, maybe Tony's solo, which still finds little relevance. Forgettable. A sentimental Christmas-song-like rhythm characterizes Since I Lost You, which however, upon careful listening, offers some extra cues, primarily in Collins's very warm and expressive voice and in Mike's delicate counterpoints at the end; perhaps a bit too romantic and cheesy, but so be it. The text does not concern yet another Collins divorce, but the death of Connor Clapton, the young son of the great Eric and, listen up, Lory Del Santo (!).
Grand finale, it must be said, with the magnificent Fading Lights, in my opinion the best track on the album, ten minutes that condense a little all the recent art of Genesis. It starts with a usual percussive base created by the drum machine, then Tony's keyboards enter with a beautiful string sound and a sequence of chilling chords. Collins's voice is moving and particular, the atmosphere intense, while Mike inserts himself with delicate supporting arpeggios after the first stanza. After three and a half minutes, a very powerful drum roll and hard guitar strikes open the amazing instrumental section, of which Tony takes the helm performing an epic and evocative solo, making the track very striking. Meanwhile, Phil marks the rhythm with his usual impeccable precision and inventiveness, and Mike demonstrates his class by supporting it all with hidden guitar notes, up to the final stanza, where he stands out with a brief but effective meticulously crafted solo; the piece concludes in the same ethereal manner it began, also giving us, with its poignant lyrics, a warm goodbye to times past and to Phil Collins, on his last album with the group.
All in all, 'We Can't Dance' appears to me as a very good work. The tendencies towards synthetic and easy pop have, I think, affected our heroes more honorably than in the Eighties; Tony, Phil, and Mike demonstrate their style and, in a sense, their maturity. Very beautiful from a lyrical point of view, this album is also musically interesting: I don't think it can be defined as a "Phil Collins album," because songs like Driving The Last Spike, Dreaming While You Sleep, Living Forever and the excellent Fading Lights undoubtedly show more than others the fundamental contribution of Tony and Mike, which is there, and is heard. Evocative and at times fascinating, it is an interesting effort by Genesis, also considering their recent reunion. I don't aim to convert anyone, but I hope to help those who want to approach Genesis with confidence or those who, in a surge of kindness, feel like giving the three great musicians another chance, sixteen years later.
For those interested, appointment in Rome on July 14, 2007.
Tracklist Lyrics and Videos
01 No Son of Mine (06:42)
Well the key to my survival
Was never in much doubt
The question was how I could keep sane
Trying to find the way out
Things were never easy for me
Peace of mind was hard to find
And I needed a place where I could hide
Somewhere I could call mine
I didn't think much about it
'Til it started happening all the time
Soon I was living with the fear every day
Of what might happen that night
I couldn't stand to hear the crying
Of my mother, and I remember when
I swore that, that would be the last they'd see of me
And I never went home again
They say that time is a healer
And now my wounds are not the same
I rang the bell with my heart in my mouth
I had to hear what he'd say
Well, he sat me down to talk to me
He looked me straight in the eyes
He said, you're no son, you're no son of mine
You're no son, you're no son of mine
You walked out, you left us behind
And you're no son, you're no son of mine
Oh, his words how they hurt, I'll never forget it
And as the time, it went by, I lived to regret it
You're no son, you're no son of mine
But where should I go, and what should I do
You're no son, you're no son of mine
But I came here for help, oh I came here for you
Well the years, they passed so slowly
I thought about him every day
What would I do if we passed on the street
Would I keep running away
In and out of hiding places
Soon I'd have to face the facts
We'd have to sit down and talk it over
And that would mean going back
They say that time is a healer
And now my wounds are not the same
But I rang the bell with my heart in my mouth
I had to hear what he'd say
He sat me down to talk to me
And he looked me straight in the eyes
He said, you're no son, you're no son of mine
You're no son, you're no son of mine
When you walked out, you left us behind
And you're no son, you're no son of mine
Oh, his words how they hurt, I'll never forget it
And as the time, it went by, I lived to regret it
You're no son, you're no son of mine
But where should I go, and what should I do
You're no son, you're no son of mine
But I came here for help, oh I was looking for you
