STEELY DAN

Deciding on a final star rating for "The Royal Scam" wasn't easy. It's probably one of Steely Dan's most "progressive" efforts, in the conventional prog-rock sense. However, "The Royal Scam" is not one of my favorite albums by Steely Dan, one of my top five favorite bands. Therefore, my final rating has to be in the 3.5 - 4 star range.

I work with a guy named Tim who, besides having other great qualities, is as much of a Steely Dan fanatic as I am. It's always good to find a kindred soul, isn't it? "The Royal Scam" is his favorite Steely Dan album. Another PA reviewer, Chicapah, hit the nail on the head with the term "biting cynicism". Tim has a sardonic sense of humor, so maybe that has something to do with his opinion. "The Royal Scam" has always seemed a little cold to me.

TRS does have longer songs and is less instantly accessible than Steely Dan's other albums. In that regard, it does fit the standard definition of "prog-rock" However, complexity in itself is not always a good thing. One of Becker/Fagen's biiggest strengths is their ability to write attractive and interesting music and arrangements.

My favorite tracks on TRS are Kid Charlemagne, The Caves of Altamira, and Everything You Did. The guitar playing, which seems to be led on this album by Larry Carlton and Walter Becker, is brilliant as always. I think this is an underrated aspect of Steely Dan's music. Why more teenagers don't idolize Walter Becker, Jeff Baxter, or Denny Dias instead of Eddie Van Halen, I'll never know!

The title track, "The Royal Scam", overstays its welcome. It's simply too long, and the brass parts are grating IMO. I'll place "The Royal Scam" in the four star pile for it's progressiveness. It's not Steely Dan at their best, but Steely Dan on an off-day is better than most bands every day.

When I first came on to the page for Steely Dan, I was shocked at the low rating for this compilation. I couldn't understand how I was seeing ratings of two and three. Luckily, through the power of reading, I understand and can see the reasons behind the lower ratings.

None of that stopped me from giving them a easy five star rating for this one.

I was born in seventy-two, I was three when Gabriel left Genesis, Return to Forever released their last album when I was four and Steely Dan broke up when I was nine. (Yes, I realize that both Return to Forever and Steely Dan reunited at some point, but stick with me, I'm going somewhere here). Most of these artists were bands that I really discovered many years after the initial peak, and a lot of times the discoveries included the words, 'Oh yeah, I remember, my Dad used to have that tape, we'd listen to it in the car'.

As I insinuated earlier, Steely Dan, is one of those bands. I was looking at my Dad's CD case not too long ago and found the compilation. I said, "Hey, what's this?" I was familiar with Steely Dan, but didn't recognize the set. He explained that his record player didn't work anymore and the cassette tapes had long since bit the dust so he got the set of all their earlier songs. I was pretty impressed and borrowed the set. Every song was like going down memory lane for me, I was still familiar with many of the more popular tunes that still get airplay, but some of the deeper ones were so cool to hear again. "Pretzel Logic", "Josie", "Dr. Wu", "Fez", "Don't Take me Alive" and "My Old School" were just fantastic to hear again. The hits are fantastic to me as well, "Peg", "Dirty Work", "FM", "Rikki Don't Loose That Number", "Hey Nineteen", "Deacon Blues" . . . I could go on.

They are fantastic musically, Donald Fagan is one of my favorite piano / keyboard players, and Walter Becker is no slouch either. Their songs are intelligently arranged with catchy melodies and intricate solos.

You won't find a twenty-five minute epic with multiple costume changes, but you will find crafty, and admittedly, poppy songs. I don't know how proggy I would consider them, but the important thing here is that someone else has considered them proggy enough to be included here. I never had the original releases, so for me, the compilation gets full credit rather than a lower mark as simply a reissue of material that I already owned. For me, this is easily a five star set.

One of the previous reviewers was wondering if it was appropriate to classify Aja as pop. I guess it is, in a broad sense, and as long as there is no condescending undertone to it.

