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Merengue

My god. This album is, as Bob the Angry Flower would say, fan-tucking fastic. As is the ultra-luxuriant full-piece band. And I thought these guys were good live. Wow.

Anybody who doesn't have a grin 8 kilometers wide upon hearing "Live in Japan" is, however healthy their vital signs might outwardly appear, dead. Or deaf.

Every time a new Keneally record comes out, I think, "No way is he going to be able to top this." And every time, I'm wrong. He just grows and grows and grows. I will in coming days be pushing this album on anybody who'll listen- by then I'll be a little more cogent, with any luck- and I look forward to being proven wrong over and over again, world without end.

Christopher Ekman

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Songo

After listening to it, all I could say was "EEEEEEEEE!!!!!!!!!!!!!". After the squealing, I started to think rationally about it. It's nice and long, and for the people who like to listen to Keneally's songs and aren't too into his stream of-consciousness, layered-with-comic-bits work (i.e. "Hat...thankyouforbuyinghat"), you'll be in heaven. The nice variety of BFDs seems to really have complemented Mikey's compositions, because the songwriting on this album sounds like an all-time high. I worry that the only direction from here might be down. If I had one gripe about it, it would probably be that there aren't as many incredibly difficult songs like Dolphins and others (you know the kind...you play them for friends and say "Can YOUR favorite musician do THIS?" We've all done it before. Just admit it.)

If someone out there is reading this wondering if they should buy the album, don't hesitate. If you are a Keneally fan, you'll like this. I would have paid $100 for this album. (Don't get any ideas!) Frank would be proud of him, I'm sure of it.

As a side note: I hope the band stays together. I hope Mike's personal issues that he wrote about are resolved. I hope that if you tour, you'll please come to Vermont again!

dogbreath1138

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Hustle

It's 10:30 pt, I am now listening to dancing (and the special live album (or cd (whatever)) for the second time tonight. I have been to about 30 shows this past year or so and have heard a lot of the songs on the album (or whatever). But there's something about hearing it in the studio version. GOOSE BUMPS!!! It's so intimate to close my eyes and feel the music surge within my soul, dreamlike. I've been waiting for this album (or cd) for a long time and I was not disappointed in the least. I LOVE YOU MIKE AND BFD!!! Thank you for making this album (cd) and thank you for playing the Baked Potato so often!!!

Your Buddy
JOJO

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Electric Boogie

Mike Keneally is loving life (and, by association, music) so much he wants everyone to know it. Not just his ever-growing legion of fans. Everyone.

"This means you."

With the arrival of "Dancing" Mike has been blessed with an eight-member ensemble that manages to glow in only the most positive and brilliant ways on this eighty minute album (yes, 79:56 to be exact). It's done with such panache and unpretentiousness, no wonder he's so happy. You'd want to shout, shout, let it all out too if you had access to this much talent under your baton.

You say you want metaphor? We've got your metaphor HANGIN'. Here you go:

First you have the main course quartet of MK, BB, Motard and Ziegenzaggen. In the dictionary, look under "fluid" and you'll discover Jeff Beck's mug has been replaced with a group portrait of these most happy fellas.

Mike Keneally's (Lead Vocal, Guitar) inimitable stylings are vividly heard and felt throughout the whole shebang, whether it's the personal guitar blitzkrieg of "The Brown Triangles," the Steeley Dan-esque piano of "Joe" or the lushness of the title track. Bryan Beller (Bass) and Jason Harrison Smith (Drums) make for an achingly exquisite rhythm section, always in the pocket and never, ever overstated. Just listen to the solid, STP-driving pulse of "Ankle Bracelet" and the ultra-jazz dish "Selfish Otter." Marc Ziegenhagen (Keyboards) is no slouch either, from complementing MK's guitar with the greatest of ease on "Lhai Sal" to his own spotlight with the graceful "MM."

As if that wasn't enough, you get lots of value-added Marjoram Spice in personnel Evan Francis (Alto Sax, Flute) and Chris Opperman, a.k.a. Oppy (Trumpet). The bright opener "Live in Japan" (as in reside) shines on extra brightly thanks to them, not to mention "Only Mondays" and the catchy "Backwards Deb."

Not full yet? Top it all off with a just-right portion of Creme Brulee courtesy of Tricia Williams (Percussion) and Rick Musallam (Guitar). Sweet? You have no idea until you try "Pretty Enough For Girls," "I Was Not Ready For You," "The Mystery Music" and the tasty "Taster."

What we have here, ladies and gentlemen, is the making of a stellar, world-class octet. MK/BFD as Cherries Jubilee, but without the old hat cruise ship dining room fanfare. Yum indeed.

This eight-piece MK/BFD is no overnight sensation. An album of this consistency and quality (and, yes, accessibility) is never easily had. It can be a very tricky balancing act. A cursory read through the overflowing www.keneally.com web site bears out all the history, effort, hard work and fun that was ultimately had along the way in creating "Dancing." This was no fluke. Best of all, the results truly belong to the octet as a whole, while at the same time being inextricably linked into the Keneally Oeuvre. That's some accomplishment.

"We'll Be Right Back" is a wake-up call for the global village with a potent Pink Floyd-esque musical spread and stark lyrics to munch on. "Poo-Tee-Weet?" finds MK and RM with dynamic duo guests Bob Tedde and Mark DeCerbo sharing a truly delicious Queen moment. "Ragged Ass" is just plain fun for the whole BFD family and evokes the Mahavishnu Orchestra in a few places. "Kedgeree" is a slice of improv heaven. Even Mike's daughter Jesse gets to partake in this twenty-course meal via the delicate, delectable "Friends and Family."

"Dancing" is not Prog Rock in the classic sense (nor does it need to be), but it is completely and unabashedly progressive in form and presentation. Everyone has something to contribute here and not a note or space is wasted. Styles and genres balance and criss-cross with deft precision, evoking subtleties and emotions of every stripe. To paraphrase a line from "Skull Bubbles," MK/BFD has definitely got their shit together.

