That tonearm looks like a diesel train. Like you could play a record only once, since, due to its crushing weight, it would totally waste the grooves.
'morph the cat' surprised me. i wasn't paying attention, and then all of a sudden it was released. i got it much later after it was announced. guess i wasn't in the mood at the time. what struck me after listening to it, was how much it followed in sound to 'everything must go'... i did like this album better though. i would rank it lower than the previous 2 albums (and also less than 'sunken condos').. - the title track is a nice but basic introduction to the album (bookended by the reprise). - h-gang is a nice return to the smooth format that he's known for, nice hooks and chorus - what i do is a mellow reflective track - brite nightgown is one of my favorites, very catchy and upbeat, my favorite track - the great pagoda of fun is a midtempo track, average, but nice jam at the end - security joan is a fun song, another one of the focus on women track - the night belongs to mona is another track devoted to the subject of women, short and basic - mary shut the garden door, finishes the trilogy to women, catchy and funky =========================================================================== i'm including the bonus track 'rhymes' with it, it was a bonus with the itunes release (and later included on other extra track releases) New Donald Fagen album, "Morph the Cat" - rhymes - a very cool upbeat funky song, with a gospel chorus (which is a large part of the song), should have been on the album. and this was one of the digital download exclusives that annoy me, because it wasn't on the deluxe release or on cd until much later ================================================== overall a decent album, i don't mind the extended length of the tracks. to me hearing the full cut is better than a short edit on the album. there were enough singles with edits, if someone prefers shorter versions. looking forward to sunken condos later -1
i've only bought the sunken condos digipack, and a promo for 'cousin dupree'. but i am looking into a few more promos to complete part of my collection. so not too much, but that's because i already had a ton of the albums, and promos already (mostly on cd). later -1
I know Wayne Krantz only from a couple of live recordings I have where he's playing very very improvisational, very very free, almost atonal music with a trio (Keith Carlock is the drummer, I believe.) I've never heard him play in a conventional setting. I'm interested in hearing "Morph" for that reason even if it weren't a Fagen album.
Well, it's good that you did, Paul- once we get into discussing the various odds and ends tracks after Sunken Condos I will be relying on yer expertise (possibly to the point of having you take over the discussion) because I personally don't own or have even heard a lot of that stuff... I'm not 100% sure but I think Wayne Krantz plays mostly rhythm on Morph- Jon Herington does a lot of the lead work. We'll get there eventually but IMO "Miss Marlene" was originally from The Nightfly and called "I.G.Y."
We'll get there eventually but IMO "Miss Marlene" was originally from The Nightflyand called "I.G.Y." Almost funny... Minus One for - 1 Regards Geoff
Play 'em back to back sometime...Fagen shoulda sued himself for plagiarism there. Speaking of Steely Dan and plagiarism, I finally heard "Song For My Father" on the Stingray "Jazz Masters" channel the other day. I am surprised Horace Silver and/or his estate didn't sue Becker and Fagen 'cos "Rikki Don't Lose That Number" is just about a straight lift...I thought just the intro was 'borrowed' from Silver- nope, just about the whole f--king song! I was surprised. Like I said I've never heard "Long As You're Living Yours" but if Keith Jarrett was able to finagle himself a co-write than "Gaucho" must be very similar. Still, the credits for "Rikki" should read "Becker/Fagen/Silver" IMO.
Morph (the song) always reminded me of this: Fog by Carl Sandburg The fog comes on little cat feet. It sits looking over harbor and city on silent haunches and then moves on.
