WE CAN'T DANCE

I gave this album a five-star rating (The legend says "a masterpiece of Progressive Rock," thus the rating may be unjustified) asi holds an important place for me. It was, in fact, the start of my Genesis fandom! I hadn't yet heard Selling England By The Pound, but I was in for a surprise when I eventually did, because it sounded nothing like this album.

At the store we went to, I remembered the pulsating "I Can't Dance" and when I saw a copy of We Can't Dance on the shelf, I knew right away I would get that CD. When I got it home, I bought it mainly for that old radio hit. But instead, what I got was one of the most aweing listens ever. "No Son Of Mine" had some great drum machine and shimmering keyboards; "Jesus He Knows Me" was a good energic track that mocked televangelists; "Driving The Last Spike" was a pretty 10-minute track describing the construction of England's railroad system (a track like that could have never appeared on a Phil Collins solo album); "Never A Time" was a touching, almost cathartic track; "Dreaming While You Sleep" was a moving, enigmatic track; "Tell Me Why" was a very bouncy British pop- sounding number; "Living Forever" had the best keyboard solo on the entire album (kudos to you, Tony!); "Hold On My Heart" was a slow promising track with some great guitar fills in which Mike Rutherford sounds like Carlos Santana; "Way Of The World" was a gorgeous, aural track with a great chorus; "Since I Lost You" (written for Eric Clapton's late son) was a slow, sad track with a good guitar solo; "Fading Lights" was a perfect 10-minute album closer in which all the members try to show off their musical skills before wrapping it up forever (this was Phil Collins's last hurrah with Genesis - he quit five years later).

Needless to say, I felt I was sucked into another dimension and almost totally abandoned hard rock and heavy metal all together (but I still love Back In Black and Nevermind). Soon, I started bringing in Genesis albums by the numbers and enjoying almost of them, whether they were telling stories on "Foxtrot" or saying a tearful goodbye on "Invisible Touch."

It was this album that made me a Genesis fan forever (in fact, not counting the first, last or live albums, I think my least favorite Genesis album is "Trespass") and I still enjoy the early albums with Peter Gabriel.

(Note: I respect everyone's opinions on this site, so I won't diss any of you anti-WCD people. I just wish, however, Genesis didn't make Calling All Stations.)