Or, to be more accurate, you could call it smooth jazz-funk-pop. Elegant. Predictable. Reliable soul sound. Unobtrusive; perfect for the summer evening moods and nostalgic 1970's radio waves. The musicianship is quite competent and precise. A tad similar to AWB in their pre-disco period.

A friendly warning and a disclaimer: Aja is definitely not by- or for the people who thrive on restless, hazardous, creative chaos of the intense fusion a-la Mahavishnu Orchestra.

One might ask, how can one shift from the red-meat daily staple of late PT, KC and - more recently - Bacamarte to the Splenda-sweetened souffle of Aja. Varietas delectat, I guess?

One way in which Aja is said to be distinct from similar bands is their attention to detail in sound engineering. Frankly, having listened to Aja a few times, I couldn't find a wow-grade stroke of a genius in the mixing and mastering, but still it's a pretty well made album.

STEELY DAN are one of the few bands where i'd be content with a compilation album over having all their studio records. Having said that I still find "Countdown To Ecstacy" and "Pretzel Logic" quite strong but man they have so many amazing songs on other recordings but for my tastes those albums aren't that strong as a whole. On a non-prog site their first six records are rated extremely high and there is almost no difference in the overall ratings between them. In other words these guys have been beyond successful over their careers.

I must admit I have had a bit of an infactuation with Becker and Fagan of late. I mean their lyrics are incredible and they've done nothing but create hit after hit and they don't all sound the same either, quite the opposite. These guys shunned the spotlight yet their music kept pushing them back out into it album after album. This is the most exhaustive compilation i've seen where they take us from "Can't Buy A Thrill" right through to "Gaucho" in chronological order. I count 13 brilliant tracks over those seven albums and nine years. Of course there are about 8 more I consider amazing but a step below those 13. Bottom line is that this double disc recording covers their careers very well.

My favourite 13 tracks ? Well three from "Can't Buy A Thrill" in "Do It Again" , "Dirty Work" and "Reelin' In The Years". I absolutely love those songs. Next is "Countdown To Ecstacy" and "Show Biz Kids" and "My Old School" although special mention also to "Boston Rag" and "Bodhisattva". "Pretzel Logic" is great too with "Rikki Don't Lose That Number" and "Any Major Dude Will Tell You" and special mention to the title track. Lastly on disc one is "Katy Lied" and none of these are in my top 14 but I do enjoy "Black Friday" , "Bad Sneakers" and "Any World (That I'm Welcome To)".

Disc two begins with tracks from the "Royal Scam" and one of my 13 are here in "Kid Charlemagne" but I do like "Take Me Alive" and "The Fez". Next is "Aja" and three killer tunes from my top 13 in "Deacon Blues" , "Peg" and "Josie". "FM" is included but it was released on a soundtrack only. "Hey Nineteen" is my final from the top 13 and it's from "Gaucho". Special mention to "Babylon Sisters".

So there you have it. I find it interesting that I was just starting to get very serious about music just as they released "Gaucho". Still I knew so many of their songs from the radio. In fact later I would be surprised at how many of these songs were actually done by them.

For us Steely Dan freaks the empty 80s were rendered even more depressing by the dissolution in '81 of the partnership of Donald Fagen & Walter Becker, the men that comprised the core of one of the most influential musical entities in all the world. They had made the 70s even more exciting by delivering a string of albums that defined in clever abstract our generation's ever-changing attitudes while still capturing the pure essence of what it was like to be young and vibrant while growing up during that amazing decade. The sole blessing found in their self-imposed hiatus was that they didn't have to suffer the indignity of being forced to come up with shallow, petty videos to promote their songs as their contemporaries had to do in order to extend their careers. By the time the 90s arrived we'd wistfully pull out our copies of the likes of 'The Royal Scam' and 'Aja,' sing along and reminisce about how wonderful it had felt to be intrigued by every fresh offering Steely Dan would give us back in the day. Then, in '95, it was announced that the duo had finally realized that not only was there gold in them thar hills but that modern concert technology made it possible for them to attain in person the high fidelity standards they'd insisted on in the studio environ. They'd last performed live in '74 when, frustrated with the myriad of hassles involved, retired from the stage. Reports that their shows were nothing less than scintillating happenings encouraged their loyal following to dream of a permanent reunion between the two and the subsequent release of 'Alive in America' confirmed that they hadn't lost their ability to thrill. We fans ate it up like Bananas Foster.

