Steely Dan's 12 greatest songs

As a child of the ’70s, I can attest to the undeniable impact and influence that Steely Dan had on the music scene during those golden years. Their unique blend of jazz and rock has left an indelible mark on my musical soul.

To clarify from the start, you won’t find any tracks from “Aja” or its successor “Gaucho” on the subsequent list. I bring this up because I understand that “Aja,” Steely Dan’s sixth album, is adored by numerous fans. However, it’s safe to say that an equal number of fans dislike it, and I fall into that category.

Sure thing! “While I appreciate the skill and creativity behind its production, I must admit that it’s not my favorite of their six albums. To me, Aja lacks the energy and vibrancy that defined their earlier works. I can tolerate songs like ‘Josie’ and ‘Black Cow,’ but they don’t make it into my personal top 12.”

1. They’re not even remotely similar. As for those celebrated tunes – “Peg,” “Deacon Blues,” and the single from that period, “FM” – I find them incredibly sleep-inducing (a word that Donald Fagen might have used in a lyric.)

The 12 best songs by Steely Dan

Regarding Gaucho, I haven’t met many people who are particularly fond of it. It’s almost like Aja’s younger sibling. If you enjoy Aja, there’s a good chance you might appreciate Gaucho too – although probably not to the same extent.

Instead of criticizing Dan later on, let’s focus on the positive aspects. I’m genuinely fond of their first five albums, and Steely Dan made a powerful debut in 1972 with “Can’t Buy a Thrill.” This album produced two top twenty hits and combined various musical genres with sharp lyrics. At first, they were much like any other five-piece band, but a sixth member occasionally lent vocal support.

The heart of the band consisted of college friends Donald Fagen and Walter Becker from Bard College. They primarily composed the songs. Fagen handled keyboard duties and provided vocals, while Becker played bass. Denny Dias and Skunk Baxter were on guitar, and Jim Hodder was on drums. Since Fagen wasn’t entirely at ease with handling all the singing, they also brought in David Palmer to share the vocal responsibilities. I had the opportunity to witness this lineup perform in 1973.

I hadn’t realized how lucky I was back then. A couple of years down the line, when they released their exceptional third album, “Pretzel Logic,” touring had come to an end. The idea of being a band also seemed to have faded away. Fagen and Becker disliked touring and opted to let go of the other musicians, focusing instead on creating their unique vision in the studio with the help of skilled session players.

1. Baxter linked up with the Doobie Brothers; Hodder gained recognition as a sought-after session drummer. Dias was among the gifted musicians that Fagen and Becker would summon for their future projects, although he wasn’t an official band member himself. I can’t seem to find information on what happened to Palmer.

In a natural and easy-to-read way,

Before we begin the countdown, let me mention this: If you’re still with me so far, there’s one track from Steely Dan’s later work that I think deserves a place in this list. This doesn’t mean I’m completely old-fashioned and only appreciate their early music – I’m somewhat old-fashioned but not entirely.

10. “Dirty Work” from Can’t Buy a Thrill (1972)

Let me clarify Donald Fagen’s vocal style. Some listeners might find it as unpleasant as hearing nails on a chalkboard, but I certainly don’t fall into that category. While Fagen’s voice does have a high pitch and some grittiness, I believe these qualities add a unique charm to their most memorable tunes. However, not everyone shares this viewpoint.

It’s true that some find difficulty in appreciating Dan’s later, flowing, improvisational jazz pieces because Fagen’s voice may not be perfectly suited for those compositions. A song like “Peg” might have sounded more appealing if it had been sung by a traditional vocalist with a more polished style.

The reason for the discussion about Donald Fagen is that “Dirty Work” is the only track on my playlist where he didn’t provide the vocals. Instead, David Palmer sang it. Now, neither of them are exceptional vocalists, but they both excel in this particular song because it’s exceptionally good and Palmer allows the tune to shine without overpowering it. The song has a jazzy feel with a saxophone and flugelhorn creating an atmospheric backdrop. Additionally, Fagen’s gritty background vocals add some edge during the chorus.

Instead of parting ways with Palmer, the band probably made a wise decision. Occasionally, I ponder how their later, more jazzy albums might have turned out if he had returned to contribute his vocals to several tracks.

11. “Do It Again” from Can’t Buy a Thrill (1972)

“The first Steely Dan song that most fans became familiar with was ‘Do It Again.’ This track was featured on their debut album and served as their initial single (excluding ‘Dallas,’ which didn’t chart.) From its catchy opening percussive rhythm and the intricate blend of Fagen’s keyboard pulses and various guitar accents, the song is immediately captivating.”

Fagen often incorporates stories into his songs, and this particular tune seems to echo the style of an old western – a theme he would later revisit in “With a Gun” from the album “Pretzel Logic“. This moment was particularly memorable for Denny Dias, as his unique, offbeat sitar solo showcased just how distinct this band’s sound was compared to others during that period.