You're no son, you're no son of mine, no
02 Jesus He Knows Me (04:18)
D'you see the face on the TV screen
Coming at you every Sunday
See the face on the billboard
That man is me
On the cover of the magazine
There's no question why I'm smiling
You buy a piece of paradise
You buy a piece of me
I'll get you everything you wanted
I'll get you everything you need
You don't need to believe in hereafter
Just believe in me
Cause Jesus, he knows me
And he knows I'm right
I've been talking to Jesus all my life
Oh yes, he knows me
And he knows I'm right
And he's been telling me
Everything is alright
I believe in the family
With my ever loving wife beside me
But she don't know about my girlfriend
Or the man I met last night
Do you believe in God
Cause that is what I'm selling
And if you wanna get to heaven
I'll see you right
You won't even have to leave your house
Or get out of your chair
You don't even have to touch that dial
Cause I'm everywhere
And Jesus he knows me
And he knows I'm right
I've been talking to Jesus all my life
Oh yes, he knows me
And he knows I'm right
Well, he's been telling me
Everything's gonna be alright
Won't find me practising what I'm preaching
Won't find me making no sacrifice
But I can get you a pocketful of miracles
If you promise to be good, try to be nice
God will take good care of you
Just do as I say, don't do as I do
I'm counting my blessings,
Cause I've found true happiness
Cause I'm getting richer, day by day
You can find me in the phone book
Just call my toll-free number
You can do it anyway you want
Just do it right away
There'll be no doubt in your mind
You'll believe everything I'm saying
If wanna get closer to Him
Get on your knees and start paying
Cause Jesus, he knows me
And he knows I'm right
I've been talking to Jesus all my life
Oh yes, he knows me
And he knows I'm right
Well, he's been telling me
Everything's gonna be alright
Cause Jesus
And he knows I'm right
Ooh yes, he knows me
And he knows I'm right
I've been talking to Jesus all my life
And he's been telling me
Everything's gonna be alright
04 I Can't Dance (04:02)
hot sun beating down
burning my feet just walking around
hot sun making me sweat
gators getting close, hasn't got me yet
I can't dance, I can't talk.
only thing about me is the way I walk
I can't dance, I can't sing
I m just standing here selling
everything.
blue jeans sitting on the beach,
her dogs talking to me, but she's
out of reach.
she's got a body under that shirt,
but all she wants to do is rub my face in the dirt.
'cos, I can't dance, I can't talk,
only thing about me is the way I walk.
I can't dance, I can't sing,
I'm just standing here selling.
oh i'm checking everything is in place,
you never know who's looking on.
young punk spilling beer on my shoes,
fat guy's talking to me trying to steal my blues.
thick smoke, see her smiling through;
I never thought so much could happen just shooting pool.
but I can't dance, I can't talk
the only thing about me is the way that I walk
I can't dance, I can't sing
I'm just standing here selling,
oh i'm checking everything is in place
you never know who's looking on
the perfect body with a perfect face
no, I can't dance, I can't talk
the only thing about me is the way I walk
no, I can't dance, I can't sing
I'm just standing here selling everything
but i can walk
no, I can't dance
no, no, no I can't dance
no, I said I can't sing
but i... (fades)
07 Tell Me Why (05:00)
Mothers crying in the street
Children dying at their feet, tell me why
People starving everywhere there's too much food but none to spare, tell me why
Can you see that shaft of sunlight
can you see it in my eyes
I can feel the fire that's burning
anger and hope so deep
so deep within my heart
before my eyes
for some it seems to late
it seems there's no-one listening
People sleeping in the streets
no roof above no food to eat, tell me why
see the questions in their eyes
listen to their childrens cries
tell me why
If there's a God, is he watching
can he give a ray of hope
so much pain so much sorrow
tell me what does he see
when he looks at you
when he looks at me
what would he say
it seems there's no-one listening
Who would think it still could happen
even in this time and place
politicians, they may save themselves
but they won't save their face
just hope against hope
it's not to late
You say there's nothing you can do
is there one rule for them and one for you,
tell me why
listen can you see that shaft of sunlight
can you see it in my eyes
I can feel the fire that's burning
anger and hope so deep
so deep within my heart
before my eyes
for some it's to late
it seems there's no-one listening
hurry for me, hurry for me, they cry
08 Living Forever (05:42)
I'm feeling so confused today,
It seems they've changed the rules again,
Cos in my life I'm trying hard,
To do it all so I can remain,
Healthy and sane.