So if you're happy and you know it, get "Dancing." If not, dance anyway. It's good exercise and can even cheer you up, but it's a hell of a lot better with this album playing in the foreground.

As for MK/BFD themselves, make no mistake: Mike Keneally and Beer For Dolphins are trained, armed with talent and musicianship to the teeth. It's time to surprise and invade the world.

Look out, world.

-- Joe D'Andrea <joe@broadside.org>

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Can-Can

Dancing Lessons

by J Warner

This album means so much to me, it's just stupid. I cannot possibly write anything approaching what would normally be considered a "review" of Dancing. Dancing is not an album to me. It's a beautiful set of memories, it's a huge educational experience, it's a flurry of symbols in sound, it's falling in love, it's breaking up, it's the ultimate realization of an idle fantasy I had one night in a dorm room in Santa Cruz in 1998. I can't even make sense of it. It's ridiculous. It defies everything I expect from life in terms of logic, predictability, banality, and convention. Don't believe me? I'm blowing this all out of proportion, huh? Well let me tell you a little story:

I realized at some point that I'd spent more time in the studio with Mike than anyone else on this album. Even the engineers! From Day 1, I watched everything, documented way too little with my scant supply of expensive digital tape, shared the joy of creation with Mike on numerous occasions, and eventually found myself in a state of mental conflict, realizing the effect my sheer presence (and more) was having on the album, and not sure if I was comfortable with it. But still, besides all that, if there was a WITNESS, someone who saw it all go down for posterity, well shucks, that was me... How did this happen?

Just about 2 1/2 years ago, I ran from my tiny dorm room into the cold drizzle of the last day of the first quarter of my first year at UC Santa Cruz. I was leaving for L.A. within hours, going home and pretty damn happy about it, ready for a break from the hippies, cafeteria food and general foresty smallness of this decidedly unexciting school. Honestly, I was generally miserable there, and today, I was tense as well. If the mailroom didn't hand me a little tan package from Moosenet, I was going to cry. I was going to stomp and cry and kill somebody. Today was my last chance before a two-week break would commence to get my order for one copy of Sluggo!, plus a beanie hat of course, even though I don't wear beanie hats I had to own one which said "MK/BFD," it was a definite must-have, a definite collector's item. I ran to the mailroom, preparing a speech about urgently forwarding my mail to my home address, banged on the door, I looked at the person accusingly, I stated my name, I was handed a tan little package from Moosenet. I stepped back in disbelief. I ran back to my room, grinning, knowing that the smiling eyes of Jesus were shining down upon me today. Oh yes, life was good.

One week later, I lay in bed at home, anticipating the return flight to Santa Cruz, but thinking about touring. Fantasizing about studio recording. Imagining the kinds of banter and jokes which don't make it onto the webpage. The intricacies of rehearsal, the process of creating an album, wondering how it all happens. Of course, every sleep-encroached fantasy is about Keneally, about Beller, even about Jesse and Scott Chatfield, my mind wanders over these objects of obsession. Listening to Sluggo! again. Cursing my musically inclined best friend Evan for refusing to listen to it on the grounds that it's "not jazz." Wincing at the thought of returning to college. Deciding something. Getting out of bed at 2AM in the morning and typing out an e-mail.

Four months later, I drop out of UC Santa Cruz in a mild but crazed nervous breakdown, determined to go on the road with Mike Keneally no matter what the obstacles, or how high the price.

Two years, you know what happened: a tour, a solo album, a shifting array of band members, a whole slew of musical and personal advances, some revelations and some disappointments. And I was there. And now? Here I am: standing at the mixing board next to Mike, listening to the final mixes of the new Beer for Dolphins album at full-on impact volume, grinning from ear-to-ear at each other in understanding that it's RIGHT, and man, doesn't Evan sound great on this one? Evan? What's Evan doing here? And before you know it, a lumpy lump in my throat, I'm reminded of Mike's response to that e-mail I wrote, a "lumpy lump in my throat" is what he said I gave him, and now here I am. IT DOESN'T MAKE SENSE. I cry, I hug, I go into the corner and try to shake off the surreal feeling that all this can't be real. I am proud to be here. I don't know what I did to deserve it, but I am proud nonetheless.

The course of my life was profoundly altered by Mike, his music and the inspiration he continues to be to me, and the great friendship which has ensued is more than I ever could have asked for. And that's what this album is about for me. It's the culmination of the vision I had when I dropped out of college, when I plunged myself into insanity (read the WNHTH Member Missives if you don't believe me) on tour, refused to let any of it go to waste, and when I came out the other end a completely different person. I know Mike wrote the songs about his own journey, not mine, but I can see myself and my own journey mirrored and echoed in almost every single one of them... But wait, that's nothing new! That's how I felt the first time I listened to Dust Speck, "back in the day" as they used to say in my old 'hood. Guess that's just status quo for a Mike Keneally album -- it's bound to get under your skin and make you feel all weepy like a damn girly-girl. Ah, well:

Here are my favorite moments in Dancing:

The "motherfucker" in "Joe," that says "I love you" just as the synthy beauty backdrops the song in lushness and the sad, sweet, happy, bitter feelings therein make themselves definitively heard once and for all.

The unintentional sound of glee which comes from the mouth of reformed-jazz-snob Evan Francis at the beginning of "Mystery Music;" you can hear it if you really try. It's the equivalent of the beer-guzzle in "Weekend," you'll never hear it until you know it's there -- and it seems to sum up the whole song in a single spontaneous sound.

The atonal chord-swapping Oppy displays on his one appearance as a key-swatter on the entire album. The perfect controlled underscore for the chaos which is surrounding him. I'm talking about the end of "Brown Triangles," the video footage of which is one of the scariest things you'll ever see. If you ever doubted that Mike Keneally if flat-out 100% INSANE, you'll believe it for life when you see this. One day, my friends, one day...

Every single note Rick plays on "I Was Not Ready For You" and "Friends & Family". Need I say more? He should have sex with anyone he chooses for the rest of his life for this! He truly deserves it! He's a wildebeest!

