STEELY DAN

This is where it began for these über-New Yorkers transplanted to LA. Steely Dan had not yet evolved into their signature sound and lyric style; in much of this album they sound like a conventional albeit quirky 1970s rock band and they are very much a band here in contrast to the experimental Donald Fagen/Walter Becker studio project they would soon become. But as a band, perhaps the most endearing characteristic of this album is the many memorable instrumental breaks: on guitar in "Midnight Cruiser," "Change of the Guard" and "Reelin in the years," on saxophone in "Dirty Work," on piano in "Fire in the Hole," and on sitar and organ over the exaggerated bossa nova rhythm of "Do It again." (They also employ a bossa nova rhythm for "Only a Fool Would Say That," a hint of their more explicit jazz tributes in albums to come.) And while it is doubtful that anyone regards Fagen as a great singer, as reluctant frontman his voice fits the temperament much better than the polished vocals of David Palmer (who sang lead on two songs but left prior to the album's completion).

On this recording, Fagen and Becker already employ the Beat-reminiscent wit, cynicism and snark for which Steely Dan became famous (one might call them the Woody Allens of rock), but at various degrees, and it is perhaps here that the listener can distinguish earlier songs from later. While "Change of the Guard" is template 1960s idealism, "Only a Fool Would say That" mercilessly ridicules such optimism, and one could plausibly make the point that Steely Dan's next few years were, among other things, a repudiation of flower power and utopian idealism. Rather than outrightly denounce Richard Nixon, "Kings" slyly pillories him in what sounds like a pub drinking song (and if they thought McGovern would win the presidency, they wisely omitted any reference to "good King George"). And while "Reelin' in the Years" (a poor man's "Like a Rolling Stone" with a dash of "Positively 4th Street"), "Dirty Work," and "Midnight Cruiser" are mainstream rock without Steely Dan peculiarities, the final song, "Turn That Heartbeat," with its musical and lyrical twists and turns, points the way to Steely Dan's experimental future.

Can't Buy a Thrill is at once the best and most iconic in the Steely Dan Pantheon, an intriguing piece of work whose flaws and internal contradictions make it that much more endearing. Never again would they record anything so close to a straightforward rock album, especially one so patchy in content and rough in production, and not until 1977's Aja would they again release an album so commercially accessible. If this were Steely Dan's only album, it would remain a popular curiosity in the classic rock canon, but as history would have it, it simply pointed the way to the signature creativity, unpredictability and wit that made their mid-1970s albums masterpieces. 4.5 great first effort would make them become one of my favorite bands.

Pungent, cerebral and witty, Steely Dan's 'Pretzel Logic' is one of the really few perfect albums in the history of pop and rock music, an album that is special in too many ways, this is the third instalment in the band's discography and the final studio release featuring a full band lineup, and more specifically the quintet of Becker, Fagen, Baxter, Hodder and Dias, of course, with several appearances from a cast of session musicians, too. This album really takes up the blueprint of the band's previous efforts and elevates it by experimenting with the three-minute pop format, allowing the compositions to evolve into complex pieces of music that draw in influences from jazz, funk, soul, classic rock and bop.

The seamless flow of the album is another commendable achievement, together with the overall versatility of the compositions as we might hear what seems to be the perfect balance between the pop influences over Fagen and Becker's music and the complex arrangements with virtuosic, technical, playing. The wit and the charisma are also there, yet they never really undermine the complexity or the precision of the various tracks. 'Pretzel Logic' is a fantastic musical experience and a masterclass in pop music - an achievement many praised bands of the 70s could only dream of. With its thirty-three-minute length, straightforward delivery, stellar production and quirky catchiness, this album is also notorious for its superb sounds and over-the-top musicianship, and as the story goes, any major dude will tell you this is essential.

'Katy Lied' is the fourth studio album by Steely Dan and the first one in the discography following Donald Fagen and Walter Becker's decision to stop touring and continue as a studio act with various guest musicians, a decision which had led to the departure of previous band members Jeff "Skunk" Baxter on guitars and Jim Hodder on the drums, playing on all three previous LPs of the Dan. And while this is an excellent album per se, released in March of 1975, it is also quite divisive and slightly transitional in terms of the final effect, the quality of the recordings, and the overall dissatisfaction of the two band leaders with their creation, infamously refusing to hear the final mixes. And yet amidst all this, with 'Katy Lied' being a classic Steely Dan record, is an intelligent and ardently crafted piece of work that combines the typical pop rock sensibility to writing with jazz instrumentation, elevated by the stellar production and rather identifiable vocals of Donald Fagen, delivering some smart, witty and often cocky lyrics.

