By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
(Another honest-to-God Becker quote, vaguely related to the preceding paragraph: "Most people are not interested in the kind of harmonies we use or are not interested in using elements that suggest jazz or pop music that dates before rock and roll. I think what we do is quirky enough in a lot of ways that it's only a good idea to be inspired by it in the most general sort of way. It's like Thelonious Monk is another example. Not to compare what we do with Thelonious Monk, but he's an example of somebody that I think has been inspirational to many musicians in a variety of ways, but generally speaking, you don't hear anybody doing anything that sounds like Thelonious Monk for the same reason. It would just be silly." If you can guess what question was asked to solicit this answer, send your essay to The What The Hell Was Walter Becker Asked Contest, c/o Dallas Observer, 2130 Commerce St., Dallas, TX 75201. Winners will receive a copy of Donald Fagen's book Words Not to Use in a Song, which includes such chapter titles as "Fistula," "Desuetude," "Gonad," "Cervix," and "Calculus.")
Various histories of the band have been floated around during the past three decades, but none is more accurate than the supposed "authorized" bio provided by the band on, once more, the band's Web site. Donald Fagen was born on January 10, 1948, in Passaic, New Jersey; Becker followed two years, one month, and 10 days later, or thereabouts, in New York, "steps away from a popular midtown Manhattan bar." Historians would have the two meeting at Bard College in Annandale-On-Hudson, New York, in 1967, where they formed some early bands, among them The Leather Canary (which featured Chevy Chase on drums, during his Funny Years) and the Don Fagen Trio. They began writing and recording demos during the late 1960s and early '70s, many of which keep popping up on unauthorized releases sold on Amazon.com. ("And I think that's a drag," Becker says.)
At first, the duo fancied themselves jazz musicians along the lines of Charlie Parker and Duke Ellington, going so far as to record Ellington's "East St. Louis Toodle-Oo" on their 1974 album Pretzel Logic. But soon enough, they sold out (for pennies on the dollar) and went Pop, hiring session musicians and refusing to tour, prompting years of speculation in the music press that Walter Becker was actually David Sanborn and Donald Fagen was really Jeff "Skunk" Baxter. The Pards would release Katy Lied in 1975, The Royal Scam in 1976, Aja (pronounced "Asia") in 1977, then part ways after the release of Gaucho (pronounced "Steve") in 1980.
Smirnoff Music Centre
(About their so-called "music," Becker has this to say: "When Donald and I independently started to move away from jazz and into the field of pop music, it was basically because it seemed like the door was being thrown open in pop music to a much wider and deeper kind of writing, particularly of lyrics. That was because of Bob Dylan and other more ambitious songwriters of the day, so that was the deal we had with pop music: We could do something a little bit beyond the minimal thing that had been happening for a long time." If you know what's the deal with pop music, and you're a hot woman, send your naked picture to What's The Deal with Pop Music, c/o Dallas Observer, 2130 Commerce St., Dallas, TX 75201. Winner will receive a copy of The Pards' new music-business book Studio Glossary, which includes such chapters as "Schneckability," "Heimlich Sound," and "Fmeh!")
The Pards did regroup in 1986 to write the entirely-in-German novel Die Rauckinhaus, under the pseudonym Emil Kayser III; for the book, they received the prestigious Bôlus Prize, which is now handed out to all of Oprah's Book Club selections. Somewhere along the way, Fagen also found time to release The Nightfly in 1982 and 1993's Kamakiriad (which is not to be confused with "Karma Chameleon"), and Becker allowed for the 1994 release of 11 Tracks of Whack, which actually contained 13 tracks--two of which Becker considered "freebies," though he will not say which two he's talking about.
("It doesn't bother me that people are writing about our new record without mentioning the solo albums, because I realize that it's a good story this way, and I think that's part of the reason people have chosen to write about it and present it that way--the return," Walter Becker is saying now. "I don't argue with that. And frankly, in most cases, pointing out that in the intervening years we've produced several solo albums and various other things and movie soundtracks and produced albums for other artists does not seem to lessen the appeal of the good story of the guys who disappeared into the time warp and reappeared in the year 2000. People think in terms of the brand name, the collective artistic identity we've established for ourselves as Steely Dan, and they have a perfect right to persist in being more interested in that than they are in our own individual efforts or things we produce. I think it's perfectly valid.")
Now, they're on the road in support of Two Against Nature. It would not be hyperbole to say that it is, without question, the best Steely Dan album in 20 years.