Marc's naked moog solo in "Selfish Otter," unabashed psychedelia showing its ass to the world, begging you to drop a couple tabs and see what happens when the stereo effects start screaming politely about whirlwinds and dustdevils.

The double guitar solo on "Pretty Enough." Yes, it was an unintentional melding of two separate takes. And it's like, PERFECT, but random. How?

The "evil carnival is being destroyed" ringing synth sound which snuck its way into "Taster" at the last minute. If you don't know what I'm talking about, you haven't listened to it enough.

The acoustic guitar part in "Dancing," which you have to see Mike play to understand how truly spidery and beautiful it factually is.

The part in "Kedgeree" where if you close your eyes when you listen, you see yourself moving through a black and scary tunnel at an extremely high velocity, and it's very frightening you see, but then you're spit out of the end all of a sudden into the vast rich black starfield of a perfect night in the Andromeda Galaxy... Do you know what I'm talking about?!? One day I'll find someone who can animate this for me and make it real...

Remember: If you visualize something, and you focus and concentrate on it until it's right there in front of your closed eyes, and you build some confidence around it, and you seal it with a well-thought-out plan of action, it will happen. Shhhh! It doesn't matter what it is! Go for it!

Love,
*J*

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Paso Doble

This is the first Keneally record I purchased (except for the track on Giant Tracks).

"Live in Japan" is an excellent middle of the road Top 40 tune that, with promotion, could be a HIT.

"Ankle Bracelet" is a tune that teenagers can relate to [definitely a Nirvana-like tune] (not particularly my bag).

"Poo-Tee-Wee" is a Queen takeoff.

"We'll Be Right Back" is a nice protest tune of society's ills.

"Joe" has really good chord changes and mellow enough to be on mellow stations (except for "motherfucker").

"Only Mondays" is a Burt Bacharach tune [especially noted by Oppy's solo and arrangement]. Another Top 40 tune in 1970. It's a nice love song.

"Kedgeree" is the best tune on the album as it puts the whole CD concept together. Great Finale.

Instrumentals show a lot of diversity.

And the CD is FUNNNNNNNNNNNN!

I would recommend it as I enjoy diverse styles. This CD is almost SCHIZO! Most music lovers could not handle so diverse a CD, but there is plenty enough to sink your teeth into.

G.Bendett

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Charleston

All i can say is wow! This is not only the best MK/BFD album ever made, but it is now a member of my top 5 desert island album list along with Sluggo!, and Nonkertompf. The musicianship is phenomenal and the new 8-piece version of BFD does a wonderful job. All I can say is that I look forward to seeing the tour, and that tomorrow this disc will be played at work so that all can hear (I work at a guitar shop). Everyone I work with loved it when I brought in Sluggo!, and have been looking forward to this release. Mike, you did great as usual! thanks for a great album.

Casey McCarty
San Antonio, Texas

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Gavot

Thank you for creating some amazingly great music. The live disc is wonderful. Make sure you hit NYC for a live show and play everything from Dancing!!!! Play a gig at Irving Plaza or The Bottom Line where you can really Show yourself!

My wife loves live "Live in Japan!" (I LOVE IT ALL!)

Mario Casella

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Shag

First impressions:

Mike has been going through some changes (and this was BEFORE reading MTTY -- honest). Although change is inevitable and (usually) welcome, I miss BFD as trio, despite my initial glee with this CD and the musicians, as well as Mike's apparent enthusiasm about both.

Next impressions:

The song about Mondays bringing me down refers to Karen. Reference to Karen Carpenter? (The trumpet solo seemed to confirm this suspicion on some level, although I then realized that the solo sounds more like Bacharach -- which somehow STILL seems to confirm this suspicion )

"Mystery Music": ever hear the Ordinaires? sounds like them (not a BAD thing)

"Skull Bubbles": Love it! Love the tension and angst, BUT... it SCREAMS for a solo! I'm thinking Van Halen's solo on "So This Is Love?" from Fair Warning (for some reason, that has always made me think of a tap dancer -- HEY! Dancing!) or maybe "Sinners' Swing!" from the same album. And for other some reason, I can hear Lucinda Williams singing this song.

"Ankle Bracelet" doesn't do much for me. It doesn't move me the way most things Keneally do. Kind of just lies there. Maybe it'll grow on me.

Nice continuity created in (among others, I'm sure!) "that guy" (sonic manipulations of Mike's voice) in the middle of "Pretty Enough," connecting back to "Looking For Nina," and the one from hat with the interesting poetry (was it "Here Is Why?"), and I can't think of anything from Dust Speck, except possibly , the end of "Top of Stove Melting"... Anyway, nice continuity.

Again, I kind of miss BFD as trio, but I am enjoying the refreshing change supplied by the added musicians. There's a lot of fresh, new STUFF here, and I don't mean just unreleased material.

Overall:

I like it a lot! And I'm sure it will grow on me more as I continue to listen to it throughout my hour-long trips to- and from- work, as well as all day at work, for the past few days! I haven't even gotten to the bonus CD yet: I want to be familiar with the material before experiencing that.

Favorites so far:
- RAGGED ASS
- SKULL BUBBLES
- WE'LL BE RIGHT BACK
- LIVE IN JAPAN (this is a better pick-me-up in the morning than coffee!)

Still love your music, and will continue to follow, as I've been doing since around '94. Keep entertaining and inspiring me!

DL

P.S. - I just had to add this about the bonus CD. I'd waited almost a week before listening to it; I wanted to have a good familiarity with the "new" tunes. And, frankly, I'd been thinking it would probably be a disappointment; didn't think the songs would work as solo acoustic pieces, what with all the production on Dancing. Boy, was I (happily) WRONG!!!! I tried the bonus disc yesterday and I LOVE IT!! Love the improvs; love the interaction with the audience; love the settings for the songs (they DO work well as solos, as well as the band pieces, which sound great!) I was planning on pushing the studio disc onto someone to turn him on to Keneally, while I listened to the live one, but now I think the live disc would make a great introduction to Keneally for the uninitiated.