Perhaps it seems like there is no more that experimentation, a play with techniques, but a more consolidated, focused and well-conceived sound. And with a perfect side one, absolutely iconic and flawless, featuring classics like 'Bad Sneakers' and 'Doctor Wu', we have the much more inconsistent side two, with the swingy joyous tones of 'Everyone's Gone to the Movies', and the swirling 'Your Gold Teeth II', alongside the quite forgettable 'Chain Lightning'. This is a pleasant, perfectly enjoyable and smart album (yes, also snobbish on certain occasions) that serves as an underrated and transitional entry from the Steely Dan universe.

I got to listen to this album without knowing anything about Steely Dan. I had no expectations but saw the release year in the notes. It quickly captured my attention thanks to brilliant songwriting, smoking early 70's sound, Fagen's colourful voice and firmly rocking establishment. I had no clue that Steely Dan turned into a jazzier territory after their debut album. The sound engineering is fantastic and instruments are well balanced, guitars being raw and keyboards slightly on the jazz-rock side. Vocals and harmonies are actually better than one would expect on the debut album. My highlights are the Latin-beat driven first track, fantastic melody on "Dirty work", inspiring guitar solo on "Reelin' in the years" and the last three tracks that keep the listening attention high. Subsequent albums would get more sophisticated but this one is their warmest and perhaps most earnest record.

Although this has some of the same issues as Two Against Nature, their previous comeback album (some lackluster songs, same slow jazz groove), it has a warmer, more engaging feel throughout as well as overall better songs, which make it a much more enjoyable listen. The best songs here are better than anything from 2AN, and 'Everything Must Go' makes for a fine and fitting final song for the band. But these later albums just can't quite live up to the earlier period albums. Best songs-'Last Mall', 'Things I Miss the Most', 'Everything Must Go', 'Godwhacker'. Weakest songs-'Green Book', 'Lunch with Gina' rating 3.0

Steely Dan made a big splash with this comeback album, their first in 20 years, and it was great to hear the unique songs and style of Steely Dan again (There is just no one else that sounds like Steely Dan). However, although the album successfully resurrects their style and warped vision once again, this is still their overall weakest collection of songs. Other than 'Two Against Nature' and 'Cousin Dupree', which stand out as the best (and most different) tracks, most of the rest of the album consists of the same slow jazz-funk groove, and relative to the rest of their catalog, are just somewhat lackluster and not very memorable. Still a decent album, but their weakest overall. Best songs-'Two Against Nature', 'Cousin Dupree', 'Jack of Speed'. Weakest songs-'Almost Gothic', 'Negative Girl', 'West of Hollywood' rating: 3.0

This was their troubled last album from the 'classic' period, which, unfortunately, has always left me a bit cold. There are some fine tracks here as well as their usual great production and musicianship throughout. But this one stretches their softer, slower smooth jazz focus to the limit, resulting in a somewhat dull and sterile feel. Production and arrangements are a bit too perfect sounding. I prefer some of the discarded tracks from the 'Lost Gaucho' sessions to those that made it onto the final album. Still a quite good album, but relative to everything that came before this, a much weaker entry. Best songs-'Babylon Sisters', 'Time Out of Mind', 'Hey Nineteen'. Weakest songs-'My Rival', 'Glamour Profession'. rating: 3.5

This was the first full album where Steely Dan was no longer an actual band and consisted entirely of Fagen-Becker, and an assortment of guest artists and session players, and the result was a noticeably softer, more laidback sound and jazzier pop arrangements and style. But a wonderful collection of varied and quirky songs still made this a great album, but less rockin' and a bit of a letdown from their previous (or even subsequent) efforts. Best songs-'Chain Lightning', 'Rose Darling', 'Any World Your Welcome To', 'Your Gold Teeth II'. Weakest songs-'Everyone's Gone to the Movies', 'Throw Back the Little Ones'. Rating: 4.0

Great production and great use of guest musicians (a veritable feast of session players, including guitarists Larry Carlton, Elliot Randall, and Dean Park, Rick Marotta and Victor Feldman on drums and percussion, as well as various sax, horns, and backing vocalists). Larry Carlton's killer guitar solos on 'Kid Charlemagne' and 'Don't Take Me Alive' are legendary. A much more diverse, energetic, and edgy assortment of cool songs than on Katy Lied (also a bit more rockin') boosts this one up another notch to put it among their best albums. Best songs- 'Kid Charlemagne', 'The Caves of Altamira', 'Don't Take Me Alive', 'Sign In Stranger'. Rating: 4.5

This album marked a more distinct change in style, with the full embrace of the cool jazz-funk sound and arrangements, and less rock elements. Remarkable and meticulous production, arrangements, and musicianship throughout raise this above their previous couple albums (Katy Lies and Royal Scam), even though they have some songs I like better. Just a remarkable achievement in melding expert jazz playing with the Dan's pop-rock melodies. Many great instrumental sections, such as Steve Gadd's sensational drumming through the latter part of 'Aja', etc. (but also the end of anything much resembling rock in their catalog). Best songs-'Aja', 'Deacon Blues', 'Home at Last', 'Josie'. Rating: 4.5