Circus Money is my second favourite Steely Dan solo project after The Nightfly. I love the blend of funk, jazz and reggae Becker puts forth here, it's like a solo version of The Royal Scam except not as 'guitary'. A couple of the tracks have that smooth jazz element that permeates the later Dan work but it's not too bad. "Selfish Gene" is the only song I'm not crazy about simply because I'm not a fan of the backing vocals. My favourites are "Downtown Canon", "Do You Remember The Name" and "Somebody's Saturday Night". Overall Walter seems to focus on his bass playing and singing here; he plays a bit of guitar but leaves most of the heavy lifting to Jon Herington. Circus Money is a definite improvement over 11 Tracks Of Whack, simply because it's more polished and organic sounding. Again, if Fagen and Becker had pooled their resources and made a Steely Dan album from the best of Morph The Cat and Circus Money it would have put 2VN and Everything Must Go to shame. I had a helluva time tracking down a copy of Circus Money...so just in case there's anybody here who's never heard the album, here y'go:
"After all that's happened and I end up with a prick like you" Gonna have to concur. I bought it with immense trepidation, having not heard Walter's previous album, and not particularly enjoyed 'Slang Of Ages' at the time (my mind has changed since), but was surprised at how groovesome the music is - it has the low end 'thump' that's often missing from mid-life solo albums by rock musicians. However, you try and tell people that the dude from Steely Dan has made a reggae-influenced album, and that it's really good, and you'll get sneered at quite a lot. But Becker's got that bass sound from his beloved dub albums right down. Lyrically, this is Becker off the leash. It's some of my favourite lyrics of any Dan album. It's all just so...sleazy. Aside from the utterly transcendent 'Paging Audrey', I think either 'Somebody's Saturday Night' or 'Darkling Down' are my top-tier choices for anything from Steely Dan/Don/Walt in the 21st century - the latter seems like a postscript to the final track on Everything Must Go, as he muses on his legacy and who can pick up his (and Donald's) mantle: "For the fun or for the money For the fuok of it or just because Listen friend, this is no damn picnic But let's imagine for a minute that it was Who will feast on this buzzard's banquet? Who will render my heroic bust? Who will choke on my lachrymose musings? Who will eat my zero dust? Who will wear this puke-streaked tunic? Who shall gorge on this cup of spleen? Who will sing about the good, bad and ugly? And all and everything in between?" Just brilliant. Flaws? The first four songs and the title track pale in comparison to the back half. And as I said before, not having Don sing 'Paging Audrey' is one of the greatest missed opportunities of this life. On that note, you could easily assemble a magnificent tenth Dan album from this and Morph, and I really wish that they had. Both of them were on fire.
Indeed- I get the idea that Becker knew his reggae, it wasn't just a dilettante passing fancy with him. Fortunately he had a good enough drummer on the album -Keith Carlock- who could keep up. That dude's amazing behind the skins. "Paging Audrey" is one of the greatest Steely Dan songs they never did.
Well, this one really surprised me. Much smoother than the previous one yet more in line with latter day Dan, though it's arguably better than much of it. I preferred this to Morph, to be honest.
Highlights for me are Downtown Canon, Bob Is Not Your Uncle Anymore, Upside Looking Down, Paging Audrey and Somebody's Saturday Night. I agree it complements "Morph The Cat" and if you were to alternate tracks between the two would almost have a Steely Dan album. It's a very personal album, bringing up dark issues (as usual). Walter goes places Donald wouldn't dare. The two of them are such a fine blend. Walter also writes great melodies and chord changes when he puts his mind to it.
I'll have to abstain from commenting much on Circus Money ... it continues to elude me. It's one of those I respect and appreciate, but have yet to really find a way in. I will say that these guys aren't reggae dilettantes - Carlock has the one drop down solid. The lyrics are priceless throughout. Probably too much to hope that we'll ever see a trove of unpublished Becker. Anyone else reminded of Randy Newman on the title track? Maybe it's just because I've been listening to him lately.
Don't forget, kids: the Uncut Ultimate Guide to Steely Dan! Could it be better than Barney Hoskyns' similar trawl through the archives in Major Dudes? One would hope so...
