Steely Dan
steelydan.com
Discography:
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This whole experience was actually suggested immediately by my favorite theatre director when he found out I was doing a music blog. He said I had to hear a few of the albums, so I just decided to dive in and go for them all! Pretty stoked about kicking off this section with these guys, mostly because I've heard the name a ton, and I'm sure I know a lot of the music, but I'm far from well-versed. So my first true venture into Jazz-Fusion. Here we go!
So first thing's first - check out their official website. I would love it if someone could let me know if the article by Tom Schiller on the names leading up to Steely Dan is true. According to this, they toured under 7,566 other names to test market research the right name. I doubt it was that many honestly (that'd be a lot more years of touring than seems logical/possible). Fun to think though. We start off on their bio with Donald Fagen (Jersey born! Woot!) and Walter Becker (NY born. Woo.) who grew up as fans of Charlie Parker, Duke Ellington, and Jon Coltrane. The two met at Bard College in NY, 1967, when Fagen(piano player) hears Becker playing blues guitar in the lounge. Once out of college (one with an English degree, one just leaving), they try their songs at the Brill Building in Brooklyn, don't succeed, but make a great connection that leads them to writing gigs on soundtracks and as backup artists. Their songs were a little "too sophisticated" for most artists they were writing for, and they soon secretly form a band, signing on Denny Dias as a guitarist and Gary Katz to produce. Then came the first album, and away we go! |
1972 - Can't Buy A Thrill
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My initial reaction, after only hearing a couple of tracks (I listen once through usually before writing the full blog) is that I can't believe this is a first album. It's really impressive and un-juvenile for a freshman release. Knowing their background as songwriters now though helps me understand that a little better.
A little more history to help understand the quite full sound going on here: Jeff "Skunk" Baxter was recruited for guitar, and for drums came Jim Hodder. Sweet, we've got a full on band here. They needed a name though, and this finally came from 1950's Beat literature, an item William Burroughs' "Naked Lunch." 5 Points if you read it and figure it out on your own. This was released in 1972 on UMG Recordings, Inc. (if you're a music business geek like me, you appreciate the little notes like that in our journey).
Oh wait, maybe I lied. Fagen didn't like being a lead singer, so another was brought on: David Palmer. Okay, NOW we have the band. Funny thing is that Donald wound up singing all but three of the tracks himself anyway, since he and Becker realized Palmer wasn't totally what they were actually looking for.
Some notes on the chart placements of tracks and the album overall: "Do It Again" hit #6 on the charts. "Reelin' In The Years" hit #11. The album itself hit #17 and was certified gold. Oh, and David Palmer left, leaving Fagen to sing lead after all the fuss.
"Do It Again" is not what I would have expected from a single to be released, but I'm typing that as just the intro is playing. It's just long and instrumental for a radio single, but we're also talking about a totally different time. This is definitely going to be a smart album - the use of lyrics alone is really brilliant. This is something special. You don't hear music like this being made anymore. It's almost like listening to Phish with the jamming nature going on for a bit, but they know how to keep the audience interested in just the right amount of time.
What I did this time around was listen to the album, save the tracks I liked on the first pass, and came back to it a couple of days later for the write up, just to see how I felt. "Dirty Work" was one of the songs that made that cut for me the first time around, but the second time I'm realizing it's definitely a song you need to be in a certain mood for. It's got a weird sense of frustration and standing up for yourself. I like it.
"Kings" started without me realizing it, but I do recognize fully the different sound, which means this band has a good flow to their music without having everything sound the same. I like the vocals on this one a lot - nice harmonies.
"Midnite Cruiser" is the fourth track, and definitely sets the mood in the intro. It comes across like a tribute to their roots and embracing of the things that brought them along. It's a definite grooving track. I feel like this could make a good driving track as well; it just has that kind of beat to it. Even the instrumental portion in the middle has a great guitar line over it, singing its own bridge.
I appreciate "Only a Fool Would Say That," but I can't get as into this one as the others. The primary vocals aren't really striking my ears as nicely for some reason. It's got a good mix of instrumentation supporting the song though, which is kind of nice. I just am not feeling it the way I have been the rest.
"Reelin' In The Years" comes up next, and I'm immediately in love with that guitar in the beginning. If the rest of the albums have this kind of innovation, I'm in for a wonderful time with this band. This was definitely the single, now that I'm hearing the chorus. Awesome harmonies on this one too, and the lyrics are actually pretty great as you catch them. And the guitar comes back. I am so enjoying this one!!
Okay, I'm digging the piano intro. "Fire In The Hole" is the next track, and I honestly haven't noticed too much piano up until now. I like the difference in this track; it's a little softer and poignant. I can't claim this as one of my favorites on the album though, just because of the melody. I feel like it's a little struggled for some reason. It's one of the few things I've encountered that I'm pretty sure I'd actually enjoy as an instrumental track instead of having any sort of vocals on it whatsoever.