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Polonaise

Where has innovative rock gone these days? Radio won't touch anything that millions might not either. Cause or effect? Both, unfortunately. And the corporate heel is coming down harder on originality and content than ever in its rapacity for the big score. To quote Paul Simon, "The music suffers, the music business thrives."

Dancing, the latest effort from Mike Keneally and Beer for Dolphins, is the best new provender for musical malnourishment on the menu. From the shamelessly jolly gyrations of "Mystery Music" and "Live in Japan," to the disarming title track and enigmatic, lavish "We'll Be Right Back," Dancing is one of those unflinching albums that doesn't have a single 'B' track (on either disk, as folks who purchased the special edition can attest, which includes a second CD recorded live at Hollywood's Baked Potato. Make haste, kids; they only pressed 2,000). Dancing is perhaps the most straightforward album to date from MK/BFD, notably in its rhythms and accessibility; it's something of a departure from a departure. But have no fear, foreheads (MK/BFD fans, for the uninitiated)-- that still makes it a departure, right? True to Keneally form, the new album sacrifices nothing. It has all the scope and stomp that fans have come to expect, and most of all, it's a whole damn lot of fun. Mike Keneally seems to perpetually attend to the happiness of his listeners. Pick up Dancing, and you'll agree he's earned a reprieve from his concerns.

Richard Mandl

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Balada

I've been thinking a lot how to describe this. I had the same problem with Nonkertompf and then I resorted to weird shit like "if you remove my skull this album would fit my brain exactly" or something like that. I still like that description a lot, but maybe this time I should keep it more, well, normal. Or at least try..

After receiving Dancing I haven't stopped listening to it (except when I got the new Radiohead album, which replaced Dancing exactly twice in the last few days, but didn't have the ability to conquer a permanent postion in my CD player).

I simply love the musicality, the great songs, the variety, the amazing musicianship.

Every note Evan plays I love because of the incredible sound of the sax and the great approach he has to his parts.

Every note Tricia plays I love, because it gives just that much extra depth to many songs, without resorting to too many Zappa-isms.

Every note Rick plays I love, because a second guitar really seemed like the right thing to do in MK's music at the time.

Every note Oppy plays I love, having had the privilege to have spent a very nice evening with him in Boston and each time I hear him I'm remembered of my excellent visit to the US in November 1999.

Every note Mark plays I love, because not only is he one of the most talented keyboard players I've heard, but also from his presence on a.m.m-k I know he's a fan just like the rest of us too.

Every note Jason plays I love, because he seems to be able to play everything from rock to total weirdness.

Every note Bryan plays I love, because without him BFD would not sound like BFD. He really brings the best out of MK, especially in the solo sections.

Every note MK plays I love, because, well, because he's the most gifted musician / songwriter alive!

Now I just need to see MK/BFD live at one point in my life..

Dennis Versteeg

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Cumbia

You should (all) be dancing... ...yeah !"
an opinion by HervŽ Marchetti.

Hello, it's HervŽ from France (once again), and I'm delighted to tell you about Dancing Special Edition #685, which hit my mailbox yesterday. Unlike for my Nonkertompf review (the 1st one on the Nonkeroni page), I decided to give this album several listenings before writing my feelings down. And very much like my Nonkertompf review, this text is going to be very long (and will probably contain a lot of English mistakes), so I apologize in advance.

What a lovely object, that Dancing CD. Since yesterday I've been seeing heart-shaped cherries everywhere I go. Can I state that I think this is the best packaging and artwork I've seen on a Keneally album yet? The photographs are all superbs, and the layout of the whole booklet is splendid. Great great work.

About the music, now. I must confess I was getting skeptical about that record since I heard the "Live in Japan" donwload from the website (I hated that song at first, but then I also hated "Potato," so....), and since I've read The Keneallist Missive #4 in which words like "mainstream" or "accessible tunes on the album" annoyed me deeply. What was going on in KeneallyWorld?

Since then I listened to my downloaded "Live in Japan" MP3 file several times, and liked it, liked it, LIKED IT A LOT !!! (God, that intro riff was into my brain for three days long). See what a fool I've been !!! I enjoyed madly listening to the whole album (with headphones, and taking 10 minutes breaks after each "side changes"). Yes, this was very song-oriented, yes, things weren't (in appearance) as goofy as usual (no short, funny cartoon-like tracks), and yes, the whole album is somewhat more accessible. But what a marvelous piece of work this is. Every single arrangement seems to have been carefully crafted, with attention given to details. The band is just fantastic, (that is really what I think, oh by the way, which one's....oops, sorry!). And those marimbas, and those sax solos, and etc........ In fact, after 3 trax I started thinking to myself: "This is the best musical effort Mike ever put down to record. How lucky we are to hear his music in such nice conditions." Instead of being skeptical, I should have remembered what Mike told me when I met him before and after a Steve Vai concert in Strasbourg, France, on April 1st 2000: I made him sign on my whole Keneally cd collection (which he did agreeably, and with a smile), and then when I asked him about the new record, he told me (still smiling): "You're gonna love it." Well Mike, you were right. I should have trusted you. (Here's a photograph of the event that I'd like to share with you:

 Mike & Herv? crackin' up in Strasbourg, France, on April 1st 2000

And, in risk of sounding dopey, I would like to end this post with another musical quote:

"I may be totally wrong but I'm a...Dancing fooooooo-ooooo-ooooool. I'm a... Dancing fooo-ooo-oo--ooooool".

thanx for reading
HervŽ Marchetti, a.k.a. Dancin' Dude.

PS: Just a note about the 2nd (live and acoustic) CD: After the first listening of 'Dancing', I didn't want to give an ear to the 2nd cd until one day has passed by (and it was getting really late). But I wanted to listen to the very first seconds of it, to see if I got the right cd. (Let me explain: one day I bought the 24-bit remastered gatefold edition of In the court of the Crimson King. I got home to listen to it, and instead of the loud and powerful intro to '21st century schizoid man', I started to hear mexican music. You should have seen my face. The cd label was Crimson, but an error in the manufacture stage happened so that another music got recorded on it. Don't laugh, I swear this is a true story !)