10. “Bad Sneakers” from Katy Lied (1975)

Katy Lied, in 1975, represents the initial hints of the evolution towards a more relaxed jazz style that would peak with Aja. However, Fagen and Becker were deeply committed to well-defined song structures at this time. This means you get the benefit of intricate rhythms and creative instrumentation, while also enjoying the vitality and structure that characterizes their work.

By this stage, Becker was handling more guitar parts, and he added a delightful solo to the mix. Pay attention, and you’ll notice an additional, soulful voice joining Fagen’s lead vocals, courtesy of Michael McDonald, who lent his harmonies during their tours. Later on, McDonald would join Skunk Baxter in the Doobie Brothers, eventually becoming a significant creative influence for the band during the latter half of the 1970s.

9. “Doctor Wu” from Katy Lied (1975)

I love “Dr. Wu,” and it is a moody, jazzy, impenetrable composition. So don’t tell me I can’t enjoy the jazzier side of Steely Dan. I love the mystery of Fagen’s lyrics. I love the ultra-jazzy alto sax solo from Phil Woods. I think it is one of Becker and Fagen’s finest compositions.

As a fan, I must confess that while the original version of “Aja” by Steely Dan is indeed beautifully produced, what truly grabs me is the raw, edgy interpretation of the Minutemen. Instead of a polished, luxurious soundscape, these post-punk pioneers offer a jagged, unrefined take on the song that lasts barely over a minute but encapsulates its essence perfectly. Of course, I hold the original version in high regard too. For an exciting comparison, give both versions a listen and decide which resonates more with you.

8. “Godwhacker” from Everything Must Go (2003)

If Steely Dan’s later work retained the vitality and jazz-funk rhythm that this piece exhibits, I would find myself listening to it more frequently. Becker’s bassline propels the song dynamically. The robust R&B harmonies from Tawatha Agee and Catherine Russell lend an additional layer of flavor. The track carries a powerful gospel vibe while maintaining its rock edge. Fagen throws in a captivating, slightly twisted synth solo midway to keep things intriguing.

Fagen and Becker weren’t shy about expressing political views, but they didn’t do so frequently. This particular track, coming from their ninth and last studio album together, seems like a subtle commentary on global affairs. After “The Royal Scam,” they generally steered clear of explicit political statements. By the way, their most direct political song, which would have been included if I had extended the list to fifteen, is “Barrytown” from “Pretzel Logic.”

7. “Charlie Freak” from Pretzel Logic (1974)

Discussing the album “Pretzel Logic“, it is widely agreed that it contains some exceptional songs. Among them, “Charlie Freak”, a melancholic and rhythmic depiction of a neglected addict, might be its least recognized gem. Stevie Wonder’s piano introduces the track with a foreboding melody. The music gradually builds upon itself as the narrative unfolds towards its heartrending end. Despite lacking solos, the composition creates one of the most dramatic pieces that Donald Fagen has ever produced.

As a longtime music enthusiast who has spent countless hours poring over lyrics and analyzing the nuances of various artists’ works, I can confidently say that “Charlie Freak” from Steely Dan’s album “Pretzel Logic” stands out as one of my favorites. This underrated gem, nestled at the end of an already impressive collection, is a testament to the band’s ability to craft poetic lyrics that resonate deeply with listeners.

6. “Any Major Dude” from Pretzel Logic (1974)

As a longtime fan of Steely Dan, I have always been captivated by their unique blend of jazz and rock music. “Any Major Dude” is one of my favorite songs from them because it showcases their ability to create a warm and reassuring atmosphere through their music. Having grown up listening to this song, I can attest that it holds a special place in the hearts of many fans, myself included.

Fagen and Becker often displayed dry wit, sarcasm, and irony. They frequently did so. However, on the album “Pretzel Logic“, despite some tracks with a harder edge, they appear to be exploring themes of rebirth rather than on their other albums. As they say, “When the devil knocks at your door – In the morning it won’t be there anymore. Any wise man will confirm this.”

As a long-time fan of Steely Dan and Donald Fagen’s distinctive voice, I can confidently say that this song was made for him. His gritty edge prevents it from sounding overly sweet or syrupy, which is something I appreciate as someone who values authenticity in music. If Walter Becker (Palmer’s real name) were still with the band, he might have sung this song, but I believe that Fagen’s interpretation takes it to another level. The result is a track that I think would have been good regardless, but the way it turned out is exceptional.

5. “Black Friday” from Katy Lied (1975)

“Black Friday” doesn’t have a thrilling vibe; it more so moves with a gritty, funky rhythm reminiscent of blues. It seems as though Steely Dan took inspiration from the Doobie Brothers’ “Black Water” from the previous year and created their own interpretation. Although the songs don’t sound similar, they both originate from the same murky source. Becker adds a lively guitar solo to his composition, which was absent in “Black Water.”

