Joni entered the ’80s in a despondent state: ‘Everyone realised at the brink of the decade that it was going to be a hideous era…’, she reported to Q magazine.
It didn’t help that her beloved ’69 Bluebird had been stolen from outside Tower Records on Sunset Boulevard on New Year’s Eve 1979.
She was also sued by her cleaning lady and then found herself headhunted by old friend David Geffen for his new record label, though their relationship were never easy.
Then there were Thatcher and Reagan and a simmering Cold War. But Joni’s new songs avoided politics completely (she’d make up for that later). Instead, buoyed by her relationship with new bassist Larry Klein and beguiled by The Police and Talking Heads she was hearing on the radio, she produced possibly her most romantic, upbeat album to date, released 40 years ago this month.
But while there are some concessions to hard rock, new-wave and reggae, Wild Thing‘s best tracks are the ones that most closely resemble the shimmering, jazzy, almost psychedelic tracks of the mid-to-late-’70s.
Larry Klein and Joni on their wedding day, 21 November 1982
It helped that many of her ’70s ‘repertory company’ were still in place at the dawn of the ’80s – singer James Taylor, percussionist Victor Feldman, drummer John Guerin, saxist Wayne Shorter and guitarist Larry Carlton.
Her new recruits were the new generation of hotshot session players: guitarists Mike Landau and Steve Lukather, keyboardists Larry Williams and Russell Ferrante, formidable ex-Zappa drummer Vinnie Colaiuta.
My point of entry for this album was superb lead-off track ‘Chinese Cafe/Unchained Melody’, the first music I’d ever heard by Joni. I was immediately a fan. It’s a moving meditation on love and loss with a haunting piano/bass motif and intricate Guerin drum part.
‘Be Cool’ and ‘Moon At The Window’ are classic Jazzy Joni. On the former, Klein stakes his claim as a worthy successor to Jaco while Shorter offers a witty, beautifully judged commentary on the latter. Klein in general gets a lot of space on the album – as much as Jaco got on Mingus – but he’s a totally different player (and doesn’t play fretless). His contributions make Wild Things one of the great bass records of the 1980s.
Larry Carlton plays a sublime accompaniment in the left channel on the elegant ‘Ladies’ Man’ (featuring more than a hint of Steely Dan’s ‘Third World Man’), while Joni surveys her lover’s ‘cocaine head games’ – one of several drug references on the album.
Some tracks are a curious but engaging mixture of hard rock and fusion – the title track, ‘You’re So Square’ and ‘Solid Love’ feature some dynamic, chops-infused interplay between Colaiuta and Klein, and it’s exciting hearing Joni pushing her vocals, singing with a lot of bite, though she probably should have left reggae well alone.
The closing ‘Love’ – appropriating Corinthians 13 11-13 – encapsulates all that’s good about Wild Things Run Fast: a beautiful vocal, superb and sensitive guitar playing from Steve Lukather and empathetic textures from Shorter and Colaiuta.
The 1983 touring band: Vinnie Colaiuta, Mike Landau, Joni, Larry Klein, Russell Ferrante
Joni toured Wild Things extensively with a band consisting of Colaiuta, Landau, Klein and Ferrante, dropping in to London’s Wembley Arena in 1983. Wish I had been there. Thankfully we have YouTube (see below).
The album was a minor hit, reaching #32 in the UK and #25 in the States, and the single ‘You’re So Square’ reached #47 in the US.
One’s appreciation of it probably depends on when you were born. People who adore Blue and For The Roses probably loathe this. But as my first exposure to Joni’s music, I hold it very dear.
As he says, if you were a music fan and under 30 in the 1970s, 1980s or 1990s, you probably spent every penny of your disposable income on albums. And there were serious decisions to be made. If you were in the HMV Megastore and found a couple of US rarities but only had enough cash for one, it was a very big call. Mike Stern’s Time In Place or Lyle Mays’ Street Dreams? Better choose right, it might be a few months before you could afford another cassette.
If you were awaiting a new album, after spotting the release date in Q or the Melody Maker, it wasn’t abnormal to visit your nearest record shop twice in a few days to check if it had arrived. In my teens, I remember enduring a 30-minute bus ride (each way) to my local Our Price specifically to buy It Bites’ Eat Me In St Louis and Larry Carlton’s Last Nite.
There were definitely a lot of moody ‘High Fidelity’-style shop keepers (always men), but some were more friendly/forthcoming. In a classic discounted store in Soho, I think Sister Ray’s, I remember handing over my Prefab Sprout Protest Songs and Van Halen Women And ChildrenFirst CDs and the assistant grinning and saying, ‘I thought I was the only person in the world who liked both of these albums!’