So here I am, cramming the 2nd cd in the player and pressing 'play'. I planned to listen to the 5 first seconds only. I never could press 'stop'. I listened to the whole cd. That should be enough to describe the experience, shouldn't it?

_____

 

Limbo

Mike Keneally just might be one of the musicians who winds up with a genre of music named for him. His records has always defied classification, shifting from Modeski, Martin and Wood-style grooves one moment to Gentle Giant-esque numbers the next while never their musical center.

Dancing further solidifies Keneally's reputation as a fresh voice on the music scene. Whether on the feel-good harmonies of "Live In Japan" or the Master of Puppets era Metallica workout "Ragged Ass," Keneally is clearly the master of his domain. He has an expansive pallet with which to work and does so, all while making each color his own. Although "Joe" could, in some ways, be a Steely Dan outtake it never feels derivative, nor does the Burt Bacharach bliss of "Only Mondays."

Keneally has written some of his best work to date here: "Skull Bubbles," "Joe," "I Was Not Ready For You," and "Taster" shine and show how much he has grown has a composer/songwriter since his debut. But growth abounds on this record. The guitar playing seems more melodic, focused, and Bryan Beller and the other Dolphins shine like (sorry) crazy diamonds. Moreover, Keneally seems more comfortable as a vocalist than before and it shows in the way he works his way around the smoother melodies on the record. (Even the angst-y vocals of "Ragged Ass" sound more clear and controlled than on past outings.)

It used to be that I would suggest Boil That Dust Speck as the point of entry for Kenealiland,and while I'm not sure that I'll ever outgrow that record's charms, Dancing might not prove a bad place for new fans to start either.

Thanks,

Jedd Beaudoin

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Jitterbug

Okay, I am not the type guy who would normally read, much less review, anything online, it just ain't my bag. However this is a special case, this new album from Mr. K and the gang. (and heck, who can pass up being immortalized on a webpage in association with a BFD album)

Oh yeah, I am supposed to talking about the album, here it goes...This is by far Keneally's best work thus far. Don't get me wrong I love all the other albums this man has generated for our listening pleasure but you can really sense a maturing in Keneally's writing when you listen to a work such as hat back to back with dancing. The harmonies are so varied and beautiful on this album, I don't think there is a shade of harmony that Mike fails to use. This can really be heard if you are so lucky as to posses the limited edition 2cd Dancing set, in Mike's solo piano work on songs like "I Was Not Ready For You."

The new additions to BFD are also of great importance to what makes this album work, they give it the 'eyebrows' without impeding Mike's guitar sound, and Bryan is still solid as ever. Songs like "Selfish Otter" demonstrate that this is a band that knows how to work together and create a style of their own. I can't wait to hear them on the road, if they were gelling that well in the first stages of working together I can only dream of how well they sound now.

I promised myself I would keep this short so I will stop typing, buy the album and let the music speak to you.

Dumb reviews are made by putzes like me, but for good music look no further than Keneally. Goodnight Mr.. keneally, wherever you are,

Justin The Great

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Beguine

Too busy to attend Nonkerstock, and too sporadically-connected to the internet this summer, I wasn't able to sample anything from the new BFD until my CDs arrived (two days after release--nice job Lou's!). I was, hmm...curious to find out what this new big band version would sound like. I wasn't expecting Cherry Poppin' Daddies, exactly--just wondering what directions Mike would be moving toward with the new additions. Long story short--Mike was right: I do have a new favorite album.

Mike's singing and songwriting get better with each new album, as does the production--so there's nothing surprisingly outside of the MK/BFD formula here. What's new is that (this is the impression I get, anyway) it sounds as though BFD had more input in the songs; that this was much more a collective band effort than the previous albums were. My favorite shivery bits:

The rhythm guitar on the left during the chorus of "Live In Japan."

"Ankle Bracelet" (the entire song--especially the lyrics). This, to me, sounds like the most radio-friendly of the songs on the album.

The "Presence"-y tone on "Backwards Deb."

The solo section of "We'll Be Right Back"--ending this song on an upbeat note.

"Taster": Blues >From Hell.

"Selfish Otter": Music to read Naked Lunch to after consuming too much coffee and smoking too many cigarettes. On second thought--no it's not.

"The Brown Triangles" and "Lhai Sal": These conjure up (wistful) images for me of the first time I saw Mike play at the Casbah back in '93 (94?). I'd never seen him play his own music with his own tone before. It looked, and sounded, as though Mike were forcefully squeezing his notes out of a well-tuned cat.

"The Mystery Music": "Annette! Moondog! It's a Beach Party BFD!" This makes me want to limbo, and I don't like to dance. Tricia's playing makes me want to learn to play the marimba.

"Kedgeree": I agree with Bryan: where do you go from this one? My suggestion for an alternate title: "Mike Keneally Dream Suite: Opus 1." This is the one that makes me most teary-eyed from the beauty of the arrangement and the playing. I love Evan's playing (especially the sax as the song opens); and Bryan really shines on this as well (for someone who doesn't like to solo).

All in all, yes--a new favorite MK/BFD album, and a new favorite album, period. I very, very much hope that the full band will be able to tour in support of this. I think the album is the most "accessible" of the BFD albums, partly due to the inclusion of the new members and instruments. We've all known that Mike's music should be heard by millions more than those who do hear it--Dancing reinforces that belief for me. Thanks Mike, and thanks BFD! Everyone else: go forth and spread the word.

Mike Wofford

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Schuhplattler

Marimbas, marimbas, marimbas! There should be more marimbas in music nowadays! Reminds me of high school band, but in a good way, without that horrible smell! Terrific album...I'm off to force it onto my friends...

Ed W.

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Fandango

Just decided I would give you my thoughts. I have been living with the new CD since Saturday and one thing I can say right off the bat- it is different than previous BFD efforts and for that I am thankful. I had expectations and you made me rethink what exactly BFD music should sound like. This effort definitely has a "band" feel. And more of a song feel. I don't really know what either statement means exactly, but I believe these statements to best state my opinion.

