The Steely Dan 64 Project, Songs 48-41

[NOTE: The Steely Dan 64 Project represents my ranking, in order of my personal preference, of the 64 songs released by Steely Dan during their “classic” period (1972-80). You’ll find a detailed introduction to the project, as well as notes on the songs I’ve numbered 64 through 57, HERE. Songs 56 through 49 are discussed HERE.]

Here’s where it begins to get tough.

I feel pretty strongly about the songs in the bottom one-fourth of the ranking — that is, the sixteen (or, if you’d rather, the two groups of eight) that we’ve already covered — being correctly positioned (at least, for me — your mileage may vary). I don’t believe that any amount of listening and reconsideration would move any of those songs out of my virtual basement. I feel similarly strongly about my top ten or twelve. Those will be my favorites all day, every day.

In between, however, there’s so much excellent music (and so little to nitpick about it) that it’s really difficult to differentiate what makes one song appeal to me more or less than the several others around it. There’s a league of space between songs #12 and #48, to be sure. But between, say, #48 and #24…? Not quite so much.

Let’s just do our best, shall we?

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48. “Glamour Profession” (Gaucho)
Brut and charisma
Poured from the shadow where he stood
Looking good
He’s a crowd-pleasing man

Speaking as a lifelong basketball fan, this song that’s partly about a basketball superstar has always sounded to me as though it was written by people who weren’t really interested in professional sports, or even knew very much about them. I suspect that’s probably true — Becker and Fagen never seemed much like hardcore spectators. On the other hand, “Glamour Profession” is also all about that drug life, and that I do believe Walter and Donald knew something about.

As a song, it’s just alright — as close to slick late-disco-era sheen as the Dan ever got. My main memory of it is that my original vinyl LP of Gaucho had a tiny scratch in one of the long instrumental breaks that caused the record to skip and repeat. Even now, when I listen, I hear that spot replaying over and over again in my head.

47. “I Got the News” (Aja)
Broadway Duchess
Darling, if you only knew
Half as much as
Everybody thinks you do

Proof that Michael McDonald really does make everything better. The slightest song on arguably the Dan’s finest album (we’re not going to hit another Aja track on this list for a good long while, friends), “I Got the News” bounces along just cool and innocuously catchy enough, until the bridge kicks in with those soaring McDonald vocals. All of a sudden, a merely decent tune becomes magical for just a few seconds. I spend the rest of the song waiting for McDonald to come back. He never does.

46. “Everything You Did” (The Royal Scam)
Turn up the Eagles — the neighbors are listening

I’ve never been certain whether the reference to the Eagles here was supposed to be affectionate or derisive. I suspect that when Henley, Frey & Co. returned the favor the following year, in their hit “Hotel California” (the line “they stab it with their steely knives, but they just can’t kill the beast”), they probably weren’t entirely sure, either. But that’s always been part of the Steely Dan mystique — the lyrics can often mean whatever you want them to mean.

45. “Everyone’s Gone to the Movies” (Katy Lied)
Kids, if you want some fun
See what you never have seen
Take off your cheaters and sit right down
Start the projection machine

Becker and Fagen never shied away from the seedier elements of modern urban life. That’s nowhere more evident than in this sordid little vignette about a man who screens pornographic films in his home for innocent youth to watch. Hopefully Mr. LaPage either got busted or cleaned up his act somewhere along the line.

The musical highlight here comes from the sparkling vibraphone of Steely Dan stalwart Victor Feldman. (Seriously, when’s the last time you heard a vibraphone on a pop-rock record?)

44. “Monkey In Your Soul” (Pretzel Logic)
Won’t you turn that bebop down
I can’t hear my heart beat
Where’s that fatback chord I found?

The Dan’s unique twist on mid-’70s funk, “Monkey” features some down-and-dirty riffs by an all-star horn section led by saxophone legend Plas Johnson, who’s best known for his solo on Henry Mancini’s “Pink Panther Theme.”

As the final track on Pretzel Logic, this song marks the end of the ride for the original “band” version of Steely Dan (although Jim Hodder was still officially the group’s drummer, he doesn’t play a single lick on this album; he does, however, contribute backing vocals to “Parker’s Band”). Skunk Baxter would head off to the Doobie Brothers; the Dan’s other regular guitarist, Denny Dias, would continue as a session player all the way through Aja.

43. “Green Earrings” (The Royal Scam)
Greek medallion
Sparkles when you smile
Sorry, angel
I get hungry like a child

If the white-hot drumming of Bernard “Pretty” Purdie on this track doesn’t get your attention, check your pulse. Elliott Randall spikes some searing guitar work throughout, and Denny Dias slides in for a sweet solo midway through. This is another song I feel as though I’m ranking much too low, but only because so much greatness has to get crammed in ahead of it.

42. “Razor Boy” (Countdown to Ecstasy)
Will you still have a song to sing
When the razor boy comes
And takes your fancy things away?

“Razor Boy” is noteworthy in the Steely Dan catalog mostly for the presence of veteran jazz player Ray Brown on string bass. By the early 1970s, one didn’t hear a lot of upright bass on rock records outside of what remained of rockabilly. But Brown’s the perfect fit on this jazzy number that hinted at the musical direction Becker and Fagen would fully embrace by the time of Aja. Things would only get jazzier from here.

I still wish the razor boy would keep his grubby mitts off my stuff.

41. “Your Gold Teeth II” (Katy Lied)
Who are these children
Who scheme and run wild
Who speak with their wings
And the way that they smile

Speaking of jazzy, Donald and Walter’s predilection for the genre is writ large all over this one. I’ve never quite understood why this song is labeled as a “sequel” to “Your Gold Teeth” from the band’s second album; aside from the lone repeated lyrical hook, the two tracks could hardly be more different. Denny Dias, who just might be the real unsung hero of the Dan’s classic period, delivers yet again with a simmering, shimmering guitar solo.

Explore posts in the same categories: Listology, Soundtrack of My Life, Steely Dan 64 Project, SwanStuff, That's Cool!

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