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MIKE KENEALLY

RIO/Avant-Prog • United States


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Mike Keneally biography
Michael Joseph Keneally - Born 1961-12-20 (Long Island, New York, USA)

Mike Keneally was influenced by THE BEATLES and FRANK ZAPPA, he learned to play the guitar and keyboards throughout the 70's, moved to San Diego and played in several local bands, the most important of them being DROP CONTROL, which was formed in 1985. In 1987 he joined FRANK ZAPPA on stage for his 1988 tour as the new "stunt guitarist", replacing STEVE VAI.

Since the early 90's Keneally participated in many projects and bands. He also began writing solo albums in 1992, but simultaneously he formed a permanent band called MIKE KENEALLY & BEER FOR DOLPHINS and toured with DWEEZIL ZAPPA, SHANKAR, STEVE VAI, ROBERT FRIPP, JAMES LA BRIE/MULLMUZZLER and some others as guitarist and keyboardist. He also teamed up with NICK D'VIRGILIO to back up KEVIN GILBERT with his concept album "The Shaming of the True", and in 2004 founded his a band aptly named "MIKE KENEALLY BAND" with NICK D'VIRGILIO, RICK MUSALLAM and BRYAN BELLER.

Why this band must be listed in www.progarchives.com : His early solo work is heavily influenced by Zappa, but he developed his own unique style of Jazz-Fusion. Jazz plays a minor role here, most of his music is free form on a high musical level. Let me quote Robert Fripp, commenting on his performances with Keneally: "Mike Keneally was able to solo over [Soundscapes] in a way I have never been able to achieve for myself . he gave me answers to questions I had felt for myself, but never had the courage or capacity to find an answer".

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MIKE KENEALLY discography


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MIKE KENEALLY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.20 | 32 ratings
Hat.
1992
4.24 | 33 ratings
Boil That Dust Speck
1994
4.00 | 29 ratings
Mike Keneally & Beer For Dolphins: Sluggo !
1997
3.85 | 15 ratings
Nonkertompf
1999
4.04 | 32 ratings
Mike Keneally & Beer For Dolphins: Dancing
2000
4.23 | 24 ratings
Wooden Smoke
2001
3.83 | 33 ratings
Mike Keneally Band: Dog
2004
4.24 | 37 ratings
Mike Keneally & Metropole Orkest: The Universe Will Provide
2004
2.71 | 7 ratings
Vai Piano Reductions, Vol. 1
2004
4.21 | 45 ratings
Scambot 1
2009
3.78 | 40 ratings
Wing Beat Fantastic
2012
3.63 | 23 ratings
You Must Be This Tall
2013
3.96 | 16 ratings
Scambot 2
2016
3.88 | 22 ratings
The Thing That Knowledge Can't Eat
2023

MIKE KENEALLY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.11 | 9 ratings
Mike Keneally & Beer For Dolphins: Half Alive in Hollywood
1996
3.25 | 9 ratings
Guitar Therapy Live
2006

MIKE KENEALLY Videos (DVD, Blu-ray, VHS etc)

MIKE KENEALLY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.04 | 4 ratings
The Tar Tapes, Vol. 1
1997
3.09 | 4 ratings
The Tar Tapes, Vol. 2
1998
4.11 | 9 ratings
Wine and Pickles
2008
2.13 | 4 ratings
Wing Beat Elastic: Remixes, Demos & Unheard Music
2013

MIKE KENEALLY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.21 | 5 ratings
Pup
2004

MIKE KENEALLY Reviews


Showing last 10 reviews only
 The Thing That Knowledge Can't Eat by KENEALLY, MIKE album cover Studio Album, 2023
3.88 | 22 ratings

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The Thing That Knowledge Can't Eat
Mike Keneally RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars 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.

 The Thing That Knowledge Can't Eat by KENEALLY, MIKE album cover Studio Album, 2023
3.88 | 22 ratings

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The Thing That Knowledge Can't Eat
Mike Keneally RIO/Avant-Prog

Review by runciblemoon

4 stars 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

 The Thing That Knowledge Can't Eat by KENEALLY, MIKE album cover Studio Album, 2023
3.88 | 22 ratings

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The Thing That Knowledge Can't Eat
Mike Keneally RIO/Avant-Prog

Review by Grumpyprogfan

4 stars 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.