The only song on the CD I really have a problem with is "Live in Japan." This track is too much of a sugar-coated pop ditty for me. Maybe I'm just too much of a manly man to believe I can like something so sweet and catchy and easy to digest.

I must compliment you on putting out a disk which has a wonderful variety and a very well thought out flow. I like the placement of the songs and this leads me to listen to songs I may not enjoy as much just to here the segue to the next track.

One final question. When/will we ever here more from the Mistakes? I am certainly looking forward to the Yo Miles live disks.

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Quadrille

I have listened to Dancing twice now. Once while sitting in an inexpensive German leather chair and once while painting the walls of an office around 11:30 on a Friday night. Both situations provided an ideal setting for letting music and sound to merge and mingle with my hopes and dream, fears and anxieties. That's what this album is all about. Sure, it's a serious musical contribution. But I think its true power stems from the fact that this record is another soul searching, extremely personal message from MK. It's truly a rare occurrence when an extremely talented musician can cross that barrier of disciplined technician and find the courage that is required to create art of the highest caliber. As a whole, I don't know what to think of this new offering. Personally, I listened to this record as if I each song were in a different space. Some songs invited me to stay in that space and I felt something wonderful that calls me back to them. There are parts of this record where I thought to myself "What the fuck." I felt edgy and irritated. I felt like running from those spaces. But I stayed. I can't wait until I am in the right mood and can put aside an hour or two and give Dancing another really good listen.

Oh! One more thing, everyone involved with this record did a great job. The musicians are fabulous. The people who turned the knobs and push the buttons geniuses. The Record sounds amazing. I can't say enough about this music. I didn't say enough. I wish I had the ability as a writer to say more.

Hugs and kisses, Rik Peterson (Chicago)

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The Watusi

Mike and BFD have made what has to be my album of the year.

This CD has my panties in a bunch. Had it for a week and a half and I can't stop playing it at least 3-4 times a day! Everything else I've bought lately just sounds so flat and uninventive in comparison.

The band simply runs the table in any style you can think of. Part straight up rock and psychedelia, part off the wall jazz with a liberal dose of incredibly complex and driving classical pomp.

The new 8 piece BFD band is making a huge noise. Evan, Oppy, Rick and Tricia add an entirely new dimension to the band, filling out the sound and giving it a "big band Zappa" sort of feel. The recording is also a vast improvement over the previous releases, sounding more transparent with a truly widescreen cinemascope soundstage.

Here's a few of my favorite moments:

The album opens with "Live in Japan," a wacky power-pop megasingle with that great "Circus from Hell" finish. Gotta love that Drums and Wires-era XTC chorus at the end! MK needs to spend a grand and send a copy of this track to every radio station in America!!

Then there's a monster Seattle grunge /pre"Aqualung" era Jethro Tull "Ankle Bracelet." Another potential single here, don't forget it!

There's the off kilter jazzy and late period XTC-ish sounds of "Backwards Deb."

The totally Steely Dan-ish, subtle and sentimental "Joe" and "I Was Not Ready For You." These tracks bring everything that's missing on the new Dan album for me to the table. Tight and creative playing and a real sense of having something to say.

The amazingly complicated yet oddly melodic "Pretty Enough for Girls," seeming ripped right from the Frank Zappa songbook. Indescribably odd and adventurous. Incredibly lush track. How does a person even begin writing a song like this?

"PE4G" jumps right into "Taster," an instrumental Stevie Ray Vaughn blues guitar tinged slow track filled with powerful tension by the herky jerky stops and starts throughout. About halfway through, the song turns ominous and sad. Gloriously cinematic. These 2 tracks make for an awesome 1-2 punch.

The typical BFD 1,000,000 MPH offbeat jazz fusion treatment on tracks like "Selfish Otter" and "Lhai Sal" that you've come to expect from the previous BFD releases. Only bigger and denser now with the jazzy new band!

The wonderfully goofy Frankie and Annette surf sound of "The Mystery Music." Again, the "Zappa style" big band arrangement (particularly Tricia and Evans vibes and sax interplay) make this track a jaw dropper.

The great sax filled instrumental jazz section of the raw, rocking and twitchy "Ragged Ass."

Then there's the wildly loose and freewheeling "Skull Bubbles" with it's almost "honky tonk blues in space" sort of quality written about how MK's life is falling apart. I love the following lyric which seems so right for MK's musical place:

"When I was 7 years of age,
I learned the sweetest holiday song.
How the Hell's everything gone so wrong?"

Then there's the beautiful half Pet Sounds era Beach Boys, half Vince Guaraldi piano flavored "Friends and Family."

However, it's the closing track that really rips my head off. "Kedgeree" starts slow with MK quietly plucking notes on an electric guitar and quickly builds to a kinetic, bouncing track with a hypnotically psychedelic off beat melody. The track then picks up speed and and turns into a brain-frying sideways Quadrophenia/Tommy flavored sort of rock/classical monster. Jason Harrison Smith does the best insane flailing Keith Moon impression I've ever heard! The song then drops into a slow and surreal, space rock passage with a gorgeous and just-so-right guitar solo only to eventually come back around to an enormous reprise of the songs highly original and complex theme. Mike, you're really channeling the gods of music on this track. A stunner.

I love the fact that this album has a real sentimental side not seen on his previous releases. Mike is writing about adult stuff more now and a lot of the music reflects the same emotional turmoil that we all have, yet most of us can't articulate. I find this especially true in the instrumental sections. While it's not uncommon to depict pain, sadness and then redemption using words, MK seem able to easily do it instrumentally which is wreaking havoc on my nervous system! My heart pops into my throat and my breathing gets short during the particularly sad or exciting instrumental parts. It takes enormous balls to bare his soul like he does and I find that touching and affecting. My only concern is that lots of this music is way over the heads of most people. I've played chunks for several different people with relatively normal musical tastes and received lots of head scratching and "I don't get it" looks. Considering this is your most accessible (yet still uncompromising) release to date, I find that a little troubling. Is it because your music is too sophisticated, or because they are completely anesthetized by all the normal crap that they are used to listening to? Fuck 'em, it works for me!