Big fan of the title of this next track, "Brooklyn (Owes The Charmer Under Me)," mostly because I have a huge love/hate relationship with Brooklyn. We learned about their connection to Brooklyn in the history discussion of this page, so the title makes sense. It's got a great beat and movement to the entire piece. This song's even got some soul to it, and a blues sort of feeling is created that is just completely perfect. I understand that this is fusion, but these guys really have a way with music. So glad I got tuned into these albums.
"Change Of The Guard" has most definitely got something more behind it. I'd even venture to say that this is an important track to listen to today. I can't even find as many words to say on it - it's just a must-hear for anyone and everyone. "If you live in this world you're feelin' the change of the guard."
"Turn That Heartbeat Over Again" finishes out the album. I have to say, not totally feeling this one. It's just not catching me the same way a lot of the others were. The keys maybe change too often, or I'm just too lulled by the voices. Not sure. It's just not a strong close-out for me.
Added to My Playlist:
Not bad for a first time around! I really enjoyed just getting into this kind of music, as I've never really given it too much consideration as regular listening music before. No videos in this review, as nothing really great came up in my scouring of YouTube, but I'm sure we'll find more as we go along.
I really did enjoy a lot of what was offered here. And I'm enjoying learning about the guys as we go. This was more than a freshman album - it was a great start, much better than you see nowadays. This was innovative to me (by business definition, that means "perceived as new") and I'm really looking forward to moving forward and seeing how evolution effected Steely Dan.
A little more history to help understand the quite full sound going on here: Jeff "Skunk" Baxter was recruited for guitar, and for drums came Jim Hodder. Sweet, we've got a full on band here. They needed a name though, and this finally came from 1950's Beat literature, an item William Burroughs' "Naked Lunch." 5 Points if you read it and figure it out on your own. This was released in 1972 on UMG Recordings, Inc. (if you're a music business geek like me, you appreciate the little notes like that in our journey).
Oh wait, maybe I lied. Fagen didn't like being a lead singer, so another was brought on: David Palmer. Okay, NOW we have the band. Funny thing is that Donald wound up singing all but three of the tracks himself anyway, since he and Becker realized Palmer wasn't totally what they were actually looking for.
Some notes on the chart placements of tracks and the album overall: "Do It Again" hit #6 on the charts. "Reelin' In The Years" hit #11. The album itself hit #17 and was certified gold. Oh, and David Palmer left, leaving Fagen to sing lead after all the fuss.
"Do It Again" is not what I would have expected from a single to be released, but I'm typing that as just the intro is playing. It's just long and instrumental for a radio single, but we're also talking about a totally different time. This is definitely going to be a smart album - the use of lyrics alone is really brilliant. This is something special. You don't hear music like this being made anymore. It's almost like listening to Phish with the jamming nature going on for a bit, but they know how to keep the audience interested in just the right amount of time.
What I did this time around was listen to the album, save the tracks I liked on the first pass, and came back to it a couple of days later for the write up, just to see how I felt. "Dirty Work" was one of the songs that made that cut for me the first time around, but the second time I'm realizing it's definitely a song you need to be in a certain mood for. It's got a weird sense of frustration and standing up for yourself. I like it.
"Kings" started without me realizing it, but I do recognize fully the different sound, which means this band has a good flow to their music without having everything sound the same. I like the vocals on this one a lot - nice harmonies.
"Midnite Cruiser" is the fourth track, and definitely sets the mood in the intro. It comes across like a tribute to their roots and embracing of the things that brought them along. It's a definite grooving track. I feel like this could make a good driving track as well; it just has that kind of beat to it. Even the instrumental portion in the middle has a great guitar line over it, singing its own bridge.
I appreciate "Only a Fool Would Say That," but I can't get as into this one as the others. The primary vocals aren't really striking my ears as nicely for some reason. It's got a good mix of instrumentation supporting the song though, which is kind of nice. I just am not feeling it the way I have been the rest.
"Reelin' In The Years" comes up next, and I'm immediately in love with that guitar in the beginning. If the rest of the albums have this kind of innovation, I'm in for a wonderful time with this band. This was definitely the single, now that I'm hearing the chorus. Awesome harmonies on this one too, and the lyrics are actually pretty great as you catch them. And the guitar comes back. I am so enjoying this one!!
Okay, I'm digging the piano intro. "Fire In The Hole" is the next track, and I honestly haven't noticed too much piano up until now. I like the difference in this track; it's a little softer and poignant. I can't claim this as one of my favorites on the album though, just because of the melody. I feel like it's a little struggled for some reason. It's one of the few things I've encountered that I'm pretty sure I'd actually enjoy as an instrumental track instead of having any sort of vocals on it whatsoever.
