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After spending the 1980s moving in an increasingly pop-friendly direction, 1991's We Can't Dance marked a return to earlier aesthetics for Genesis. Edgier with more prominent guitars and live drums than on Invisible Touch; the record was the band's strongest musical statement in over a decade. With "Driving the Last Spike" and the dark "Dreaming While You Sleep" the group revisited one of their forgotten strengths; telling extended stories. That's not to say the album is a return to The Lamb Lies Down on Broadway or Trick of the Tail. Indeed, while there are several extended pieces on the record, there is none of the eccentricities, odd meters, or extended virtuoso solos of the band's progressive heyday. The album's closer, "Fading Lights," comes the closest, featuring an outstanding instrumental mid-section. Unfortunately, the record also contains some gutless ballads and peons for world understanding that sound miles away from any immediacy. However, the surprisingly gritty singles "No Son of Mine," "Jesus He Knows Me," and "I Can't Dance" help make up for the album's weaker moments

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INVISIBLE TOUCH represented the perfect hybrid that Genesis had been striving for: a pop sound mated with prog-rock flair. "Tonight, Tonight, Tonight" demonstrated this perfectly. Despite being over eight minutes long, the topic of dysfunctional relationships had enough universal appeal in it to be used in a beer commercial. "Land of Confusion," a straightforward number commenting on the pervasive greed of the '80s was one of the album's hit singles along with the soft-rock ballad "Throwing It All Away." The Domino Suite ("In the Glow of the Night," "The Last Domino") may have been a nod to the band's more progressive past, but the sweeping instrumental, "The Brazilian," truly harkened back to Genesis' art-rock glory days.

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A recording of the concert by the guitarist with the accompaniment of his septet in the Gemeringer Jazztage in Germany in 1996. Paco's guitar plays alongside those of Cañizares and Ramón de Algeciras, joining the music of great jazz masters, with Joaquín Grilo dancing. The repertoire, which is very similar to that of 'Live in America', includes songs from 'Siroco' and 'Zyryab' and is finished off in a rumba style with 'Buana, buana, King Kong'.

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