Same story with this as with my other Roches album: I was more interested in the production techniques than the band or the songs. I don't know which of the two I got first — this was 25 years ago — but the purchases were fairly close together. I think, after I got the first, I was disappointed at how relatively un-radical it sounded, and then wondered if all the experimentation and innovation had been concentrated in the other. But when I got the other, I found it hadn't.
On Keep on Doing, producer Fripp enlists the support not just of Tony Levin on bass, but also of Bill Bruford on drums. Along with Fripp's own solos, this means that fully three quarters of the King Crimson of the day were playing on the album. Yet at no stage does this sound anything like a Crimson record. At the time I was disappointed about that, but now it seems like an example of maturity, good sense, and professionalism.
The Boy especially enjoyed the opening track, though mainly because he thought they were singing about Maisy's friend Tallulah.
MusicBrainz entry for this album
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