Wayne plays lead on some of the tracks. Morph the Cat Backing Vocals – Donald Fagen, Jerry Barnes, Michael Harvey Bass – Freddie Washington Drums – Keith Carlock Guitar – Frank Vignola, Hugh McCracken, Wayne Krantz Guitar [Solo] – Jon Herington Fender Rhodes – Donald Fagen Tenor Saxophone [Solo] – Walt Weiskopf Trumpet – Marvin Stamm Vibraphone – Phonus Quaver H Gang Baritone Saxophone – Roger Rosenberg Bass – Freddie Washington Drums –Keith Carlock Guitar – Hugh McCracken, Wayne Krantz Guitar [Solo] – Jon Herington Percussion – Gordon Gottlieb Piano – Ted Baker Fender Rhodes, Backing Vocals – Donald Fagen Tenor Saxophone [Solo] – Walt Weiskopf Trombone – Mark Patterson Trumpet – Marvin Stamm What I Do Backing Vocals – Amy Helm, Carolyn Leonhart, Cindy Mizelle, Donald Fagen Bass – Freddie Washington Drums – Keith Carlock Guitar – Hugh McCracken, Jon Herington, Ken Emerson, Wayne Krantz Harmonica [Solo] – Howard Levy Wurlitzer Electric Piano – Ted Baker Brite Nitegown Alto Saxophone – Walt Weiskopf Baritone Saxophone – Roger Rosenberg Drums – Keith Carlock Guitar – Jon Herington Guitar [Solo] – Wayne Krantz Marimba – Phonus Quaver Percussion – Bashiri Johnson, Gordon Gottlieb Fender Rhodes, Backing Vocals – Donald Fagen Tenor Saxophone – Lawrence Feldman Trombone – Mark Patterson Trumpet – Marvin Stamm The Great Pagoda of Funn Alto Saxophone – Walt Weiskopf Backing Vocals – Donald Fagen, Jerry Barnes Baritone Saxophone – Roger Rosenberg Bass – Freddie Washington Drums – Keith Carlock Guitar – Jon Herington Guitar [Solo] – Wayne Krantz Percussion – Joe Pasaro Piano – Ted Baker Tenor Saxophone – Lawrence Feldman Trombone – Mark Patterson Trumpet [Solo] – Marvin Stamm Vibraphone – Phonus Quaver Security Joan Backing Vocals – Michael Harvey Bass – Freddie Washington Drums – Keith Carlock Guitar – Jon Herington, Wayne Krantz Guitar [Solo] – Ken Wessel Handclaps – Camille Meza, Candice Predham, Eddie Jackson, Jennifer Battista Organ, Piano, Backing Vocals – Donald Fagen Percussion – Gordon Gottlieb Wurlitzer Electric Piano – Ted Baker The Night Belongs to Mona Acoustic Bass – Harlan Post, Jr. Bass – Freddie Washington Bass Clarinet – Roger Rosenberg Drums – Keith Carlock Flute – Lawrence Feldman Guitar – Jon Herington, Wayne Krantz Harmonica – Howard Levy Percussion – Gordon Gottlieb Piano, Backing Vocals – Donald Fagen Fender Rhodes – Ted Baker Tenor Saxophone – Walt Weiskopf Trombone – Mark Patterson Trumpet – Marvin Stamm Mary Shut the Garden Door Backing Vocals – Carolyn Leonhart Bass – Freddie Washington Drums – Keith Carlock Flute – Illinois Elohainu Guitar – Jon Herington, Wayne Krantz Melodica [Solo], Backing Vocals – Donald Fagen Percussion – Gordon Gottlieb Fender Rhodes – Ted Baker Vibraphone – Phonus Quaver Morph the Cat (Reprise) Backing Vocals – Jerry Barnes, Michael Harvey Bass – Freddie Washington Bass [Remedial] – Brian Montgomery Drums – Keith Carlock Guitar – Hugh McCracken, Wayne Krantz Guitar [Chorus Solo] – Jon Herington Guitar [Tag Solo] – Frank Vignola Fender Rhodes, Backing Vocals – Donald Fagen Tenor Saxophone – Walt Weiskopf Trumpet – Marvin Stamm Vibraphone – Phonus Quaver * Harlan Post Jr., Phonus Quaver and Illinois Elohainu are pseudonyms for Fagen himself when he plays an instrument sample patch on a synthesizer trying to replicate the actual instrument.
