THE THING THAT KNOWLEDGE CAN'T EAT

I've been listening to Mike's solo work for decades now and it's been a pleasure. Always amazed at the music he makes, his talent, and yet, why do most not know who he is, or praise his excellent discography? A crime if you ask me. He constantly draws from an endless ocean of inspiration that never dries up. It's been over six years since his last release but he's been busy with MFTJ, The Bird Brain, as well as touring/recording with Satch and Devin. His latest album, his fourteenth studio release, is killer. So much variety, so much passion, so many positive vibes come to life throughout this album. Some favorite songs for me include "Celery" a balls to the wall fierce rocking instrumental jam that only Mike can pull off. "Ack"is a big band jazzy number with a perfectly orchestrated brass section adorned with a sassy trombone solo. The break where the violin and drums tear it up is awesome! "Spigot (Draw The Pirate)" is a dreamy, catchy tribute to Charles Schulz. Good grief! I can imagine Schroeder playing this on his baby grand. "Lana" is a heavy out-there composition showcasing some fantastic layered guitar arrangements that should not be missed.

"The Thing That Knowledge Can't Eat" is a creative eclectic release from one of the most talented and underappreciated musicians on Earth. Do yourself a favor and check it out.

A new Mike Keneally album is always a cause for celebration in my opinion, and this one is no exception. Seasoned fans will know what to expect, at least to some extent - off-kilter songwriting, killer guitar work and Keneally's uncanny ability to maintain a sort of magnanimous, mellow vibe no matter how out-there his compositions can get.

'The Thing That Knowledge Can't Eat' is textbook Keneally in that sense. It's eclectic almost to a fault; veering from straight-ahead pop rock (Both Sides of the Street) to Zappa-esque big band jazz (Ack) and full-blown wacked-out experimentalism (Lana), and all points in between. As always, there are times when Mike's tongue appears to be firmly in his cheek and others where his heart's just as firmly on his sleeve, but no matter whether he's feeling playful or serious, the album exudes a welcoming warmth throughout.

Longtime fans will be delighted by another excellent addition to his already impressive discography, and newcomers could do a lot worse than to start here.

Track Highlights: Celery, Lana, The Carousel of Progress

Frank Zappa's biggest fan and disciple is back with his first studio album in six years--thanks to the GoFundMe drive that helped him afford building his first own in-home recording studio.

1. "Logos" (3:12) pure Zappa-esque comedic satire. (8.5/10)

2. "Both Sides of the Street" (2:41) raw American rock 'n' roll in the vein of THE BAND with Roy Orbison-like lead vocals and more brilliant persiflage. Just not my style. (8.6667/10)

3. "Mercury in Second Grade" (4:42) Mike's channeling a bit of Lou Reed on this one. (8.25/10)

4. "Celery" (5:03) now channeling some hard rockers, part Grunge, part 80s metal hairband (sans vocals), mostly LENNY KRAVITZ. Nice, confident guitar play on display--with some great lead solos (which happen to all come from guest artist Steve Vai). (8.75/10)

5. "Spigot (Draw the Pirate)" (5:11) my favorite song style and vocal performance on the album, it's as if THE MARS VOLTA were channelling a bit of THE ALLMAN BROTHERS (or vice versa). The amazing guitar work on this one is neither Omar Rodriguez-Lopez or Duane Allman or Dickie Betts--or even Steve Via: this is Mike! (9/10)

6. "Ack" (3:33) a jerky jazz-rock piece that, while reminiscent of many of Frank Zappa's orchestral workouts, also sounds a lot like both DAVE NEWHOUSE and ALLAN HOLDSWORTH. Mike's Dutch collaborators do quite an amazing job pulling--and keeping--this song together. (8.875/10)

7. "Lana" (4:35) this one opens sounding like one of ADRIAN BELEW's BEARS' songs, but then there are some Crimsonian twists and turns that sound as if Tony Levin and the multi-drum lineup were at work behind Mike's heavily-treated industrial-psychedelic vocal (which reminds quite a little of Brian Eno's vocal work on "King's Lead Hat"). More great guitar work in the instrumental final third. Great song. (9/10)

8. "Big Hit Song" (5:09) more ENO-esque performative music played through a serious THE BAND filter with some Todd Rundgren shenanigans on top. (Which makes me wonder how Todd and Frank would have got on.) (8.875/10)

9. "The Carousel of Progress" (7:24) another brilliantly rendered song that conjures up the work of Frank Zappa, solo Brian Eno from the 1970s, experimental Todd Rundgren, mischevious Adrian Belew, with a sprinkle of David Byrne and a pinch of Andy Partridge. (13.33333/15)

A lyrics-driven album (which are full of brilliant word-play) of rather mundane (though obviously skillfully rendered and engineered) songs reminds me of why I've never been a fan or devotee of bands like The Kinks, David Bowie, The Pentangle, The Velvet Underground, or Americana acts. The whole album is a series of one-act vignettes each featuring Mike wearing different hats as he tries to step into the roles and costumes of other musical acts. The music and sound engineering are impeccably rendered, the imitations/homages brilliant and spot on (and, I'm sure, far more nuanced and history-imbued than my little brain can pick up) it's just that Mike feels connected to types of music that I've never gravitated to. Ever.

Total Time 41:30

B-/four stars; an album of supremely crafted and rendered songs that some prog lovers will adore while others will find them more of a side-act.