Troy "Designshed" Paiva

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Sabar

things were never like they used to be. really. don't take your car to a mechanic, who takes the bus to work. and don't read cd reviews by people who cruise the internet. if you don't have this already, go buy it now. what can you really say about this, except for thank you thank you thank you......

thanks to mike, and to everyone else involved for making this record.....i am very grateful that you opened up your hearts and let this come out......or perhaps HervŽ Marchetti said it best when he said 'what a lovely object, that dancing cd.'

lovely indeed.

thanks mike.
and dolphins everywhere....
----------------------
lloyd thayer

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Lambada

Hey there, I am one of the too-numerous-to-count lukers here at AMMK. My NNTP connection from work allows me to READ but does not allow me to POST. Go figure. So, I have to go to Deja in order to post which is a royal pain, so that's why I haven't participated up to this point. I like reading everyone's posts, however! I never submitted a review for Sluggo! despite the fact that it quickly became one of my favorite albums of all time. I didn't feel qualified to speak as to it's plusses or minuses. Not that I am now suddenly qualified to speak as to Dancing's pluses or minuses -- I do feel more comfortable with the adducing the material, I guess I should say. I'll try to focus mainly on a musical level, but I'm sure I'll have something to say about the lyrical content.

I guess I should also say that I don't like most of what is considered "Progressive" rock. I think Dream Theater is overwrought dreck. I am a big fan of Zappa, Miles Davis and Steely Dan, however. I also like Pink Floyd a whole lot. I don't own any King Crimson albums. The last album I bought before "Dancing" is "Rated R" by Queens Of The Stone Age (fuckin' rocks). I like rock and jazz music. Anyhow here goes:

"Live In Japan" - Like many of you I thought it would be "LYE'VE" in Japan. A song about Mikey's fun experiences performing in the Far East? Not quite. Live in Japan - a metaphor for breaking the mold and doing something radically different. A song that expresses the joy one can feel in taking new chances and changing the way he/she lives. I would say it is the most traditionally accessible pop song, much like "Potato" from Sluggo! I personally like the horn line that accompanies "I'll bounce you on my knee."

"Ankle Bracelet" - I'd like to see Mike do a whole album of stuff like this. This is probably the song that I can connect with most personally and musically. This is the kind of music I play. This is a song about lust and I think it's fucking awesome. It is certainly Mike's most effective ode to gettin' it on. It captures the feeling perfectly. This track is just so kicking. I can't tell you how much it rocks. Slight side track -- the other night I went to a rock show. The entertainer we went to see was very entertaining, the kind of show where you'd want to be right up front. However, I wasn't feeling very motivated and I stood at the back of the venue near the ladies room. I'm always fascinated at the number of beautiful women in the world, or maybe it was the vodka & tonics -- regardless I kept looking at all the girls going by, and -- the guys will know what I am talking about here -- that thought that you have at the exact moment when you see a woman that just does IT for you. That is this song! The island is a metaphor for your relationship, your job, your house, your car, your guitar, EVERYTHING. EVERYTHING you've built in your life you'd give it up right at that fucking nanosecond to get a little piece of that action. It's scary if you think about it! Musically the grungy, reverbed guitars, the growling bass and throbbing rhythm are a perfect compliment to the lyrical content. I like the legato vocal phrasing, too. I think the drum mix could be a bit louder, but it still works. I just crank it up louder, which is probably what Mike wants you to do anyhow. Mission accomplished! This could be a big hit on modern rock radio.

"Poo-Tee-Weet?" - Nice harmonies! Soothing.

"Backwards Deb" - I guess this songs has been around for awhile. I haven't heard it before, so I had no preconceived notions or knowledge about the lyrics were before the narrative perspective was changed. Anyhow, no idea what the song is about. Lots of apparent angst ridden subtext. The drums rock hard on this one. This is a good one to sing along to. This is the closest cousin of "Frozen Beef" on this album. I really want to see Mike do this live and scream his guts out, because I know he can do it. It's that kind of song. I like it when Mike gets visceral.

"We'll Be Right Back" - I love the opening on this. It has the "spy" movie sound track vibe that I love dearly. This is probably one of the more straightforward songs lyrically, but musically it's all over the map. The outro is excellent. The way the guitar was recorded is fantastic. You can practically hear Mike's fingers moving over the strings and feel the magnificent articulation.

"Joe" - Ah, my favorite instrument -- The Fender Rhodes. Well, It's actually a toss up between the Fender Rhodes and the Wurlitzer 200A. I have a Wurly, and I'm gonna buy a Rhodes soon. The classic Steely Dan vibe. A nice pop song. Another great sing along tune. The part where Mike sings "Hey Motherfucker, won't ya site yerself down" is great. It really lets you in on the musical friendship between Mike and the subject of the song. I wish I had a pal I could listen to Miles Davis records with. Most of my pals are into the new Hatebreed and Snapcase records.

"Pretty Enough For Girls" - This replaces "Cardboard Dog" as my favorite Keneally song. I think it's absolutely terrific. I heard this song played live in '98 in Chicago and I thought it great then, but hearing a song one time live and then not again for nearly 2 years is weird. Anyhow, everything about it is fantastic. I really like the opening figure when the bells and piano are still playing a variation on the opening melody and the bass and guitar begin the next movement. Is that counterpoint? Berklee grads, help me out here. Then when Mike's guitar comes in it sounds like a sax for a bit and then begins to sound like Mike's famous wah-lead tone. Did you do some sort of neato mix trick or can a guitar really sound that much like a sax? The only thing I would have liked to hear is to extend the double bass section before the ending solo a little where Mike screams "She's pretty enough for me!" The harmonies on the "Who are they?" pre-chorus are just delightful. I knew I was going to dig this one a lot when I heard the "Dance Fever" MP3 run-through and the snippet for this song was the "Float into the sky home safe, moan, sigh.." It's just a joy to listen to and sing along with. This segues into the next song...

"Taster" - ...amazingly. I suppose the two could exist without one another but the way PEFG builds up and then releases through out Taster is what great music is all about.