I'll live forever,
Always one more tomorrow,
Living forever,
Always one more tomorrow.
I heard it on the radio,
Too much of what they said wasn't so,
And now we've got to do those things,
That they brought before were so wrong,
To be healthy and strong.
And live forever,
Always one more tomorrow,
Living forever,
Always one more tomorrow.
I know we don't need you,
I know we don't believe you,
You don't really have the answer,
You think you know better,
You think it really matters,
You just want to rule over everybody's lives.
I think I'll change my life today,
Gone are the times of taking care,
And I don't need a reason why,
All I need is all in a day survive in a way.
Or just till tomorrow,
Always one more tomorrow,
Living forever,
Do you really want to live forever.
09 Hold On My Heart (04:39)
Hold on my heart
Just hold on to that feeling
We both know we've been here before
We both know what can happen
Hold on my heart
'Cause I'm looking over your shoulder
Ooh please don't rush in this time
Don't show her how you feel
Hold on my heart
Throw me a lifeline
I'll keep a place for you
Somewhere deep inside
So hold on my heart
Please tell her to be patient
'Cause there has never been a time
That I wanted something more
If I can recall this feeling
And I know there's a chance
Oh I will be there
Yes I will be there
Be there for you
Whenever you want me to
Whenever you call
Oh I will be there
Yes I will be there
Hold on my heart
Don't let her see you crying
No matter where I go
She'll always be with me
So hold on my heart
Just hold on to that feeling
We both know we've been here before
We both know what can happen
So hold on my heart
Just hold on my heart
Hold on my heart...
10 Way of the World (05:40)
If you take the tears from crying eyes,
Will the hurt just disappear,
Put a weapon in the hand of a frightened man,
Will he show no fear,
So we stand and we watch while the city lights go out one by one,
Mother Nature sits on the other side with a loaded gun.
Why is there blue sky,
Why is there red sky,
Now's the time to ask the reason,
Should the blue sky,
Meet the red sky,
Should the rules have to change at all,
We all know whatever they say,
Time is on our side,
This world has been here before just going round and round and round.
We all agree as far as we can see,
It's just the way of the world,
That's how it's meant to be,
There's right and there's wrong,
There's weak and there's strong,
It's just the way of the world,
And that's how it's meant to be.
Take the motion from a spinning wheel and watch it stop,
Take the danger out of a naked flame and what have you got,
If you take the anger out of a broken heart, you feel no pain,
Could you swear if you had that second chance you wouldn't do it again.
Why is there blue sky,
Why is there red sky,
Now's the time to ask the reason,
Should the blue sky,
Meet the red sky,
Should the rules have to change at all,
We all know whatever they say,
Time is on our side,
This world has been here before just going round and round and round.
We all agree as far as we can see,
It's just the way of the world,
That's how it's meant to be,
There's right and there's wrong,
There's weak and there's strong,
It's just the way of the world,
And that's how it's meant to be,
11 Since I Lost You (04:11)
It seems in a moment, your whole world can shatter
like morning dreams they just disappear
like dust in your hand falling to the floor
cos my heart is broken in pieces
yes my heart in broken in pieces
since you've been gone
it's all to easy to take so much for granted
but it's so hard to find the words to say
like a castle in the sand the water takes away
how can life ever be the same
cos my heart is broken in pieces
yes my heart is broken in pieces
since I've lost you
ooh now you'll never see
ooh now you'll never know
all the things I planned for you
things for you and me
I held your hand so tightly
that I couldn't let it go
Now how can life ever be the same
cos my heart is broken in pieces
yes my heart is broken in pieces
since you've been gone
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Other reviews
By Andrea12
The result of years of meditation is immediately evident from the opening notes of No Son Of Mine.
Driving The Last Spike is the most beautiful track on the album, 10 minutes in which Genesis tells the story of the workers who built the English railways.
By paolo1968
"'We Can't Dance,' though fully in a pop dimension and with a typical '90s sound, is pleasantly listenable."
"Successfully combining quality and success is no small feat."
By GenesisForEver
"No Son of Mine" is beautiful, at times almost moving, and Phil gives an extraordinary vocal performance.
"We Can’t Dance" is the best work of the Genesis 'trio formation,' showcasing a partial return to earlier sounds without losing sight of the charts.