 Wing Beat Elastic: Remixes, Demos & Unheard Music by KENEALLY, MIKE album cover Boxset/Compilation, 2013
2.13 | 4 ratings

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Wing Beat Elastic: Remixes, Demos & Unheard Music
Mike Keneally RIO/Avant-Prog

Review by DangHeck
Prog Reviewer

2 stars Somewhat refreshing takes on oft-already refreshing music

And just a reminder that Mike worked with XTC's wonderfully quirky frontman Andy Partridge here, which is just awesome. Reminded, too, just how much of a Partridge tune we have in "You Kill Me", recorded here as an acoustic, low-to-the-ground Pop song.

Certainly, for some of the greatness on this disc, we have less exciting passages. It can get monotonous, yet I was reminded how well everything was performed. I'm not mad at it haha. Monotony and then beauty. Not crazy about "Bobeau" for instance, but the middle section is a lot of fun. So much texture.

But a whole lot of it--heavily textured and ultimately complex or otherwise--tends to not be all that interesting. It didn't consistently hold my attention. I enjoyed moments aplenty just because we're dealing with Mike. He is incredible. One of the greats, in my opinion. Likewise, you would expect more from him and a just-as-seasoned, if not moreso, Andy Partridge.

Now, I've mentioned "Bobeau", but "Bobo" is a surefire highlight [italics denoting not only an implied verbal stress]. The soft keys, the harmonic trills of the guitars, the horns; it's a very, very nice listen. To me, a fan of Keneally, the only other highlight was the opener, "I'm Raining Here, Inside".

True Rate: 2.5/5.0

 Scambot 2 by KENEALLY, MIKE album cover Studio Album, 2016
3.96 | 16 ratings

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Scambot 2
Mike Keneally RIO/Avant-Prog

Review by Grumpyprogfan

4 stars I will admit I don't like Scambot 1 at all. Mike's experimental stuff is too much for me to handle. Now we have Scambot 2 and Mike has combined his wacky out-there music with his more accessible offerings and this works for me. This is a killer release, filled with an overload of talent (lots of guest musicians) and originality that is stunning. Where does he come up with music like this? It's like Mike never runs out of ideas. He is a regular at the endless ocean of stellar musical inspiration, that few even know about and fewer are even worthy of walking on its beach. The guitar work is phenomenal with solos that will have you shaking your head in amazement. No amount of practice will even get you close to what this extremely underrated guitar master can do. Vocally, it is what it is, but I don't think anyone could sing it better and keep it real. There are plenty of vocal overdubs, some work better than others, and even - big eye roll ? growls, yes growls! As for the second disc "Inklings", it's out there, experimental, weird and not for me, but if you liked Scambot 1 there may be plenty to enjoy.

Highlights include: "In the Trees" a heavy and the longest tune on the album, that has the spot on rhythm section changing from thick crunch to jazzy interludes on a dime, and the humor of the growling and operatic falsetto vocals. "Roots Twist" has a charming funky beat that sticks in your brain and makes you tap your toes. "Race the Stars" has an infectious Steely Dan sort of groove with a killer melody line during the verse and the topper is one of those excellent guitar solos. "Roll" has a bit of Sabbath influence but Mike adds his touch during the middle section and I totally dig the intensity of the band toward the end of the song. The country twang and slow groove of "Constructed" is an unexpected change of pace and a really cool tune. Beyond the music, lots of thought and time was spent on the artwork, liner notes, packaging, and it shows as they are superb. Finally, the mixing/mastering for Scambot 2 is so much better than most current releases. It is not crushed, loud, distorted or obnoxious. The mix exceeds my expectations? so much thanks to Mike Harris and John Golden for doing such an awesome job.

 Mike Keneally & Metropole Orkest: The Universe Will Provide by KENEALLY, MIKE album cover Studio Album, 2004
4.24 | 37 ratings

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Mike Keneally & Metropole Orkest: The Universe Will Provide
Mike Keneally RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Up until now my only experience with Mike Keneally's music was his "Dancing" record from 1999. So needless to say I wasn't prepared for what I was about to hear when I started to spin this one. "The Universe Will Provide" is Mike on guitars and electric piano playing with the METROPOLE ORCHESTRA. No I wasn't expecting so much orchestral music, in fact i'm not the biggest fan of orchestral music so it took several spins before I started to really appreciate what they had created here. My family unfortunately never warmed up to me playing this record this week(hehe).