Man I'm late but I've been reading through anyway. I had written a review for Everything Must Go a couple of weeks ago but I wanted to touch it up and haven't had time so I'll just post it now, drink my big black cow and get out of here... STEELY DAN-EVERYTHING MUST GO (B) 1. The Last Mall (B+) 2. Things I Miss the Most (B+) 3. Blues Beach (B-) 4. Godwhacker (B-) 5. Slang of Ages (B) 6. Green Book (B) 7. Pixeleen (B) 8. Lunch with Gina (C+) 9. Everything Must Go (B+) 1. The Last Mall (B+) A ‘last call’ store announcement usually spoken over the PA system, taken out of context and placed into a jazz club-a great idea in hindsight as the closure opens Steely Dan’s final album. Clean jazz rock band work with a heavy injection of blues for the top act of the genre, Fagen/Becker are back with two more tongues in two more cheeks. There’s a lot of life to this album to breathe in coming up when hearing this strong opening especially during Becker’s rippling guitar solo. It gives hope that we’re in for another treat. The mix of blues and jazz is so natural and it feels loose unlike a lot of Two Against Nature. 2. Things I Miss the Most (B+) Delving further into a laid back rock sound, this adds blues along with the usual Dan style again, and they sound elegant when we compare their sound with the new chart acts they were pitted against by the time this century came around. With another refrain that can get caught between the ears, Becker and Fagen are definitely focusing more on melody here and seriously cutting back on the fat funk rhythms. Once again the past seems to take precendent in Fagen/Becker’s mind, remembering better days. The detail in the lyric is actually warmly comforting for a change. 3. Blues Beach (C+) Another upbeat tune that stays within the realm of pop/rock, with a beautiful piano sound and a graceful blues. The positive sounding riff and women backing singers have the mood of “Aja” but the dynamics and creativity are weaker. The arrangements don’t feel as complex as the best Steely Dan material of the 70’s. Problems everywhere lead Fagen/Becker to head to Blues Beach where those who have given up on life go. 4. Godwhacker (B-) Another tune that balances blues and jazz within pop/rock forgoing funk altogether. While funk was definitely part of their sound, Two Against Nature seemed to use it as a crutch at times carrying songs with little melody but meaty rhythms. This single isn’t close to as good as previous Dan singles, but it’s professionally played with emotion and grit. Grit had been missing for some time. Like “Two Against Nature”, this song again has Becker and Fagen pitted against the bad guys of the world but this time they use violent means to put an end to the violent characters. Considering they have so many criminals and baddy-two-shoes in their songs, this time, the duo calling themselves ‘Godwhackers’ (“we are the Godwhackers who rip and chop and slice for crimes beyond imagining, it’s time to pay the price”) are not going after God, but as God’s assistants, they go after criminals by killing them all off. I’m not sure why it’s not a plural title but it’s a scary song. Again, Becker brings some blues in on his guitar coda soloing and riffing. 5. Slang of Ages (B) Wow Walter Becker sounds so much older than on 11 Tracks of Whack from 9 years earlier that I thought there was a guest vocalist here. His voice isn’t as deep as Michael McDonald but man, he’s deep mentally already and now physically. Or I guess I should say he was. I’m still getting used to Becker’s passing. The first track to feature some funk, its tempered by blues, jazz and rock with female vocalists helping Walter along on the catchy refrains. I’m so glad Becker sung at least one track finally. It would have been very cool to have the two duet one time as well but this is their final album ever and it didn’t happen here. Great horn break along the mid-tempo pace. “Slang me!” Becker meets a woman who I think doesn’t understand American slang since she’s from another country but he likes that and wants her to ‘be here now’ and not 6. Green Book (B) A little more funk wouldn’t hurt but this has a bit of reggae in its rhythm too and Fagen’s back on the mike with his women friends. Keyboard-focused- mostly done by Fagen, the piano and organ combine for some smooth jazzy moments in between the scratch guitar/bass/drums rhythm. Fagen’s synth solo is a welcome change in sound, joined by a rippling guitar solo probably played by Hugh McCracken, their 70’s friend. Another lust for a girl. 7. Pixeleen (B) Owing more to pop, it’s another bright beat with a bit of jazz. Fagen and female friends undertake great harmonies on the choruses during this relaxing tribute to Pixeleen which could be about a computer as much as it could be about a girl (or a pixie). Beautiful brass and piano on this as well and the sax solo hits the spot. Another lust for a woman, this one is young like so many others they’ve pined for. This one’s a spy who uses current slang like “like”, “as if”, “keep it real”, “whatever”. Really though, it’s a woman on T.V./computer/video game who Fagen/Becker desire. She’s not real, just a character. I like the piano conclusion that sounds like a scattering of pixels. 8. Lunch with Gina (C+) I always loved Steely Dan song titles. Another funk song, this is looser, less mechanical and worked over. A harder jazz edge is on this one with the dirt ground coming up over the polished floor Steely Dan usually work on. The smooth vocals contrast with the edgy jazz funk and it’s a great busy sound. Fagen again synth solos with a texture new to the Dan-it almost sounds like a trumpet. The natural horns propel the upbeat song elsewhere. Gina is a stalker that is after The Dan. 9. Everything Must Go (B+) Take these three words and apply to three things- Steely Dan’s last song of their career, the last album of their career, and now, here in 2017, Walter Becker. The pace finally slows after a number of energetic midtempo songs and it’s a elegantly smooth way to wrap up a Hall of Fame career. A grand intro that sounds like a huge conclusion to a live performance, it gets into a smooth jazz groove soon after. This feels like a final song as Fagen sings about “going out of business”. Like the opener, the song has a conclusive nature about it like maybe The Dan know that this is it for Steely Dan. “It was sweeter on top but it’s cozy down below” is a great line to live the rest of their lives with. Overall: (B) The album has more of a live feel than anything they’ve done in 25 years. It has much more melody than Two Against Nature and bookended by the songs that attempt to finalize their career, they neatly wrap up an amazing catalog of recorded music that was one of the most intelligent in rock history.