Big fan of the title of this next track, "Brooklyn (Owes The Charmer Under Me)," mostly because I have a huge love/hate relationship with Brooklyn. We learned about their connection to Brooklyn in the history discussion of this page, so the title makes sense. It's got a great beat and movement to the entire piece. This song's even got some soul to it, and a blues sort of feeling is created that is just completely perfect. I understand that this is fusion, but these guys really have a way with music. So glad I got tuned into these albums.
"Change Of The Guard" has most definitely got something more behind it. I'd even venture to say that this is an important track to listen to today. I can't even find as many words to say on it - it's just a must-hear for anyone and everyone. "If you live in this world you're feelin' the change of the guard."
"Turn That Heartbeat Over Again" finishes out the album. I have to say, not totally feeling this one. It's just not catching me the same way a lot of the others were. The keys maybe change too often, or I'm just too lulled by the voices. Not sure. It's just not a strong close-out for me.
Added to My Playlist:
- "Do It Again"
- "Dirty Work"
- "Midnite Cruiser"
- "Reelin' In The Years"
- "Brooklyn (Owes The Charmer Under Me)"
- "Change Of The Guard"
Not bad for a first time around! I really enjoyed just getting into this kind of music, as I've never really given it too much consideration as regular listening music before. No videos in this review, as nothing really great came up in my scouring of YouTube, but I'm sure we'll find more as we go along.
I really did enjoy a lot of what was offered here. And I'm enjoying learning about the guys as we go. This was more than a freshman album - it was a great start, much better than you see nowadays. This was innovative to me (by business definition, that means "perceived as new") and I'm really looking forward to moving forward and seeing how evolution effected Steely Dan.
1973 - Countdown to Ecstasy
Yes, that's right - only one year in between releases. Now that's something you don't see very much anymore.
Some further history: ABC Records was shocked by the commercial success of "Can't Buy a Thrill" and there was now extreme pressure to tour AND write all at once. The tracks here (there are only 8 - wait, there are only 8??) were recorded in-between tour stops, making them feel a little more live as they were done with the touring band.
"Showbiz Kids" was the first single to be released, reaching only #61 on the charts as it didn't really play well with the radio programmers. The second single, "My Old School," only made it to #63. The album itself though, regardless of commercial success of singles, is still considered a classic by fans and got excellent reviews critically. The album as a whole reached #35 for Billboard.
"Bodhisattva" (nope, no idea how to pronounce that) starts off in a very classic, yet unique rock way. The guitar is just downright inspired, even if it seems to just be playing something fairly simple. Ahh, they pronounce the title for me. Thanks guys. There's a harmony as they have a multi-voiced approach to the lyrics. No one's coming out clearly on their own, except for the guitar in its solo. Otherwise, we're just given a sweet little dance-around number to get things moving.
I kind of like that I don't know anything right off the bat on this one. "Razor Boy" continues this as this very electric piano plays along. Think islandy, but with that distinct canned sound somehow. I'm not saying it's bad, but this is what turns me off of a few things here and there. I appreciate the concentration on the lyrics though. There's always got to be some sort of redeeming quality I s'pose.
"The Boston Rag" is anything but. It's got a groove that's more on the slow side than dance-like, and just swings along the way. Again, multi-voiced, which is tough when you're trying to really get into a verse. But at least they can harmonize (and you know that's a rarity to hear in today's day-in-age). The embellishments are what are really subtle here, but have a nice little impact. And the breakdown is odd but kind of cool to hear right in the middle. You just, or well, I just, wouldn't expect it.
There's the funk I've been waiting for. I know we sort of heard it before, you don't know what you're missing until you hear that groovy beat supporting a whole number like "Your Gold Teeth." Something I'd like to know here is if the lead vocals are the same as before, because they come across a little deeper down the key. Just a little though. Generally, it's still the same familiar sound we've heard before, throughout, and probably moving on.
"Show Biz Kids" is, as I said earlier, one of the singles. I'm trying to understand it better. There's a lot going on here, so it's a little difficult to grasp every single bit of the meaning. It's got something deeper happening though, which you just have to go ahead and appreciate. I kind of adore the bits I am picking up. Hot damn, that's good stuff.
So when you're the kid that still goes back to assist the drama club on a regular basis, and the first line you hear in this song is "I'm never going back to my old school," you can't help but wince. I love my old school! And I get that the point of "My Old School" is probably not the point of this. It's much more about the total moving on and he music that goes along with it is like a modern big band with all that brass.
"Pearl Of The Quarter" is, oddly enough, the song I find myself most familiar with. I love this story of New Orleans somehow, and while the music doesn't dwell completely in the big easy sound, it just dances with it ever so slightly to give the right theme. The whole thing is really quite clever.
