by November 20, 2021
I’m writing daily during November. At times throughout the month I’ve used “hacks” (which I’ve also written about) to get my head in the right space to create a blog post. These shortcuts include things like: making coffee, or using a particular chair, or writing in a certain place at a given time.
Another hack I have always used is music, particularly full albums. And when I have needed that perfect creative soundtrack, the album Aja by Steely Dan is high on my list for this purpose.
The pinnacle of Steely Dan’s creativity, the Aja album fits right in with other great music from the year 1977.
Disco and punk were surging. Artists like Blondie, The Clash, and Talking Heads were pushing radio boundaries. Iconic LPs Rumours, The Stranger and Saturday Night Fever helped define the year. David Bowie’s Low and Heroes and The Sex Pistols’ Never Mind The Bollocks broke new ground. One Elvis left the building, and another Elvis arrived. Lynyrd Skynyrd got its last work in (Street Survivor) before the plane crash that took the lives of Ronnie Van Zandt and five others.
And there was Steely Dan, who sounded like nobody else with their jazz-informed perfectionism and odd lyrics. Despite fitting no category they were by turns revered, loathed, and played on FM radio. Often.
Aja has got to be one of the most remarkable albums of this time period. Clocking in at just 39 minutes, the jazz-pop record that Walter Becker and Donald Fagen made with a small army of session musicians (40!) is still a sonic original.
Black Cow – “Drink your big black cow… and get outta here.” I was 13 and Bill Murray had just arrived at Saturday Night Live. His role as the entertainment correspondent for Weekend Update, punctuated by the catchphrase, “Get outta here,” was an instant favorite. My older brother told me that, whenever “Black Cow” came on, his friends thought that line was great and would sing it “Bill Murray style.”
The song is about a strained relationship, possibly a breakup. (Never easy to know with Steely Dan.) The protagonist is “very high” and seems to be leafing through a little black book. Evidently the track title is not about an alcoholic drink, but rather an ice cream treat of the same name.
I love the rising notes on “Black Cow” just as Fagen sings “Down to Green Street…” Paul Humphrey, a session drummer who played on Joe Cocker’s “Feeling All Right,” gives a great performance on this song. He is joined by the great tenor saxophonist Tom Scott; Joe Sample of the popular jazz quintet The Crusaders on clavinet; and Chuck Rainey – the all-purpose bassist on this record. Sample reflects what Rainey is up to, to great effect.
Tight horns and good tension lead to really good piano and sax solo breaks. Overall it’s a great way to kick off Steely Dan‘s masterpiece, and it’s my second favorite Aja track.
(Apologies if this sounds like an imitation of the Patrick Bateman character, right before he slaughters the Paul Allen character in “American Psycho”).
Aja – The lengthy title track remains primarily instrumental, with lyrics taking a secondary role. Elusive saxophonist Wayne Shorter — initially reluctant to join the session — nailed the signature solo in a single take, a rarity in Steely Dan’s meticulous world. Maybe Shorter is a one-take wonder like Sinatra (or Mike Ditka). Or perhaps he just knew how to extricate himself from a bunch of pop stars to get back to real jazz.
The performance of drummer Steve Gadd is outstanding here; excellent drumming is a theme for this entire album. Gadd is doing amazing things under the Shorter solo. Everybody’s favorite YouTuber Rick Beato raves here about the Gadd-Shorter work.
Not long ago a friend told me about the “secret Steely Dan chord,” mu major, which appears via Fagen’s keyboard in numerous of the bands songs. It’s here and on “Deacon Blues.” Here’s a link describing this kinda cool trivia item.
Deacon Blues — By the time you get to “Deacon Blues,” even for Steely Dan faithful, you realize this album is unlike anything that came before. The record seems to be about jazz instrumentation instead of lyrics (even though much of the imagery is vivid). It’s as if they are aiming for a dream state, and you wonder how this could ever have been on the radio. But it was.
By the time you hit “Deacon Blues,” even Steely Dan fanatics begin to sense, this album is unlike anything that came before. Jazz instrumentation overshadows pop. Lyrics, though their imagery remains, don’t seem like the sort that would find a home on the radio. Weather Report’s Heavy Weather, released the same year, also blended jazz fusion with accessible melodies, notable for 1977 but unlike Aja it wasn’t heard on FM radio where I lived.
The case against Steely Dan was always that their lyrics are cryptic and/or meaningless (undeniable) and that Becker and Fagen were/are full of themselves. Again, I don’t think you have a debate to lose, but the question is, does the music speak to you in any way?