Honey how you've grown Like a rose Well we used to play When we were three How about a kiss for your cousin Dupree? Yes - it's time to review Two Against Nature (aka 2vN). It's been hard for me to approach this album. Unlike any other album in their catalog, I both love and hate this one. So - Hate First, I guess: Man - this album is even more hermetically sealed than Kamakiriad. I simply cannot detect one note out of place in the backing tracks. It literally sounds like you gave a robot a Steely Dan algorithm and this was the result. Some folks have used the words "slow grower" with this one. That's a very apt description. Even more so than Gaucho in some ways, this one's all about The Sound© and The Groove®. Melodies are too subtle. I'm not sure I could sing anything from memory from the final stretch of the album. Songs like: Janie Runaway - almost too cute lyric about hooking up with a runaway. Narrator's "skeevy"-ness to the fore. Melody almost annoyingly cute. Technically - there's nothing wrong with this track - but this almost seems like something that escaped Don'n'Walt's quality control filters. Almost Gothic - I wish I were able to pull this one apart lyrically like others have. Unfortunately, to me, it just sounds like a love song about a slightly unpredictable partner. Possibly more Donald than Walt - nothing particularly memorable except for some tasty chord changes here and there. There's nothing wrong with it - there's nothing exceptional about it either. Negative Girl - Another one that seems to evaporate after a listen. Lyrically clever - but - darn it - just not memorable. I don't know where these songs came from - are they Kamakiriad out-takes? West of Hollywood - Wow - bland end to an album. It's pretty - I'll give you that. (More about this in a minute.) Finally - It's the Steely Dan album I play the least - the absolute least. So - Love Second: Anyone expecting a half-baked Steely Dan album was stunned by this one. Lyrically, Don'n'Walt brought their "A" game. Right off the bat we get Gaslighting Abbie. If you weren't aware of what gaslighting is, this song made it clear. One of the strongest songs on the album, married to one of the strongest lyrics. It almost feels like you're watching a 6 minute noir mini-movie. The next song is even stronger. What A Shame About Me is definitely one of the strongest songs they've ever recorded. And - unlike other songs - it sounds strangely autobiographical. I get the sense it might be Walter summing up where he found himself at that stage in his life - moreso than Donald. And the little musical call back to My Old School is genius. Two Against Nature - the title track - is next. Musically this one is very strong - lyrically almost too dense. The lyrics are almost more like a instrument playing through the track - one of the few Steely Dan songs where I don't really care what they're saying, although a quick glance at a lyric sheet seems to indicate that they're about voodoo or dark magic or something equally spooky. Maybe it's better I don't know... Jack of Speed - probably the highlight of the album. Perfection from start to finish. Even has a little bit of a morality play in the lyrics. Strong melody - strong lyrics. Love this track. Unlike some reviewers, Cousin Dupree does not bother me. Oddly enough - it's one of the highlights. Definitely seems to have Walter's sense of humor, although Donald has called it: "A kind of traditional fun country sort of tune, yeah we have a little story in there that you know - that's a little - as my father would say - risque" on the Plush TV Jazz Rock program. And - wow - talk about catchy. Wouldn't you know that this is the one I can sing any time? West of Hollywood - Wow - great end to an album - instrumentally. I love the sax outro on this one - one of the few improv moments on the record. It seems like real musicians for a change. So - there you have it. Love and Hate. Peace and War. Two Against Nature. I don't know where I'd even rank this one. Initially it was going to be my lowest - below even The Royal Scam. Now, after re-listening to it a few times, I'm not so sure. I am sure, though, that I'm glad they made it. The world would be a lot poorer without the return of Steely Dan and this album. And - also - the best art is supposed to challenge us. And this album does that. It may be the perfect Steely Dan album - it may be the worst. It may be both at once - like all great art can be. But like this is Lower Broadway And you're talking to a ghost Take a good look it's easy to see What a shame about me What a shame about me Cheers, Paul
oops.. getting ahead of myself. i was trying to buy a promo of it, and then the seller didn't have it. no picture of it on discogs either. later -1
I think Morph the Cat was a considerable step up from Kamakiriad but also a step down from Everything Must Go. Highlights for me are H Gang, What I Do, and Mary Shut the Garden Door. The rest don't drag like most of Kamakiriad, but they don't inspire me to listen to the album very much either.