So this last one certainly bridges us more into the disco genre than I was probably prepared for. "King Of The World" has an echo to the vocals, and the funky guitar and quick drums in the back. It's an interesting little bridge from the slightly more folksy-music of theirs to this new and groovy sound that the world was starting to dig.
Added to My Playlist:
This album seemed to be that sophomore jump where the band tries to hold on to what folks loved about them, but experiment just a bit more with their newfound freedom thanks to success. While not everything hits right right now, things are good and smooth throughout this, and it sets the band up for another movement into a third album.
Some further history: ABC Records was shocked by the commercial success of "Can't Buy a Thrill" and there was now extreme pressure to tour AND write all at once. The tracks here (there are only 8 - wait, there are only 8??) were recorded in-between tour stops, making them feel a little more live as they were done with the touring band.
"Showbiz Kids" was the first single to be released, reaching only #61 on the charts as it didn't really play well with the radio programmers. The second single, "My Old School," only made it to #63. The album itself though, regardless of commercial success of singles, is still considered a classic by fans and got excellent reviews critically. The album as a whole reached #35 for Billboard.
"Bodhisattva" (nope, no idea how to pronounce that) starts off in a very classic, yet unique rock way. The guitar is just downright inspired, even if it seems to just be playing something fairly simple. Ahh, they pronounce the title for me. Thanks guys. There's a harmony as they have a multi-voiced approach to the lyrics. No one's coming out clearly on their own, except for the guitar in its solo. Otherwise, we're just given a sweet little dance-around number to get things moving.
I kind of like that I don't know anything right off the bat on this one. "Razor Boy" continues this as this very electric piano plays along. Think islandy, but with that distinct canned sound somehow. I'm not saying it's bad, but this is what turns me off of a few things here and there. I appreciate the concentration on the lyrics though. There's always got to be some sort of redeeming quality I s'pose.
"The Boston Rag" is anything but. It's got a groove that's more on the slow side than dance-like, and just swings along the way. Again, multi-voiced, which is tough when you're trying to really get into a verse. But at least they can harmonize (and you know that's a rarity to hear in today's day-in-age). The embellishments are what are really subtle here, but have a nice little impact. And the breakdown is odd but kind of cool to hear right in the middle. You just, or well, I just, wouldn't expect it.
There's the funk I've been waiting for. I know we sort of heard it before, you don't know what you're missing until you hear that groovy beat supporting a whole number like "Your Gold Teeth." Something I'd like to know here is if the lead vocals are the same as before, because they come across a little deeper down the key. Just a little though. Generally, it's still the same familiar sound we've heard before, throughout, and probably moving on.
"Show Biz Kids" is, as I said earlier, one of the singles. I'm trying to understand it better. There's a lot going on here, so it's a little difficult to grasp every single bit of the meaning. It's got something deeper happening though, which you just have to go ahead and appreciate. I kind of adore the bits I am picking up. Hot damn, that's good stuff.
So when you're the kid that still goes back to assist the drama club on a regular basis, and the first line you hear in this song is "I'm never going back to my old school," you can't help but wince. I love my old school! And I get that the point of "My Old School" is probably not the point of this. It's much more about the total moving on and he music that goes along with it is like a modern big band with all that brass.
"Pearl Of The Quarter" is, oddly enough, the song I find myself most familiar with. I love this story of New Orleans somehow, and while the music doesn't dwell completely in the big easy sound, it just dances with it ever so slightly to give the right theme. The whole thing is really quite clever.
So this last one certainly bridges us more into the disco genre than I was probably prepared for. "King Of The World" has an echo to the vocals, and the funky guitar and quick drums in the back. It's an interesting little bridge from the slightly more folksy-music of theirs to this new and groovy sound that the world was starting to dig.
Added to My Playlist:
- "Bodhisattva"
- "Pearl Of The Quarter"
This album seemed to be that sophomore jump where the band tries to hold on to what folks loved about them, but experiment just a bit more with their newfound freedom thanks to success. While not everything hits right right now, things are good and smooth throughout this, and it sets the band up for another movement into a third album.
1974 - Pretzel Logic
An album a year is downright unheard of anymore, but we're only 3 years into a six-year run of albums by this group. As we move into 1974, let's get a little more info.
Added background to the story: We're still with ABC records at this point, and was recorded in LA, prominently featuring LA-base musicians. This makes me sigh with sadness, but I'm a biased east-coaster. After a disappointing performance from "Countdown to Ecstasy," the hit single "Rikki Don't Lose That Number" helped bring the band back to the radio.
Things that changed in this iteration - the songs will be shorter, and there's less emphasis on instrumental tracks. Things tend to stay within that classic three-minute song format, and the harmonies are a little more prevalent. We're still going to hear some blues and jazz influence. Chart-wise, the album made it up to #8.