When Fagen and Becker recorded 'Pretzel Logic' they'd jettisoned the 'combo' concept and expanded their options and creative potential by allowing studio cats to contribute exactly what was needed on a given tune. In the years that followed receiving an invite to a Steely Dan session became a coveted honor among professional musicians so when Don and Walt put together their backing ensemble for their first tour in 21 years they were able to pick and choose from the best. Anybody who was anybody wanted in on this project. Therefore, from the starting notes of 'Babylon Sisters' onward the listener is treated to the sounds of one of the finest groups one can ever hope to hear. Any Steely aficionado would understandably expect flawless renditions of all the gems included on this album but the live ambience that permeates the venue they're in humanizes both the creators and their creations, resulting in a wholly gratifying experience on many levels. One is reminded of their unique genius when the spellbound audience responds enthusiastically to this song's signature 'You got to shake it, baby' refrain. It's a chill bump moment to treasure. 'Green Earrings' is next and the punchy horn section really gives this tune a huge energy boost. I love the stirring piano solo and the sizzling sax ride that electrify the tune as well as the exceptional guitar lead (supplied by either Georg Wadenius or Drew Zingg) in the last segment. They then segue directly to the greatness that is 'Bodhisattva' and deliver a powerful, driving version of one of the coolest compositions in their arsenal. They kick serious tail and the guitarist not only matches Jeff 'Skunk' Baxter's memorable solo on the original but actually takes it to an even loftier level. The group's astounding performance of this classic on that particular night is worth the price of this CD alone. It's that good.

'Reelin' in the Years' has been so overplayed that I've lost all perspective on it so I was pleased that they took liberal liberties with the number, beginning with the clever piano tease at the onset. A decidedly jazzy slant gives the song a new, more vibrant personality as they allow both the guitar and the sax to vamp freely during the spirited jam. In addition, the brash horn arrangement is killer. Their too-faithful recreation of 'Josie' is the only disappointment I encountered along the way in that there's nothing to distinguish it from the studio treatment. (Okay, I've never been that crazy about the song at all. Sue me.) I appreciate that they tossed us a bone by interjecting a brief drum break but it's not enough to make up for Becker's pedestrian axe work in the latter half. The only non-Dan inclusion comes in the form of 'Book of Liars' from one of Walt's solo efforts. The tune's sweet, jazzy flow is hard to resist, the melancholy aura it possesses compensates for Mr. Becker's unremarkable turn at the microphone and the sax and piano rides elevate the tune from run-of-the-mill status to memorable. The glorious 'Peg' is next and they don't veer far from the blueprints on this one, either, but the vim and vigor supplied by the tight rhythm section fuels the ensemble's performance strikingly and the guitar lead burns a hole in the stage floor. Face it, 'Peg' is too perfect to try to improve in any way. 'Third World Man' follows and I'm so happy it's on here because the song is one of their most overlooked and deserves to get out of the Dan house more often. The lazy groove is hypnotic and the piece's stunning dynamics are to die for, making for awesome aural contrasts rarely detected in modern times.

'Kid Charlemagne' is yet another one of their stellar songs that doesn't need embellishment and they do it complete, uncompromising justice from top to bottom. Next up is 'Sign In Stranger,' a less-recognizable-but-no-less-entertaining ditty whose eclectic words conjure up imaginative visions of shady goings-on. A loping, playful Caribbean beat propels this number and I admire how they changed things up just enough to keep even the most dedicated of fan on the edge of his/her seat. The hot piano solo is brilliant and the horn section breakdown is euphoria-inducing. They end the set with the magnificent 'Aja.' At this juncture the question isn't if they can master the intricacies of this landmark composition but whether or not the drummer (either Dennis Chambers or Peter Erkskine) can pull off Steve Gadd's incredulous, bar-setting performance preserved forevermore on the original LP. On this evening, at least, it's up to snuff and everyone in attendance is fully satisfied. The subtle variations that Fagen & Becker throw in from time to time give it a distinct flavor not anticipated.