"Blue 68" is a beautiful and mellow tune with strings and acoustic guitar. "All Of Them Were Quiet" reminds me of Chamber music to start then the horns cry out followed by electric guitar a minute in which will soon set the soundscape on fire as the orchestral sounds continue. Cool stuff. A calm follows as themes are repeated. A great piece of music here. "Room" has a catchy sound with light drums, guitar and piano. I like it! Check out the electric piano around 2 minutes. Strings before 3 minutes and they stop before 4 1/2 minutes.

"Insert I here I" is a short orchestral piece. "Archaic Peace Strategies" opens with electric piano, strings, horns and more. It kicks in louder before a minute then it becomes horn led followed by the electric guitar leading the way. This is an impressive display of instrumental music. "Four Slices Of Toast" is the longest tune at almost 12 minutes and my favourite. A sparse beginning with piano and other intricate sounds coming and going. It becomes fuller after a minute before settling back as the guitar joins in before 3 1/2 minutes. It sounds so good here with that beat. Silence 5 minutes in then a great groove with avant sounding guitar. I dig this so much. Insanity 9 1/2 minutes in until it stops after 10 minutes as we get a change. For some reason i'm reminded of Miles from here to the end.

"Worrywart Spoonguy" has a nice guitar intro before it settles back with electric piano and more. So much going on including vibes, a bass horn and more. Guitar to the fore as the song continues to shift. "When Drums Dream" is not your typical drum solo. "Insert I Here II" is another short orchestral piece. "Not Just Flutes" sounds like Chamber music to start, quite laid back then it kicks into gear but not for long. Intricate guitar 2 minutes in as it stays relaxed to the end. "Quiet!" is mellow with aboe and horns with a few outbursts. "Bullies" opens with intricate guitar and flute then the horns blast as the drums join in. I like the horn playing over top before 2 minutes. A calm follows as strings arrive with horns and drums. I must say at times including here it sounds like i'm listening to a soundtrack to a film. It's building before 4 minutes as ripping guitar follows.

An interesting album that fans of orchestral music should eat up. The sudden outbursts of multi-horns at times is still tough to enjoy for me but I have come to really appreciate this record.

 Mike Keneally & Beer For Dolphins: Dancing by KENEALLY, MIKE album cover Studio Album, 2000
4.04 | 32 ratings

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Mike Keneally & Beer For Dolphins: Dancing
Mike Keneally RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars For those who don't know Mike Keneally he previously played in Frank Zappa's band replacing Steve Vai as the stunt guitarist in the latter part of the eighties. I would recommend checking out a couple of live Zappa recordings that Mike played on in "The Best Band You Never Heard In Your Life" and "Make A Jazz Noise Here" both released in 1991. Mike has created at least a dozen studio albums over the years including a new release this year. This one is from 2000 and it's my first experience with Keneally's solo stuff.

First off I have to say my first couple of listens didn't go that well as I wasn't expecting so much normal music for someone who is listed under Avant and Experimental sub-genres on most sites. After many listens though this has both grown on me but also it has slowly revealed it's true self. This is sophisticated music with clever and often humerous lyrics. There are 20 tracks so i'll touch on some of the highlights. Okay the low light first of all is "Live In Japan" which is just too catchy for my tastes. Not a good start and it did make me think that the album's title was based on this track. The next song "Ankle Bracelet" is a favourite of mine though. This is powerful with vocals while "Backward Deb" also has some beef to it with that low-end sound and check out the interesting lyrics(haha). Nice instrumental section around 3 minutes in especially the drumming. "We'll Be Right Back" has some thought provoking lyrics and check out the vibes and sax later on. Excellent track. "Joe" is a beautiful laid back tune with vocals and the vibes are a nice touch as well.