Other anti-Dan points, all valid: You couldn’t see them live (back then, anyway), as they were 100% an in-the-studio band. And, Becker and Fagen pushed terrific musicians harder than necessary to get the job done. Production took forever, budgets went over, and — Who do they think they are, really? Again, much of it is true (at that time, they weren’t the only ones).
To me, the behavior embodies the delusion and indulgence of that rock era (the duo had reached a point in their musical careers where they could do what they wanted).
Their self-importance is pretty ridiculous, yet the results speak for themselves — perfectly crafted songs about imperfect people. It’s an American Bandstand decision: Is this a groove “you can dance to?” For me, it definitely is.
The Deacon Blues lyric has been picked apart pretty well:
Drink scotch whiskey all night long and die behind the wheel.
A ‘broken dream of a broken man living a broken life’ [said Becker], the song is about midlife crisis.
Becker and Fagen were fans of Deacon Jones, the defensive end of the LA Rams, best known for his signature (also: equal-rights) head-slap move. And that makes some sense, because Fagen was living at the time in Malibu.
Possibly the coolest story regarding the song is when “Tonight Show” band saxophonist Pete Christlieb was asked to come in and play. He was told, “play just what you feel.”
Said Christlieb: “I was gone in a half-hour. The next thing I know, I’m hearing myself in every airport bathroom in the world.” The WSJ offers details.
Peg – The final song recorded and the album’s shortest, Peg is clearly the single.
Is Peg somebody’s name? Is she famous?
Yes. No. Who knows?
The song, which peaked at number 11 on the Billboard pop chart, features a funky groove from the start with wicked bass playing by Rainey and a lyricon, a true ’70s artifact, played by Tom Scott (who also arranged the album’s horns).
For the solo the duo brought in five different guitarists, one after another, only to scrap every performance — and a sixth by Becker himself before choosing the solo on the record. The “winner” was session player Jay Graydon.
This track marks the first appearance on the record by Doobie Brothers’ lead singer Michael McDonald, who has that distinctive background falsetto that cannot be missed on numerous hits of the ’70s, including Christopher Cross’ big hit, “Ride Like The Wind.”
If you have never seen this Rick Moranis-as-McDonald SCTV skit, check it out here. An all-time classic.
Home at Last – My favorite song ever written about Odysseus, “Home at Last” is also my favorite on Aja. Becker and Fagen asked New York drummer Bernard Purdie to come up with something original. Thus the funky, half-time ‘Purdie Shuffle’ was born. (It and Purdie appear also on the next album, Gaucho.)
Purdie’s contribution and Victor Feldman’s on piano (he also plays on “Black Cow”) make the song memorable. When the chorus kicks in, “Well the/Danger on the rocks is surely past,” it has been written that Fagen and Becker spent six studio hours obsessing over how “Well the,” would fit into the verse. Dicks!
Anyway.
The drumming is a highlight, Feldman is great, and let it be said that the late Walter Becker sizzles here on the lead break.
I Got The News – Originally written during The Royal Scam timeframe. There is great wordplay in verse one:
You
In your lark
You’re a mark
You’re a screamer
You know
How to hustle
Daddy
Is a rare
Millionaire
I don’t care
Yeah you
Got the muscle
I got the news
Rainey’s bass is terrific on this track – grab those headphones. Becker and jazz-guitar legend Larry Carlton deliver stellar guitar work. Victor Feldman is again on piano, while Fagen plays a synthesizer. After verse one McDonald is back on backing vocals, and the lyrics describe a sexual encounter.
Josie — A bad woman returns to the neighborhood (from jail?) with a bunch of reprobates along to celebrate. The song is stud session drummer Jim Keltner’s only appearance with Steely Dan. Rainey’s bass sounds menacing. This was the third single on the album, behind “Peg” and “Deacon Blues.”
Aja peaked at number three in the US and number five in the UK, ultimately becoming Steely Dan’s most commercially successful work. Cameron Crowe wrote a fascinating piece (covering not only Aja but also Becker and Fagen’s terrible reputations at the time) for Rolling Stone that can be found here.
I have fond associations with the music dating to being a kid in that downstairs room but spanning to the present day as a means to get myself revved to write (along with a few other classic LPs from back in the day).
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This just in: This utterly fascinating 2023 article tells the story of an unearthed Steely Dan track, “Second Arrangement,” recorded by engineer Roger Nichols during the Aja sessions. You can listen to the tape at the link.
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[NOTE: Even though the glorious “My Old School” is from Countdown to Ecstasy (1973) I cannot resist throwing this in here… If you haven’t yet encountered this note-perfect cover of the song by Leonid & Friends, take a listen.
Stuart Wade 