While the first single from Feeling Strangely Fine doesn't necessarily show it very well, there is a lot of Ben Folds Five in Semisonic. Both employ a variety of different instruments, thus creating a sound that is sometimes very, very comparable. This is never more evident than on the fourth track, "Never You Mind." It doesn't help that Semisonic lead singer Dan Wilson adds his piano to many of the album's tracks, and that Semisonic and Ben Folds Five seem to share a dominant motif, sensuality. Track after track shows the considerable songwriting talents of Wilson, Jacob Slichter, and John Munson. ~ David M. Childers, All Music Guide
Jacob Slichter (Mellotron), Mary Bahr (Strings), Joshua Koestenbaum (Strings), Nick Launay (Producer), Jacob Slichter (Wurlitzer), Carolyn Boulay (Strings), John Munson (Bass), John Munson (Slide Guitar), Jacob Slichter (Drums), Dan Wilson (String Arrangements), Jacob Slichter (Arranger), John Munson (Guitar), Shane Washington (Assistant Engineer), Jacob Slichter (Vocals), Matt Wilson (Guitar), Jacob Slichter (Conductor), Nick Launay (Engineer), Bob Ludwig (Mastering), John Munson (Wah Wah Guitar), Brad Kern (Engineer), Jacob Slichter (Piano), Jim Champagne (Mixing), Dan Wilson (Fender Rhodes), Dan Wilson (Vocals), Ryan Freeland (Mixing), Bob Clearmountain (Mixing), Richard Werbowenko (Assistant Engineer), Dan Wilson (Synthesizer), Bruce Allard (Strings), John Munson (Vocals), Troy Gardner (Strings), Dan Wilson (Guitar), Dan Wilson (Piano), Jack Joseph Puig (Mixing), Alex Oana (Assistant Engineer)
Feeling Strangely Fine (1998) is the follow up by Semisonic to 1996's Great Divide recorded at Seedy Underbelly Studio, Minneapolis, Minnesota. The band had over 60 new songs in mind as they went into the recording process and had three specific requirements when they decided they wanted to record a new album. First, they didn't want to record any demotapes beyond simple guitar and vocal basement sketches meaning the album versions would be the first band recordings of the songs. Second, they wanted no deadline for the finished masters. Third, the trio wanted to create tracks for the album in various hi- and lo-tech settings around Minneapolis, and use their computers to meld the different sounds together. Nick Launay was brought in to produce the album and the band recorded twenty songs over the course of four months. They pared those down to sixteen, mixed them, and used the best twelve for the finished record.[1]