"Pretty Enough For Girls" has some flute early on then this Zappa-like guitar solo takes over. Some funny spoken words 4 1/2 minutes in then we get passionate vocals to follow. "Taster" is a great instrumental that at one point reminds me of PORCUPINE TREE with the atmosphere. "Selfish Otter" is more of what I was expecting with the complex and experimental sound. "Only Mondays" is silky smooth like a STEELY DAN tune. Love it! "Lhai Sal" has some killer bass in it and is guitar driven with some impressive drum work. "Brown Triangles" is Zappa-like all the way,especially the guitar. "I Was Not Ready For You" is a melancholic vocal track that I enjoy a lot. "Ragged Ass" is humerous with lights-out playing. Nice bass 1 1/2 minutes in followed by vibes and sax. "Skull Bubbles" is great both lyrically and instrumentally.

I have to say that this probably wasn't the best place to start when it comes to Mike Keneally albums, especially if your into Avant music but on the other hand for someone more into the melodic side of music this might be the perfect place to start. A low 4 stars and I look forward to some of Mike's more challenging recordings.

 Mike Keneally & Metropole Orkest: The Universe Will Provide by KENEALLY, MIKE album cover Studio Album, 2004
4.24 | 37 ratings

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Mike Keneally & Metropole Orkest: The Universe Will Provide
Mike Keneally RIO/Avant-Prog

Review by Suedevanshoe

5 stars I had a plan for this one. I ordered it a week after it came out, and I listened to it for a day or two. Not being familiar with many records recorded with symphony orchestras, I wanted to get a feel for the sound of Keneally with the Metropole Orkest before I did research on how other acts sounded backed by an full size orchestra.

The reviews I read prior to listening to the Universe Will Provide were uniformly excellent. Perhaps glowing is a more appropriate term. The word "masterpiece" was thrown around liberally. Whenever I hear that, I'm skeptical because usually my tastes are disappointed. I liked Keneally's previous works, but not to the point I'm insane about him as I am FZ. Therefore, I followed through on my plan - give it casual listening over a lengthy period, get more experience with famous acts working with large orchestras, then dive in. I was not disappointed in the least.

Exciting and creative from cover to cover, The Universe Will Provide should be required listening for anyone interested in the synthesis of rock music with a symphonic and brass orchestra. Tasteful, elegant, succinct, immediate, graceful - there's a glutton of positive adjective I can use to describe my experience with this record. Some parts are loud and busy, some parts soft and reflective. The range of instruments gives the selections THE DYNAMIC many progressive rock bands seek their entire career without attaining - TRUE symphonic rock. Keneally may be Avant in his approach, but he's a genuine rock and roller in the same spirit as Frank Zappa. This jam session is one for the record books and all inclined parties should give it a spin. John Scofield has a very good record out with the Metropole Orkest as well. Count me as a fan.

 You Must Be This Tall by KENEALLY, MIKE album cover Studio Album, 2013
3.63 | 23 ratings

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You Must Be This Tall
Mike Keneally RIO/Avant-Prog

