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

It sounds like you need a hug and a drum circle.

I think they (Steely Dan) are another victim of classic rock radio's tendency to over-play certain songs.

This is exactly it for me, at least with the radio station I listened to growing up. They played the same "hits" over and over and over again and I just learned to cringe every time I heard them, no matter how cool I thought it was that they were named after a sex toy. Although: I did love "Hey Nineteen" when it came out, but I'm still not sure if that was the song itself or my adolescent whatnot reacting to the fabulousness of the Solid Gold dancers uh "interpreting" it every week while it was still on the charts.

Maybe I'll come around to the band some day, but it's going to take a lot of time and possibly some therapy.

-- Sean Carruthers (oneiro...) (webmail), February 13th, 2004 5:08 PM. (SeanC) (link)

Anyhow, OTM

Fagen: But isn't it true that the Leone films, with their elevation of mythic structures, their comic book visual style and extreme irony, are now perceived as signaling an aesthetic transmutation by a generation of artists and filmmakers? And isn't it also true that your music for those films reflected and abetted Leone's vision by drawing on the same eerie catalog of genres - Hollywood western, Japanese samurai, American pop, and Italian Opera? That your scores functioned both "inside" the film as a narrative voice and "outside" the film as the commentary of a winking jester? Put it all together and doesn't it spell "postmodern", in the sense that there has been a grotesque encroachment of the devices of art and, in fact, an establishment of a new narrative plane founded on the devices themselves? Isn't that what's attracting lower Manhattan?

Morricone: [ shrugs ]

Probably it's that he used the same musicians as SD. And I think it's possible to hear Simon's first album as a folkier blueprint for what SD would do (studio obsessive, New York-centric snarky lyricism).

i'm getting worried about how i feel about them, actually.

I've got every Dan album besides Two Against Nature and Alive In America. My local store never seems to have those.

ihttp://theartoftithing.com/cropped%20Raspberry%20Hand%20working%20copy.jpg

Damn you opinionistas, now I've gotta go back and reconsider and probably waste a good three hours in order to write them off again.

I'll stick w/ wAkk AttAkk until then.

Stay away from Everything Must Go though. Stay VERY VERY away!

WHAT
EV
ER

everything must go is awesome.

in order of necessity:
the nightfly
two against nature
kamakiriad
11 tracks of whack
alive in america

the first three are definitely worth a special order. '11 tracks of whack' is an odd one, and has a few duds, but the good songs (esp. 'junkie girl') make it worth hearing, i think.

SD can't rock out? Check the Navasota album from 72 - ft. Becker & Fagen writing, arranging and playing on a biker band type stomper.

Sterile? Home At Last, Pixeleen, Almost Gothic... check their appearence on Thomas Jefferson Kaye 'First Grade' from '74 their song - American Lovers... a beaut'.

Best band ever.

Reelin' In The Years and Blackjack are good songs, or at least they were 6 years ago when I last heard them. Place to start, anyone?