Picked up Gaucho 5.1 off of ebay...thx Glamor..your description was spot on. Horns were mixed to the back...along with Michael/backup. What I really like is the ability to concentrate on the different elements in the recording. Bern
No problem, these things happen. I have it and the 'I'm not the same without you' promo. Sleep beckons, so I will post a picture or link if no one else does before I return here.
Have you run EAC (or if you're Mac - XLD) peak levels? I'd be curious to see which one you have from this list: Steely Dan CDs Different Masterings: The Summary Thread I'm guessing Mastering 3. Cheers, Paul
Excellent write ups, gents. So, basically, we'd probably all agree that when it's all said and done (and I guess it is now) 2VN and Everything Must Go are pretty much B/B+ albums as opposed to the '70s albums which were all mainly A's.
Actually thinking about it, I will wait till we get to Sunken Condos - then I will post pics of both of these including the discs. Meantime here is the cover from the place I bought it. Note, as a Graphic Designer I like the font but hate the bad letter spacing !
All 9 albums really were easily above average to excellent albums. I'm very surprised to see the extensions of Steely Dan-the solo albums to be getting good comments to from everyone. I really had no clue about them cause most I hadn't heard except The Nightfly. This is my first time with these other ones and they're sometimes better than the recent Dan albums together. It's just such a great catalog. I kind of miss that diversity that they had earlier in their career like when we hear the sitar in 'Do It Again' and the guitar solos of 'Reelin in the Years'. Seems like since The Royal Scam, they streamlined the sound for good but the sound still is kind of varied between blues, funk and jazz pop/rock. I'm glad they did have more of a live sound on Everything Must Go.
Not me. I prefer both Two Against Nature and Everything Must Go to Gaucho, Countdown to Ecstasy, and The Royal Scam.
No need to hide- if everybody had the same tastes in Steely Dan music this would have been one helluva boring discussion! Now, now- everybody's tastes are different...even if it is my three favourite Danalbums he mentioned as preferring 2VN and EMG to. To each their own.
Curious to know how the discussion's gonna go for this one... ...not much of a Wiki write up but here 'tis: Circus Money is the second and final solo album by Walter Becker released on June 10, 2008 through the 5 Over 12 label (an imprint of Mailboat Records) both in CD and digital download formats. It is Becker's first solo album since 11 Tracks of Whack in 1994. The traditional mask featured on the album's cover is based on traditional Central Alaskan Yup'ik facewear. Track listing Door Number Two Downtown Canon Bob Is Not Your Uncle Anymore Upside Looking Down Paging Audrey Circus Money Selfish Gene Do You Remember The Name Somebody's Saturday Night Darkling Down God's Eye View Three Picture Deal Dark Horse Dub* *International release only Personnel Musicians Walter Becker – vocal (1–12), guitar (1–2, 7, 9–10), bass (1–5, 7–12) Keith Carlock – drums (1–12), percussion (1) Jon Herington – guitar (1–12) Dean Parks – guitar (2, 4, 9) Ted Baker – keyboards (1–7, 9–12) Jim Beard – keyboards (1, 3, 5–8, 11–12) Henry Hey – keyboards (4, 8) Larry Goldings – organ (2, 10) Luciana Souza – pandeiro (9), background vocals (7) Gordon Gottlieb – percussion (2, 3, 7, 10–12) Chris Potter – tenor sax (1, 5–6) Roger Rosenberg – horns (11–12) Larry Klein – bass (6) Carolyn Leonhart-Escoffery – background vocals (1–5, 8–11) Kate Marokowitz – background vocals (1–2, 4, 6–7, 9–12) Cindy Mizelle – background vocals (1–2, 4–5, 9–12) Windy Wagner – background vocals (1–2, 4, 6, 9–12) Carmen Carter – background vocals (2, 6, 9) Tawatha Agee – background vocals (5, 12) Sharon Bryant – background vocals (5, 12) Sweet Pea Atkinson – background vocals (11) Sir Harry Bowens – background vocals (11) Terry Dexter – background vocals (11) Franki Richard – background vocals (11) Tiffany Wilson – background vocals (11) Production Larry Klein – Producer Helik Hadar – Engineer Jay Messina – Engineer Elliot Scheiner – Engineer Bernie Grundman – Mastering engineer