Just to close the loop on this. I got the 'Cousin Dupree' european promo CD and have the tracks now. Aja is the same as the 'alive in america' version. [time was listed incorrectly] Fall of 92 is a nice track with walter doing the vocals. Overture is a cool medley of several steely dans hits put together, very cool. All in all, a great promo to find, and the inclusion of some unreleased tracks makes it much more interesting than the usual promos. It was probably scheduled to be released as a single, and got pulled. later -1
Pretty much same highlights as mine- like I said, the only song I'm not crazy about is "Selfish Gene" and even then it's only the chorus that bugs me...hell, it's one of the few songs on the album that Walter actually plays lead guitar on! No question, they're both extremely talented songwriters, and each of them were able to add something to one anothers' songs they would have lacked otherwise. Don't get me wrong, Fagen or Becker on their own are great both together those two were a very formidable collaboration. I'll say it again, for old time's sake: Becker/Fagen are the American Lennon/McCartney IMO. I got the Hoskyns book, but it's a "do not open till Christmas" kinda thing...I look forward to scarfing up the Uncut Ultimate Guide once it's out. As would I- as I've said, a lot of the "obscurities", B-sides, etc I've never heard...
Passenger Lizzy: What's the deal with Everything Must Go? Walter Becker: It's a god-damn party record! You know what I mean? Passenger Lizzy: Yup Walter Becker: It's like up! You know, the tempos are good. The lyrics are, you know, sparkling and, you know, bright and scintillating. Even the grim depressing ones, you know - which there, lord knows there's plenty - are just kind of, you know, make you want to dance or something. - Taxicab Confessions DVD from the CD/DVD of Everything Must Go And so - as far as we know - we come to the last Steely Dan album: Everything Must Go. I know I'm in the minority here - but I think this is a terrific album, and a perfect swan song for them. At the time, I don't think anyone but Don'n'Walt knew it was their last - but - boy - in retrospect - did they lay it out for us. Starting with the very first track The Last Mall. I think it's worth printing the lyrics here: Attention all shoppers It's Cancellation Day Yes the Big Adios Is just a few hours away It's last call To do your shopping At the Last Mall You'll need the tools for survival And the medicine for the blues Sweet treats and surprises For the little buckaroos It's last call To do your shopping At the Last Mall We've got a sweetheart Sunset Special On all of the standard stuff 'Cause in the morning --that gospel morning You'll have to do for yourself when the going gets tough Roll your cart back up the aisle Kiss the checkout girls goodbye Ride the ramp to the freeway Beneath the blood orange sky It's last call To do your shopping At the Last Mall They touch on it all, don't they? Drugs? "Tools for survival - and the Medicine for the Blues" - check. Steely Dan Skeevy-ness? "Sweet treats and surprises for the little buckaroos" - check. Post apocalyptic wasteland a la King of The World? "Ride the ramp to the freeway Beneath the blood orange sky" - check. Plus - using the live band from the 2vN tour, this doesn't sound robotic. Almost sounds like a real band playing - which it was at this point. Just like on their first albums. Also of note - Walter and Donald play on every track. Again - this is something that ties it back to the beginnings of Steely Dan. And - just like then - recorded on analog tape, no less. Sure - I think there may have been some digital editing here and there - but still. (In fact, I know there was digital editing: Steely Dan 'Everything Must Go' | Mixonline ) Next up - Things I Miss the Most. Part tongue in cheek - part true regret. Another stellar tune on this album. Blues Beach is a swinging tune. You kind of need it after the 1 - 2 punch of the opening. Plus - it has some interesting chord changes going on in the background. Again - exactly the kind of thing I was hoping to hear more of on 2vN. Maybe not the ultimate track of all ultimate tracks - but far more interesting to me than the low points on previous albums. Donald has mentioned it's kind of a successor to Deacon Blues: To me it had a lot more in common with “Deacon Blues” and the idea of a sort of bohemian utopia. In “Blues Beach,” the guy definitely has mixed feelings about the place once he gets there - hence the line “the long sad Sunday of the early resigned”. Godwhacker I take at pretty much face value. They've denied it's about George W.: Q: Is ‘Godwhacker’ George W. Bush? WB: Somebody else asked us that, but no, we didn’t think of that. DF: We were just thinking of the Western deity – WB: Mr. Big – Donald has also said: "One more word about my mother: She died horribly of Alzheimer's. One time, after not seeing her for a while, I visited her in a nursing home in Ohio. As I walked towards her, she stared at me with great interest and then said, "You know, I've always liked you very much." Not long after that, she was gone. How do you like that? A couple of days later, I started writing a lyric for this song "Godwhacker," which Walter and I completed and recorded for a Steely Dan CD. It's about an elite squad of assassins whose sole assignment is to find a way into heaven and take out God. If the Deity actually existed, what sane person wouldn't consider this to be justifiable homicide?" I dig everything about this song - especially the melody and tasty guitar licks. I really enjoy it