Review by Megaphone of Destiny

4 stars First things first: Mike Keneally doesn't know how to make bad music. Second things not important: HE'S one of the finest progrockers of this century for sure. His work is always provocative, timeless, engaging, puzzling, inovative, distinct, if there's anyone with a distinct ecletic voice that marvels on the endless possibilities of music, with all the intricate interplaying, beautiful melodies and gorgeous harmonies, the odd rhythms and surprises, the beautiful guitar playing, the unpredictability of the compositions, if there's a true descendent of dupree's paradise depths, if there's something really alive going on the music of this south side of the world, if there's life pumping on each lost chord, on each chord change, on each rhythm, if there's melodic invention and expressive clarity, then, i always recall Mike Keneally's world. It is not an easy ride, though. Mike's music asks for attention, asks for definitive hearing, while hoping to surprise us with humor and lyricism. After "Wing Beat Fantastic" i was expecting a second movement for Scambot story, but instead, Mike threw us "You Must Be This Tall". Mike says he was not writing this album, it came to him. And to me, that is the whole point. Mike can always find a way to give us what is his best at all times. It doesn't matter that the album process "is going on", or is "unthought of" what is interesting is that the careful and inspired compositions are maturating in his brain vaults until the right time. That's what we feel when such a beautiful song like "You Must Be This Tall" opens the record. We feel the careful layering, the erratic pace that turns into clear intention, the beautiful guitar solo, the wayne shorter like atmospheres in an amazing composition. Then "Cavanaugh", which is stranger. Keneally dives us all into forgotten realms or simply not yet discovered. The "cavanaugh" riff sinks on us like sand. Plum is a sad little interlude with enough gentle giant questions. Eat them. "Cornbread Crum" starts with a nice beat, Bryan Beller's bass moves us, the guitar solo melts into an intricate melody doubled by piano, voices fly in, the beat moves on. The atmosphere is relaxed but the angular melodies probe something on us - it is as if Mike is playing hide and seek, or giving us only hints of what he wants to say. It is a precise yet calm precision, a re-working of silence. We hear the solo, but it doesn't sound like a solo. It is poetry, it has a dreamlike quality to it. "Kidzapunk" wants to be a punk track, but the kind of track jello biafra would write if he played marimbas. Starts with an almost african rhtythm an prossegues to give us an intricate flowing of melodies and obsessive rhythmic ostinatos, the whole song revolves around the direct punk beat of drums played by Mike Keneally(!) Like that! Pitch Pipe reaches deep in our attention. A huge melodic idea played by bass, guitar, drums and organ with an astounding grandeur. In slow tempo voices move in until the descending bass towards the end... "The Rider" is simply beautiful. Gorgeous harmonic flow, amazing singing and melody. Mike is always such a sensitive musician, his music is not for all, i agree, but what a joy it is to hear these melodies growing in your head and heart. Those who don't like. Well, they're missing the ride to an amazing lyrical world - the poetry of a bending string. "B(rian En)olarius". - 0:43 "Popes" is a strange little tune, with a strange little melody and strange little coda. The rhythm is catchy, the acoustic guitar is perfectly played. Where are we? Andy Partridge features on "Indicator", an almost imperceptible song. An ad? "5th Street" confirms the idea that the record is falling into pieces. As if breaking apart. Different directions appear. Several are rejected. We end with minimal touch. Until - With "Glop" we have a glimpse of Scambot's way. The layered composition based on guitar improvisations(?) the absence of beat reminds us we're on the other side of the record that started so definitive with "You Must Be This Tall", it is an almost tour de force for us listeners. Mike doesn't give us clues, doesn't give us a paperwall background music, - is he reallly playing drums on this track? Wow! The record ends with an ironic move, in a nice latin beat, promising us more music and exploring. 4,4 stars! Later that night...

 Scambot 1 by KENEALLY, MIKE album cover Studio Album, 2009
4.21 | 45 ratings

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Scambot 1
Mike Keneally RIO/Avant-Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars It's really something of a shame that Mike Keneally is so obscure at ProgArchives. For a site where so many people complain that modern prog rock is "not progressive enough", it makes me wonder why this wonderfully unique artist has less than two dozen reviews for each of his albums.

Gaining notice in 1988 as Frank Zappa's "stunt guitarist" on his final tour (a seat once filled by Adrian Belew and Steve Vai, to give you an idea of what that takes), Keneally, who grew up as a fan of classic prog rock, soon began releasing compact disks of his own material, beginning with the masterpieces "Hat" and "Boil That Dust Speck". Settling down a bit after that, his albums became more of a mix of his off-beat avant-prog and slightly more traditional pop tunes. Recent years have seen him branching out with acoustic, orchestral, and piano-heavy albums.

But here, Keneally went full prog. Released as a concept album, Scambot tells, in Keneally's extremely odd and somewhat incomprehensible style, the story of a strange creature, the Serial Consciousness Agent (Military Division) Bringer Of Truth. The liner notes give you the story, and I have to admit, I find them barely relevant to the music on the disk. But the story is hilarious.

Musically, this may be Keneally's finest work, using his anything goes style to create a wonder of off-the-wall pieces. While I love his own style, I have to applaud his use of Frank Zappa's style and phrasing in the piece, Chee, with tuned percussion and a blaring horn section that must be an homage to his former mentor.

The album keeps up all the way to the end, where Keneally chooses to bring things to a peaceful conclusion with a mostly acoustic track. A wonderful end to this great album.

My copy is the deluxe edition, that comes with another disk, "Songs and Stories Inspired by Scambot 1". This is a disk of alternate takes, experiments and songs not included on the Scambot 1 disk. While many times when listening to bonus disks included with an album, it is easy to understand why the tracks were left off of the final album, here we get more high quality work that just didn't fit on the single disk.

Easily a five star album.

Thanks to MikeEnRegalia for the artist addition. and to Quinino for the last updates

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