We get things going with the radio hit, "Rikki Don't Lose That Number." I need to stop thinking this is 867-5309, and have no idea why that's even stuck in my head at this point. Anywhos, some deep drums lead into a pretty light buzz of a song. And there's the harmonies we were promised. While this isn't a fore-runner in my head, I do remember hearing this along the way, and it's got a great pick up as the song goes on. While the song doesn't hit here in particular, it hits in general, and I get the mass appeal. This is a light but solid start to the album as a whole.
"Night By Night" starts off like a big Broadway number, if I'm being completely honest on how the sound comes off. The funk is inherent here, as the harmonies don't even bother waiting to get to the chorus to really kick in. The vocal layers are just all over here. It's sort of a sad sentiment when you think into it - until I hit it big, I'm just struggling to make it night by night (as opposed to day by day, get it?)
I like the sweet more gentle flow of "Any Major Dude Will Tell You." This is exactly what you expect from Steely Dan. The guitars drum right along nicely, and the voices are clear and put together. I may get beat up for this one, but does anyone think a little of Phish when you hear this sound? Am I alone in sensing he influence throughout here? It's not quite full out jam band like them, but there's the sound, plain and clear.
"Barrytown" has something great in the lyrics right off the bat. It's a song of a man who's getting by on what he knows, and stands by it. His convictions are all his own, and yes he'll judge you for what you bring to the table. Holy cow, is this about a guy from Jersey or what? What throws me off a little, and I don't know why it bothers me a little, but the bridge is just a bit odd and out of place. Can't win them all I suppose, but this one knocks the song out for me personally.
And now for something completely different… "East St. Louis Toodle-Oo" has a honkey tonk yet New Orleans jazz feel to it. This is like right off a back porch with a player piano thrown in. It's so odd, and downright adorable. While it feels out of place, I have a great respect for anyone that can throw something like this right in the square middle of their album with no apologies.
"Parker's Band" sort of proves that song wasn't a total fluke - it carries through a little more here, but adds a nice rock sound, not to mention vocals, as well. There's a vibe here - I have no way to describe that other than vibe. It's like a generally good feel vibe that you'd dance to why flashing lights going, and you're just meant to have a really great time all around.
I dig the "Eleanor Rigby" style at the beginning of "Through With Buzz." Even throughout, there's a sense of strings and sort of rock-classical going on. It's short and sweet and kind of fantastic as far as a mini-anthem and song compilation goes.
"Pretzel Logic" is up for title track time.! I dig that the sound matches the title in a weird way, if that makes sense to anyone else. It matches the cover of the album too. Funny how that can all tie together if you force it to in your head (which is what I completely believe I'm doing now). This one's steady, and the horns add their very own rhythm to it as the thing goes along.
In a shocking turn, a folk guitar stun comes in for "With A Gun." It's so Beatles I almost can't stand it, but my foot taps along nonetheless. The lyrics aren't them, but that sound is undoubtably fab four. Regardless, the sound is tight. The recording is clean even for a folk-ish song, and it rolls the album right along towards the end.
"Charlie Freak" has this whole other sound to it. It's odd and introspective and sort of sad. The string that's playing along the way really mellows the entire vibe to a point of feeling that the rest of the album hasn't been able to achieve quite as strongly. It's a tough listen, in my opinion, in an otherwise at least musically up-beat album.
To finish things up, we have "Monkey In Your Soul," which just seems like a silly number end things out with. The echo is driving me a little nuts, but it wraps up a prettier random album in a pretty random way - with instruments and vocals taking out things just as they'd like.
Added to My Playlist:
Well, that ends that one. Not that it wasn't delightful, as Steely Dan is prone to be, but this album made little to no sense. Yet, that said, I'm sure everyone has their song on this that they connect to. There seems to be some inherent deepness in the songs, something that someone out there can hold onto. So there's the redeeming quality of it - this is kind of the single-based music that we live on today, instead of a complete album cohesive collection. Though, all said, given that title, maybe it makes more sense than I'm allowing.
Added background to the story: We're still with ABC records at this point, and was recorded in LA, prominently featuring LA-base musicians. This makes me sigh with sadness, but I'm a biased east-coaster. After a disappointing performance from "Countdown to Ecstasy," the hit single "Rikki Don't Lose That Number" helped bring the band back to the radio.
Things that changed in this iteration - the songs will be shorter, and there's less emphasis on instrumental tracks. Things tend to stay within that classic three-minute song format, and the harmonies are a little more prevalent. We're still going to hear some blues and jazz influence. Chart-wise, the album made it up to #8.
