Steely Dan: "Steely Dan's name has been popping up as a hip musical crush. Remember, this glossy bop-pop was the indifferent aristocracy to punk rock's stone-throwing in the late 70's. People fought

No, because they are cold and unfeeling studio technocrats.

Walter and Donald ride around in a taxi in Las Vegas

ha, I'm here - it's just that when someone busts out the "SD is boring"/aor/what-punk-was-against/et al I feel this crushing weight that must be what freshman Survey of English Lit. profs feel when some student who's never read anything pre-20th century comes with the "this isn't pertinent!" etc.: I just want to say, firmly and as calmly as I can: "Have you actually listened to the records?" because Steely Dan is so unambiguously not what their detractors almost invariably accuse them of being ("laid back," "mellow," etc) that there's hardly any point in arguing about it

OK. OK. OK. When you have a band like Steely Dan, whose lyrics put pretty much everybody else's to shame, then it's at best narrow-minded to assume that any aspect of what they're doing isn't meaningful. What I mean: when, say, the White Stripes rock out, I don't think they're trying to engage their rock with their lyrics in any particular way: they're just doing what they like to do, approaching their craft in the way that seems best to them. The lyrics may engage with the music (more aggressive lyrics for more aggressive music, for example) but it'd take some work to suggest that the inverse was ever the case. With Steely Dan, on the other hand: the production, the melodies, the changes, all that stuff bounces off the lyrics (in markedly different ways, I might add; again, if variances in production aren't audible to you, then you're not listening very hard) in ridiculously pointed (and, I'd say, rather obvious) ways. "Glamor Profession" is probably the most obvious example. In a way, the snide "oooh, slick" that they sometimes get amounts to a "mission accomplished" for Becker & Fagen: they have successfully talked above their audience. That this has been their goal all along is perhaps on of the most hilariously cynical things in the history of music.

indifferent aristocracy.....yeah keep dropping those 10 ratings on Radiohead and Modest Mouse, they're positively "bands-of-the-people"

Interesting question, might be worthy of a new thread.... can you explain what you mean a bit more 'though?

Why is it forever being brought up in a "I like insert name of group or genre even though Punk was all about destroying re-inset name of group or genre " sense? All those endless "liking Prog is more Punk than hating Prog" threads. I remember being embarassed when Sonic Youth started going on about Punk Rock like they'd just invented it and that was in 1987 or something.

It would be tempting to suggest that maybe punk somehow resolved itself in the UK in a way that it didn't in the US.

I imagine if I was a young US punk I might write that as something more like "punk got beaten in the UK but it didn't in the US"!

To be honest I strongly suspect that "Punk" in the UK and "Punk" in the US have / had only the most superficial similarities anyway.

Unfortunately I don't know enough about the US punk scene to even attempt to defend any of those statements.

The only connection to Yes I can think of is after Sid and Jah Wobble had their altercation with Bob Harris at The Speakeasy, Rick Wakeman jumped on the bandwagon, threw his rattle out of his pram, and wrote to the Board of A&M telling them that if the 'Pistols weren't thrown off the label then he'd quit (I believe Elton John was involved in that too IIRC).

Even then, I think A&M were far more worried about the possibility of losing Peter Frampton (who had the same Agent as Bob Harris) than they were about losing Wakeman.

this thread needs Jody to put it back on the rails.

I like Steely Dan because they're virtuosos (same goes for the Dave Matthews Band, though lotsa folks around here would disagree with me on that one). Amateur guitar music is not in itself a bad thing, it's just that there's SO GODDAMN MUCH OF IT.

Dammit, somebody out there's gotta make music nobody else can play, right? Music that you just listen to with your mouth open and think, "Jesus! How the FUCK can ANYBODY play that fast?!"

Does "Do It Again" or "Ricki Don't Lose That Number" do this for you?

Well, no, but those are exceptions. Those are both from their first album, and they hadn't really developed their chops yet. Still rule, though! Steely Dan rules!!

Charlie Freak had but one thing to call his own
Three weight ounce pure golden ring no precious stone
Five nights without a bite
No place to lay his head
And if nobody takes him in
He'll soon be dead
On the street he spied my face I heard him hail
In a plot of frozen space he told his tale
Poor man, he showed his hand
So righteous was his need
And me so wise I bought his prize
For chicken feed

Newfound cash soon begs to smash a state of mind
Close inspection fast revealed his favorite kind
Poor kid, he overdid it
Embraced a spreading haze
And while he sighed his body died
In fifteen ways

When I heard I grabbed a cab to where he lay
'Round his arm the plastic tag read D.O.A.
Yes Jack, I gave it back
The ring I could not own
Now come my friend I'll take your hand
And lead you home

Used to play a pogo-ized cover of that.

I listened to 'Gaucho' tonight while doing dishes; it's my favourite, along with 'Countdown to Ecstasy' and 'Everything Must Go'. 'Katy Lied' is close.

I still haven't gotten over 'Pixeleen'. The bass line moving into the chorus.. i used 'luxury sedan' to describe this one before; so sleek and powerful, 'symmetrical and clean', but maybe limousine is better? and in the best, most evil, sense, not the bullshit up thread. I still can't get at what level of exploitation this song is about, and whether any laws are being broken. maybe that's not the point.. i'm swooning, regardless. No kidding; I've just listened to the damn song 4 times over while writing this. Everything about me is different/Symmetrical and clean

oh, hey, construction of the feminine in 'Green Book' paired with 'Pixeleen' Now where'd we sample those legs/I'm thinking Marilyn 4.0 in the Green Book // She's kinda cute but a little younger/She got the mood and the moves segue into my three times perfect ultrateen // my sleek and soulful cyberqueen, and always, ever Everything about me is different/Symmetrical and clean

"Rikki" is from the second album, and the "chops" issue is irrelevant because most of the flashy playing in the early years was done by Dias/Baxter/various session guys.