when I hear it live, too. It's been a mainstay in their sets for quite a while now. Next up - the first real, official Walter Becker vocal on a (non-live) Steely Dan album. Slang of Ages is a perfect Walter song, with his trademark lyrical point of view and wordplay: These tabs look iffy -- you say they're good Let's roll with the homeys -- knock on wood I really appreciate the care they took on his vocal here. It really works - and plays to his strengths. I was kind of hoping they'd use this as a blueprint for future Walter vocals, but - sadly - not to be. Green Book - enigmatic porn sexiness. Catchy too. I think this one is better left less analyzed. Pixeleen - it can be interpreted on many levels. To me, it kind of sounds like the narrator is watching a perfect Computer Generated female action hero movie, while his daughter talks on the phone. At the very end - it kind of sounds like a prescient inditement of the Hollywood casting system. Maybe that's even his kid in trouble? Or he's imagining if his kid were in trouble? Not exactly sure - but somehow, I kind of understand this song - maybe not on a conscious level - but I get it. Now - one of my favorite songs on the entire album - Lunch With Gina. Dang - this song is great. Catchy as all get out - and the lyric writing structure is superb. Told in backwards chronological order - Memento style - it's about a relationship that's gone dangerously off the rails. Kudos to the soloing on this track too. Just jumps off the record in the best way. And - finally - the title track Everything Must Go. Donald and Walter's farewell to Steely Dan and the work they'd created together. The last bit sums it all up, to me: Can it be the sorry sun is rising Guess it's time for us to book it Talk about the famous road not taken In the end we never took it And if somewhere on the way We got a few good licks in No one's ever gonna know 'Cause we're goin' out of business Everything must go For me - a victory lap of an album. One that stands firmly with their 70's releases, finally escaping from the prison they'd been in since Gaucho. Again - I know I'm in the minority here. Most folks hear this one and think - huh - half assed Dan. But - to me - there's nothing further from the truth. They really had come to the end of their time together, and managed to put out one more record - a valedictory set. And - then - they were gone. Everything Must Go. Cheers, Paul
Also - although I linked this in my review - it's worth breaking out separately here: Steely Dan 'Everything Must Go' | Mixonline It's a great read. Cheers, Paul
As the OP, I just wanted to single out @Paul P. 's contributions to this discussion for particular praise...you've brought some wonderful comments, insights and memories to the table for which I thank you...and I hope you aren't going anywhere anytime soon- like I said, I'll be leaning on you pretty heavily once we touch on the "odds and ends" bit of the discussion...
i will post them somewhere online, and let people know (PM) at some point. maybe when we get to the obscurities discussion. later -1
Everything Must Go is a wonderful addition to their discography (I'm one of those who believes there are ZERO weak Steely Dan albums). I like the songs, and I enjoy the wordplay. The rhythm sections sound much more natural and Dan-like on this album than on the rather crisp and pristine 2VsN. Probably my only want is more and better solos. I'm not a fan of Jon Herrington in Steely Dan (would have preferred Drew Zingg as a soloist) and I would have preferred them casting the solos more like the old days. It seems like the cut costs on that issue. Note - I do like Jon Herrington's solo work quite a bit. Just think that he's not a fluid enough player to take leads with the Dan.
Thank you for the kinds words - they're very appreciated. I'm not going anywhere - for better or worse. As you can tell - I do really love the 'Dan. Sorry about the delays in my updates - I'm still traveling for business. I should be home this weekend. Cheers, Paul
I can't bring myself to "like" this post - for obvious reasons - but I definitely share your sentiment, @deany76. The more we've gone into the Steely Dan and solo catalogs - the more I realize how distinctive he was. Cheers, Paul
I always thought Throw Back The Little Ones was just the Dan telling themselves to stay away from teenage girls. But your con man scenario seems to be a more accurate interpretation.
You've never heard the term Hollywood Babylon? Actually I think they are talking about California girls in general. "San Francisco show and tell" Because they seem to be talking about SF in some lines and LA in others. “As he watches his bridges burn” Seems like San Fran for sure. "Distant lights from across the bay" Could work in Santa Monica but it works much better in Frisco. “We'll jog with show folk on the sand” But Show Folk on the beach sounds like Hollywood people to me. “Drive west on Sunset to the sea” Is there a Sunset Boulevard that leads to the ocean in Frisco too? “Here come those Santa Ana winds again” Do you have the Santa Ana winds in Frisco too? “Like a Sunday in T.J” And of course TJ is as much a part of southern California as it is Mexico.
The song is set in LA. The "sisters" are down from San Francisco. At least that's always been my read on it. He's taking a couple of hotties from the Bay Area to Santa Monica and Malibu.
It's possible. But I've heard Herrington play leads on contemporaneous live material. Not terrible, but it just lacks the feel I want. Also don't prefer Walter as a lead player except small doses (RIP).