We get things going with the radio hit, "Rikki Don't Lose That Number." I need to stop thinking this is 867-5309, and have no idea why that's even stuck in my head at this point. Anywhos, some deep drums lead into a pretty light buzz of a song. And there's the harmonies we were promised. While this isn't a fore-runner in my head, I do remember hearing this along the way, and it's got a great pick up as the song goes on. While the song doesn't hit here in particular, it hits in general, and I get the mass appeal. This is a light but solid start to the album as a whole.
"Night By Night" starts off like a big Broadway number, if I'm being completely honest on how the sound comes off. The funk is inherent here, as the harmonies don't even bother waiting to get to the chorus to really kick in. The vocal layers are just all over here. It's sort of a sad sentiment when you think into it - until I hit it big, I'm just struggling to make it night by night (as opposed to day by day, get it?)
I like the sweet more gentle flow of "Any Major Dude Will Tell You." This is exactly what you expect from Steely Dan. The guitars drum right along nicely, and the voices are clear and put together. I may get beat up for this one, but does anyone think a little of Phish when you hear this sound? Am I alone in sensing he influence throughout here? It's not quite full out jam band like them, but there's the sound, plain and clear.
"Barrytown" has something great in the lyrics right off the bat. It's a song of a man who's getting by on what he knows, and stands by it. His convictions are all his own, and yes he'll judge you for what you bring to the table. Holy cow, is this about a guy from Jersey or what? What throws me off a little, and I don't know why it bothers me a little, but the bridge is just a bit odd and out of place. Can't win them all I suppose, but this one knocks the song out for me personally.
And now for something completely different… "East St. Louis Toodle-Oo" has a honkey tonk yet New Orleans jazz feel to it. This is like right off a back porch with a player piano thrown in. It's so odd, and downright adorable. While it feels out of place, I have a great respect for anyone that can throw something like this right in the square middle of their album with no apologies.
"Parker's Band" sort of proves that song wasn't a total fluke - it carries through a little more here, but adds a nice rock sound, not to mention vocals, as well. There's a vibe here - I have no way to describe that other than vibe. It's like a generally good feel vibe that you'd dance to why flashing lights going, and you're just meant to have a really great time all around.
I dig the "Eleanor Rigby" style at the beginning of "Through With Buzz." Even throughout, there's a sense of strings and sort of rock-classical going on. It's short and sweet and kind of fantastic as far as a mini-anthem and song compilation goes.
"Pretzel Logic" is up for title track time.! I dig that the sound matches the title in a weird way, if that makes sense to anyone else. It matches the cover of the album too. Funny how that can all tie together if you force it to in your head (which is what I completely believe I'm doing now). This one's steady, and the horns add their very own rhythm to it as the thing goes along.
In a shocking turn, a folk guitar stun comes in for "With A Gun." It's so Beatles I almost can't stand it, but my foot taps along nonetheless. The lyrics aren't them, but that sound is undoubtably fab four. Regardless, the sound is tight. The recording is clean even for a folk-ish song, and it rolls the album right along towards the end.
"Charlie Freak" has this whole other sound to it. It's odd and introspective and sort of sad. The string that's playing along the way really mellows the entire vibe to a point of feeling that the rest of the album hasn't been able to achieve quite as strongly. It's a tough listen, in my opinion, in an otherwise at least musically up-beat album.
To finish things up, we have "Monkey In Your Soul," which just seems like a silly number end things out with. The echo is driving me a little nuts, but it wraps up a prettier random album in a pretty random way - with instruments and vocals taking out things just as they'd like.
Added to My Playlist:
- "Any Major Dude Will Tell You"
- "Parker's Band"
- "Through With Buzz"
Well, that ends that one. Not that it wasn't delightful, as Steely Dan is prone to be, but this album made little to no sense. Yet, that said, I'm sure everyone has their song on this that they connect to. There seems to be some inherent deepness in the songs, something that someone out there can hold onto. So there's the redeeming quality of it - this is kind of the single-based music that we live on today, instead of a complete album cohesive collection. Though, all said, given that title, maybe it makes more sense than I'm allowing.
1975 - Katy Lied
We're up to album 4, released on ABC Records. MCA reissued the album after is acquired ABC in 1979. This peaked at #13 in the US, with "Black Friday" charting at #37, and going gold.
This is also the first time Michael McDonald appeared on a Steely Dan album. (doing Background Vocals) Jeff Porcaro, at 21, played drums on everything by "Any World (That I'm Welcome To)" (where session drummer Hal Blaine plays instead).
Walter and Donald were reportedly unhappy with the sound quality due to equipment malfunction (the dbx noise reduction system was new at the time), and refused to listed to the finished product.
The cover's interesting here. It's a picture of a katydid (done by Dorothy White), a "singing" insect (think crickets). It sounds like they're saying "Katy did, Katy didn't," which played into the lyrics of "Doctor Wu." Full circle, people.
All that said, let's dive in and see what how the lyrics and sound quality hold up today!