In simpler terms, the song “Black Friday” has a very different tone compared to “Black Water.” While Fagen frequently dealt with heavy topics in a sarcastic manner, “Black Friday” portrays an apocalyptic scene. What makes it unique is the harmonious collaboration among all musicians, something that Fagen and Becker sought when they disbanded. At 35, Chuck Rainey was a well-known bassist, while Jeff Porcaro, at just 21, was an emerging star drummer. They both significantly contribute to the song’s rhythm. Essentially, “Black Friday” showcases Steely Dan performing optimally.

4. “Rikki Don’t Lose That Number” from Pretzel Logic (1974)

From the album “Pretzel Logic,” Steely Dan’s most successful single yet was the first track. This song climbed to position four in the USA and reached third place in Canada. Interestingly, it starts with an uncommon instrument for a hit American single, a flapamba. After that, a rhythmic shuffle kicks in. The laid-back drumbeat by Jim Gordon forms a comforting foundation for a song centered around reassurance. Similar to “Any Major Dude,” this track is about recovery – the journey back to tranquility after a stormy period.

1. Skunk Baxter’s performance here is one of his last triumphs, and he delivers an outstanding solo right before the bridge. Stepping back from the piano, Fagen lets Michael Omartian take over, creating a melancholic/optimistic mood that perfectly suits this melancholic/optimistic song. This tune is unique in that it has been reinterpreted in multiple ways, ranging from jazz instrumental and vocal arrangements to classical guitar versions, all the way to a fantastic bluegrass cover by Frank Solivan & Dirty Kitchen just a few years ago.

3. “Show Biz Kids” from Countdown to Ecstasy (1973)

As an ardent admirer, allow me to express my perspective on “Countdown to Ecstasy,” a groundbreaking album that served as a sequel to their debut masterpiece. Contrary to some opinions, it wasn’t a disappointment; rather, it showcased a different side of the band’s artistic prowess. While it may not have been as radio-friendly as its predecessor, with “My Old School” being the notable exception, songs like “Show Biz Kids” offered an early glimpse into the band’s extraordinary potential.

The song possesses an unusual melody and arrangement that’s hard to identify. Its chorus sings a phrase that still eludes clear understanding. It’s intricate, enigmatic, and features instances where they mention their own name and casually insert a word considered inappropriate for radio play.

Rick Derringer’s slide guitar dominates the entire tune, from the initial notes right through to the final quieting, and the fact that Baxter and Dias aren’t present in the recording might be a hint of things to come. However, I feel compelled to mention a counterpoint about my affection for this song – there was a Reddit discussion last year titled “Why does everyone seem to hate Show Biz Kids.” I didn’t delve deep into it. Interestingly, many who responded did so to express their genuine appreciation for the song. It seems that sometimes, Reddit can be surprisingly spot-on.

2. “Kid Charlemagne” from The Royal Scam (1976)

As a gaming enthusiast, let me share my thoughts on Steely Dan: They weren’t your typical rock band, not in the traditional sense. Unlike the conventional rock & roll bands, they weren’t strictly a band, as you might expect. Their music was more of a fusion, a blend of various genres, making each song unique and layered. Although “Kid Charlemagne” may seem like a hard-rocking tune, it still carries an intriguing mix – a funky groove with a jazz structure, offering a rich tapestry of sounds that make it stand out.

Instead of just one, there are two exceptional, moody guitar solos by Larry Carlton, which stand out as some of the finest in any Steely Dan track. On the other hand, Chuck Rainey, who delivered a superb bass line on “Black Friday,” takes it up a notch here with an even funkier groove.

Who specifically is Kid Charlemagne? This question mirrors the enigmatic style often found in Fagen/Becker’s compositions. It subtly alludes to a lost purity without explicitly stating whose purity it refers to or detailing its cause. From The Royal Scam, I have chosen this song; however, other options like the energetic “Caves of Altamira,” the despairing “Don’t Take Me Alive,” and the majestic, yet futile “The Royal Scam” could also have been included. As individual songs, they may not be as effective as those mentioned. However, when listened to as a complete album, The Royal Scam shines as Steely Dan’s finest conceptual masterpiece. It is arguably their best album in its entirety.

1. “Reelin’ in the Years” from Can’t Buy a Thrill (1972)

Some things are inviolate. Like Elliott Randall’s iconic guitar riff that opens “Reelin’ in the Years.” You hear it and you instantly recall a scene from your past. “Reelin in the Years” is not as lyrically complex as Dan would get in later years. It’s a pretty straightforward f**k you to a former lover. It has the snarky wit that you’d expect, but lyrically, it’s just a jazzy rock take on “Don’t Think Twice, It’s All Right.”

But that guitar. That guitar elevates a clever, catchy tune into the rarefied air reserved for classics. I’ll end by sharing an opinion from a music fan I know who wasn’t around when Steely Dan was big. He is on the cusp of Gen Y and Gen Z, and his ranking of the top ten Steely Dan songs is simple. “Reelin’ in the Years” – ten straight times.

2024-08-10 13:01

Steely Dan’s 12 greatest songs