"Dancing" - This hasn't caught on with me yet. I like the idea, but it is kind of a let down after the majesty of PEFG/Taster.

"Selfish Otter" - The MiniMoog solo is killer. I want to hear more of it. When is Marc Z's solo album of Monster-Freak-Out-Jazz-Moog Music coming out? This one is probably in second place on my list. It is improvisational jazzy enough to spark my music geek interest and structed enough for me to enjoy the performance. Listening in headphones I can hear an edit point right before the MiniMoog solo. Doh!

"Only Mondays" - Similar to "Joe" in sound and structure, this is a good mid tempo pop song that is fun to sing along with. I had the trumpet solo stuck in my head last night! Good sign!

"Lhai Sal," "The Mystery Music," "The Brown Triangles," "MM" - I'll put these all together since they segue into one another, much like Dark Side Of The Moon if it had been produced by Zappa. The more musically challenging stuff. Like Nonkertompf, the material in these work well when listened to in the full context of the album, but I'm probably not going to be skipping ahead to them like I do with...

"I Was Not Ready For You" - The Steely Dan vibe takes over completely on this song. I'm a big fan of wah-guitar and the wah-line in this song is sublime. I would say that this one is ready for the radio more than any other track on the album. This is where Mike has it over a guy like Steve Vai or Joe Satriani is every way. I like those guys, but it's rare that they have achieve what Mike does with amazing consistency on this record. Mike writes songs that are compositions and are not a showcase for his technical wizardry. I like watching the occasional display of guitar theatrics, but to me and most of the world it is nothing more than a novelty. Mike is SO beyond that that sometimes I worry that people are scared off by his association with Steve Vai. Mike's work is on par with Frank Zappa's best work, Steely Dan, Pink Floyd, Radiohead -- all the best musical groups/performers that have taken rock beyond its humble beginnings and it new territories of expression. Anyhow, great song.

"Ragged Ass" - I haven't warmed up to this song yet. I do like the ending with the seductively said "assss....". This is probably the song I like the least, but it still has grown on me. I like the sax solo!

"Skull Bubbles" - I'm totally down with this one. This was subconsciously written by Mike about me. I just love the "When I was seven years of age.." part. Sounds like it could have been on Dust Speck. The same kind of live "green" vibe.

"Friends And Family" - While this songs bears more repeat listenings than "I'm Afraid" off of Sluggo!, it has the same sort of vibe that for what ever reason, be it my own immaturity or what have you that I can't get off on. Maybe when I have kids someday I'll be on the wavelength but until then..

"Kedgeree" - Byran rules this song. I'm still getting into this one. I keep going back and listening to "Selfish Otter" and PEFG/Taster.

Definitely the most cohesive work Mike has put together yet. I was hoping there would be another monster rock tune like "Frozen Beef" or "Own" on here, but there's no reason for Mike to repeat himself, ay?

So, I think Dancing has huge potential to be successful on a big scale. If Dave Matthews can pack arena and stadiums, then Mike can certainly do it. There is an audience for "Interesting" music out there. It's difficult to get people to notice, however. I think Mike will be able to avoid being labeled Prog Rock and that will hopefully go a long way towards vaulting him into the mainstream.

"Ankle Bracelet" is sublime.

C. McEvoy

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Balada

I listened to this cd 4 times in a row at home with my daughter...I also commute 65 miles one way 5 days a week...

I love it.

EISMAN

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Bolero

Mike Keneally has a special way of cheering me up right when I need cheering the most. I don't know how he knows to do this, but in my darkest hours the most shockingly beautiful music arrives to enlighten and brighten my day and put life in its proper perspective. There I'll be, all stretched out on the floor with my face buried in hands, thinking of tomorrow and all shuddering and full of loath, in short, a mess. And then like say, I hear "Click" for the first time and it's like seeing in color for the first time. Or I'm working at a shitty job and Sluggo! arrives to console me. Or Frank Zappa dies and I think the world is, at last, much too much with us, and Boil That Dust Speck tells me that I'm not alone and that survival is not only a possibility but a necessity.

A while back I had a spell of depression and was feeling low, and I felt need of venting, and so onto alt.music.mike-keneally did I spill out all my guts and what was the response? Well-wishers and court jesters all around abounded, and made me giggle a bit and crack a smile, but the cream of the crop with the cherry on top was one Mr. Scott Chatfield who sent me a little secret link in an e-mail (with a wink) adding, "Please keep this under your hat." And clicking thereon I discovered an mp3 (just for me?) of "Live In Japan" and oh shit did I listen to that! and I grinned and spun in my chair. That was so wonderful and I did keep it under my hat, Mr. Chat, but now there's no point in keeping mum is there?

Anyway, as for Dancing itself, I am incredibly, enormously pleased with this album. I feel tremendously lucky just to be around to hear it. Imagine the sound of every atom in the universe simultaneously affirming its existence and its oneness with every other--that's the sound of this album, a resounding "Yes!" As long as I don't go floating off into space while I'm here typing this, it's as inevitable as gravity that Keneally will just keep getting better and better and writing songs with the visceral impact of "Kedgeree" and the sweetness of "Joe" or "Friends and Family." The man seems to be unstoppable.

For me, Nonkertompf and Mr. Bungle's California were tied for best album of 1999. This year though, much as I love the new albums by Steely Dan, Ween, XTC, and Radiohead, Dancing is hands down THE album of the year. Everyone involved in the creation of it should feel way too pleased with themselves. Thank you Mike, thank you Beer For Dolphins, thank you Scott and everybody else for making this be.

Mike Pierry
Oct. 7 9:46 PM

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Barndance Polka

It's some good shit!

Doodle

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Jig

Apart from paying a massive $62 to import Dancing, I blew up my car stereo's speaker the first time I listened to it! There is no question that the quality of the music on the disc is as good as it gets, but, gee whiz, did you put a curse on that sucker before you sent it out?

And on the subject of money, considering that one of your dollars is buying nearly two of ours, now would be a perfect time to tour down under coz you could live like kings and please your fans at the same time!

I'll be back to review the album when my stereo gets fixed!

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