"Black Friday" starts things off for us in a nice easy 70's feel. Maybe this is the point when I should mention I've never been a huge fan of anything 70's-esq. Luckily this has enjoyable qualities. Heh. The harmonies are still there, with maybe a little more electronic sound strewn throughout. Walter's on the guitar solo we're hearing here, and the breakdowns are dead on. It's a great starter to get you into the feel of another album.
Producer Gary Katz says he regrets not releasing "Bad Sneakers" as a single. I don't like it as a second track for an album that started off so lively, but I'll push through here. The song's wordy, which isn't necessarily a bad thing. Not that all of the chorus words entirely make sense.. but it's bearable. I do love the vocals here. They're interesting and the melodies keep you hanging on, just wanting to see exactly where they're going next throughout the song. By the solo breakdowns with the keys and guitar, I appreciate the composition as a whole.
"Rose Darling" sees some really twisty vocals that I just can't dig. Personally, that gives me as much of a headache as the squeaky twists you hear in dance music right now. It reminds me of Randy Newman, and not in a good way. The choruses are okay, but the verses grate on me just a little too much to love the thing as a whole.
I'm intrigued by title alone for "Daddy Don't Live In That New York City No More." Larry Carlton's on guitar here, and he brings in this blues vibe that I'm really digging. The vocals are a little more gritty and hard. This doesn't entirely feel like it fits into the album sound so far, especially with that reverb, but it works on its own. It's deep and means something a little rougher than the rest.
"Doctor Wu" is where the album title comes from, so right from there, I'm a little intrigued. While the verse vocals feel a little flat, the chorus feels like something familiar and definitely leaves you wondering who this guy is. Phil Woods comes in with the alto sax that seems to be mixed too high about the rest, but generally provides a welcome sound. Things calm down as the verse come in, amp up in the chorus, and blow out in the after bridges. It's not the easiest arrangement to hear, but it's not the worst by far.
"Everyone's Gone to the Movies" includes background vocals by Myrna Matthews, Sherlie Matthews, Carolyn Willis (I mention this out of my love for "20 Feet From Stardom" and Liner Notes). It's got this kind fo spooky sound within it that I can't wrap my head around, but the song moves along pretty steadily. The concept's pretty cute, and now the song makes more sense. I wasn't sure where it was going based on title alone. Actually, the more this plays, the more weird island/reggae feel I'm getting from it, which seems right yet out of place all at once.
In a much more epic feel, we launch into "Your Gold Teeth II," which I'd almost place in an 80's cop-flick. Then this lite jazz drumming comes in before the vocals and knock my theory completely off. What the hell? The song goes in a whole other direction. Way to leave me confused. It's the almost whining vocals on the verses that throw this off for me. Maybe the band leaders were onto something with not being happy with the whole sound of this album. The guitar solo by Dunny Dias is where it's all made up for though - it's smooth and just plain delightful.
Speaking of smooth jazz, or maybe even jazz fusion, "Chain Lightning" has it really happening. And Rick Derringer is owning that guitar solo through and through. This is much more of what I expected from a Steely Dan record as we've evolved this far - great music, smooth harmonies, and damn good lyrics.
"Any World (That I'm Welcome To)" has this really nice lite feel moving in, and I think that's largely to the piano and light drumming approach (remember, this is the only one with Hal Blaine instead of Jeff Porcaro; not sure if that's what makes it or it's just a matter of composition choice). The song's sort of deep in a sad way, no matter how airy it may sound. But for this generation, where we're all a little whiny and angst 24/7, maybe it's come around and works even better. I dig this one a lot, with it's little minor nuances throughout.
The last song we get here is "Throw Back the Little Ones" with horns and arrangement done by Jimmie Haskell, and a guitar solo by Elliott Randall. I don't know what my obsession is with featuring names of particular artists, but I have been enjoying the extra writing space. Plus, liner notes are what brought me into this world to start with. Anywhos, the song. It's an okay ending. There's a slight lack of luster, but that's been about the feel all along here. Oddly enough, it's those bonus artists I mentioned that seem to make the song what it is.
Added to My Playlist:
I guess it's safe to say this wasn't my favorite selection thus far, but it sounded like it wasn't really anyone's. Obviously these aren't the tracks we know from Steely Dan out of thin air, but you've got to keep the music going somehow. And hey, it's the new equipment's fault if any 'fault' should be placed, right? But kudos for experimentation.
This is also the first time Michael McDonald appeared on a Steely Dan album. (doing Background Vocals) Jeff Porcaro, at 21, played drums on everything by "Any World (That I'm Welcome To)" (where session drummer Hal Blaine plays instead).
Walter and Donald were reportedly unhappy with the sound quality due to equipment malfunction (the dbx noise reduction system was new at the time), and refused to listed to the finished product.