'Alive in America' went to #40 on the charts, a respectable plateau for any live album in any era, and that success spurred Don and Walt on to reconciling their petty differences and returning to making notable new music together. Whether it was the lure of box office receipts or just the opportunity to see if the flame of creativity still burned between them, that tour and this record were the catalysts that brought Steely Dan back from dormancy and gave the 'group' a new lease on life. I was fortunate enough to finally catch them in concert several years ago and it was one of the best shows I've ever witnessed. This disc comes pretty close to replicating the charisma-filled sound I heard that night but you really need to see them in person to get the full effect. It'll be money well-spent. 4 bright stars.

A masterpiece, just not of Prog.

Steely Dan's debut shows Steely Dan's song-writing ability already at full force, with their excellent blend of pop, soft rock, and jazz. Can't Buy A Thrill features a ton of Steely Dan's most well known, and best songs, such as Do It Again, with it's amazing guitar solo courtesy of Denny Dias, and excellent organ solo by Donald Fagen, and it's spanish flavorings, or the excellent pop of Reelin' In The Years, with more excellent guitar playing, with a nice guitar harmony part, and some nice piano playing.

I've always thought of Steely Dan as the Pink Floyds of pop, due to their absolutely stunning lyrical capability, which is more akin to Prog, than Pop, lyrics ( see Fire In The Hole, Midnite Cruiser, Do It Again, and Kings, my favorites from here). Their lyrics would also get even better on their later, more Proggy, albums.

As Steely Dan were not in their Prog phase yet, this cannot be given a perfect five stars, but this being said, it is a masterpiece, and Steely Dan's poppy songs should appeal to prog fans based on their mix of smart lyrics, good muscianship, and good compositions.

From 1985, A DECADE OF STEELY DAN. 14 of what you would consider the "hits" of this fine band. The non-album track "FM" is here along with 60 minutes of classic Steely Dan. Nothing groundbreaking or new to reccomend this but for beginners to the band it would make a good start. Not all my favorites are here, this is more of an assemblage of the best know tracks of the band up until 1985, hence A DECADE in the title. Not all albums seem to be represented however. Good but not fantastic collection. An average rating is merited. I prefer the regular albums.

PRETZEL LOGIC from Steely Dan in 1974, is a good album but it has never been one of my favorites. I prefer AJA and COUNTDOWN TO ECSTACY more. I would tie this with the Gaucho level. Very jazzy and not bad, though. Best tracks are "Rikki", "Any Major Dude", and "Barrytown". The rest do not really thrill me very much. I find this album to not have as much "soul" as other releases, maybe it is too perfectly recorded and played. Not enough human soul, I guess. Whatever, I rarely play this and tend to stick to other albums by Steely Dan.

Of all the early classic Steely Dan albums I think this is my least favourite. Not sure why, maybe it just has less memorable numbers than the others. Good tracks are the opener, "Show Biz Kids", and "Pearl of the Quarter", which is my personal fav here. This is weaker in my mind than the pure all over greatness of their first release or THE ROYAL SCAM. It is not a bad album, just not a great album. Maybe 5th or 6th on my Steely Dan list somewhere around the level of GAUCHO. Thus I can reward it with only 3 out of 5 stars.

A best of album that covers the period from 1972 until 1980 in the life of a great rock band. SHOWBIZ KIDS contains over 2 and a half hours of music on 2 discs and is woth the money to anyone wanting to see what this band was all about. I suppose I could quibble a bit about what tracks are here: Maybe THE ROYAL SCAM is underrepresented? Maybe some tracks live? Whatever, just minor issues that are forgiveable based on what is actually here. I'll bet almost every song here is known to most US music listeners. Is it prog? Who cares. It's just damn good stuff.