The cover's interesting here. It's a picture of a katydid (done by Dorothy White), a "singing" insect (think crickets). It sounds like they're saying "Katy did, Katy didn't," which played into the lyrics of "Doctor Wu." Full circle, people.
All that said, let's dive in and see what how the lyrics and sound quality hold up today!
"Black Friday" starts things off for us in a nice easy 70's feel. Maybe this is the point when I should mention I've never been a huge fan of anything 70's-esq. Luckily this has enjoyable qualities. Heh. The harmonies are still there, with maybe a little more electronic sound strewn throughout. Walter's on the guitar solo we're hearing here, and the breakdowns are dead on. It's a great starter to get you into the feel of another album.
Producer Gary Katz says he regrets not releasing "Bad Sneakers" as a single. I don't like it as a second track for an album that started off so lively, but I'll push through here. The song's wordy, which isn't necessarily a bad thing. Not that all of the chorus words entirely make sense.. but it's bearable. I do love the vocals here. They're interesting and the melodies keep you hanging on, just wanting to see exactly where they're going next throughout the song. By the solo breakdowns with the keys and guitar, I appreciate the composition as a whole.
"Rose Darling" sees some really twisty vocals that I just can't dig. Personally, that gives me as much of a headache as the squeaky twists you hear in dance music right now. It reminds me of Randy Newman, and not in a good way. The choruses are okay, but the verses grate on me just a little too much to love the thing as a whole.
I'm intrigued by title alone for "Daddy Don't Live In That New York City No More." Larry Carlton's on guitar here, and he brings in this blues vibe that I'm really digging. The vocals are a little more gritty and hard. This doesn't entirely feel like it fits into the album sound so far, especially with that reverb, but it works on its own. It's deep and means something a little rougher than the rest.
"Doctor Wu" is where the album title comes from, so right from there, I'm a little intrigued. While the verse vocals feel a little flat, the chorus feels like something familiar and definitely leaves you wondering who this guy is. Phil Woods comes in with the alto sax that seems to be mixed too high about the rest, but generally provides a welcome sound. Things calm down as the verse come in, amp up in the chorus, and blow out in the after bridges. It's not the easiest arrangement to hear, but it's not the worst by far.
"Everyone's Gone to the Movies" includes background vocals by Myrna Matthews, Sherlie Matthews, Carolyn Willis (I mention this out of my love for "20 Feet From Stardom" and Liner Notes). It's got this kind fo spooky sound within it that I can't wrap my head around, but the song moves along pretty steadily. The concept's pretty cute, and now the song makes more sense. I wasn't sure where it was going based on title alone. Actually, the more this plays, the more weird island/reggae feel I'm getting from it, which seems right yet out of place all at once.
In a much more epic feel, we launch into "Your Gold Teeth II," which I'd almost place in an 80's cop-flick. Then this lite jazz drumming comes in before the vocals and knock my theory completely off. What the hell? The song goes in a whole other direction. Way to leave me confused. It's the almost whining vocals on the verses that throw this off for me. Maybe the band leaders were onto something with not being happy with the whole sound of this album. The guitar solo by Dunny Dias is where it's all made up for though - it's smooth and just plain delightful.
Speaking of smooth jazz, or maybe even jazz fusion, "Chain Lightning" has it really happening. And Rick Derringer is owning that guitar solo through and through. This is much more of what I expected from a Steely Dan record as we've evolved this far - great music, smooth harmonies, and damn good lyrics.
"Any World (That I'm Welcome To)" has this really nice lite feel moving in, and I think that's largely to the piano and light drumming approach (remember, this is the only one with Hal Blaine instead of Jeff Porcaro; not sure if that's what makes it or it's just a matter of composition choice). The song's sort of deep in a sad way, no matter how airy it may sound. But for this generation, where we're all a little whiny and angst 24/7, maybe it's come around and works even better. I dig this one a lot, with it's little minor nuances throughout.
The last song we get here is "Throw Back the Little Ones" with horns and arrangement done by Jimmie Haskell, and a guitar solo by Elliott Randall. I don't know what my obsession is with featuring names of particular artists, but I have been enjoying the extra writing space. Plus, liner notes are what brought me into this world to start with. Anywhos, the song. It's an okay ending. There's a slight lack of luster, but that's been about the feel all along here. Oddly enough, it's those bonus artists I mentioned that seem to make the song what it is.
Added to My Playlist:
- "Bad Sneakers"
- "Daddy Don't Live In That New York City No More"
- "Chain Lightning"
- "Any World (That I'm Walking To)
I guess it's safe to say this wasn't my favorite selection thus far, but it sounded like it wasn't really anyone's. Obviously these aren't the tracks we know from Steely Dan out of thin air, but you've got to keep the music going somehow. And hey, it's the new equipment's fault if any 'fault' should be placed, right? But kudos for experimentation.