So I gave the record business a huge amount of my money in the latter half of the 1980s and 1990s. And, as we keep reading, ‘old’ music is hugely outselling ‘new’ music in 2022. Which brings us to my troubled relationship with Spotify. I’m hardly buying any new physical music at the moment. Convenient as it is, Spotify Premium is a lazy option.
I scour the music mags (these days mainly JazzTimes and Classic Pop) and always take the time to listen to every album that piques my interest. But unless it’s an absolute corker, I fillet the two or three good tracks onto a playlist, just as in the 1990s when I used to make cassette tapes of brilliant songs from less-than-brilliant albums. I’ve rounded a lot of them up on this playlist.
I’ve also recently bought a very long audio cable which connects my laptop to the big speakers in my living room, so I can listen properly to this stuff, albeit with all the attendant audio quality issues, but it still gives the illusion that I’m listening to an album ‘as the artist intended’. Balls. The artist is making close to no money from Spotify, unless the streaming numbers are in their multimillions.
So my troubled relationship with Spotify continues, especially as the cost of living rises and rises. Yes we take music where we find it and pay for ‘convenience’ but a far more conscious decision is needed to save ‘new’ stuff. And of course it would help if artists made sure every album track was a winner. Great artwork wouldn’t hurt too.
A triumph of solo guitar, and the only acoustic solo in this list, Bireli stunned the cognoscenti with this track from his 1988 Steve Khan-produced album Foreign Affairs.
36. Bros: ‘Chocolate Box’ (Guitarist: Paul Gendler)
Yes, Bros… Gendler had been a fully-paid-up member of New Romantic nearly-men Modern Romance before becoming an in-demand player on the UK scene, and he enlivened this hit with a raunchy, nimble classic.
35. REO Speedwagon: ‘Keep On Loving You’ (Guitarist: Garry Richrath)
Unreconstructed, huge-toned, double-tracked solo which revels in being almost out-of-tune throughout. Its sheer, brilliant in-your-faceness always comes as somewhat of a shock.
34. George Benson: ‘Off Broadway’
Slick, tasty solo from a truly great player, exploding out of the speakers from about 3:13 below. The tune is of course a Rod Temperton-penned, post-disco beauty from Give Me The Night.
33. Killing Joke: ‘Love Like Blood’ (Guitarist: Geordie)
This is ‘just’ a melody, but it’s a great melody, escalating in volume and intensity.
32. Phil Upchurch: ‘Song For Lenny’ (Guitarists: Phil Upchurch/Lenny Breau)
A couple of superb solos from a great, totally forgotten 1984 Upchurch solo album Companions. Breau stuns with his array of false harmonics and jazzy runs, while Upchurch brings the blues feeling.
31. Frank Zappa: ‘Alien Orifice’
It’s nice to hear Frank blowing over a few changes rather than his usual one or two-chord vamps. And he really gets a nice ‘flowing’ thing going here, right in the middle of one of his densest compositions. Starts at around 1:32:
30. Cameo: ‘A Goodbye’ (Guitarist: Fred Wells)
From the classic album Single Life, this solo goes way over and beyond the call of duty for an ’80s soul ballad. But it’s mainly included for its brilliant final flourish, spitting notes out like John McLaughlin. Who is Fred Wells and where is he now?
29. Rush: ‘YYZ’ (Guitarist: Alex Lifeson)
Hard to do without this flowing, creamy, Strat-toned classic on one of the great rock instrumentals of all time (though inexplicably it lost out to The Police’s ‘Behind My Camel’ at the Grammies…).
28. Kevin Eubanks: ‘That’s What Friends Are For’
A real hidden gem from the almost impossible-to-find Face To Face album, Eubanks lays down a short but beautifully-structured solo on a cool cover version, from about 2:45 below.
27. Steve Miller Band: ‘Abracadabra’
Good fun and totally unpredictable. Also notable for its lovely Spanish-style flurry of triplets in its last two bars.
26. Starship: ‘Nothing’s Gonna Stop Us Now’ (Guitarist: Corrado Rustici)
Cheesy? Maybe a bit, but who cares when it’s this well-structured and performed. Add a great tone, nice string-bending and a lovely phrase at the end and you’ve got a classic. Starts at 2:58:
25. Queen: The Invisible Man (Brian May)
May played a lot of great solos in the late 1980s, mostly on other people’s records (Holly Johnson, Fuzzbox, Living In A Box etc) but this one was just a kind of ‘play as many notes as possible in eight bars’ solo, and it’s a killer. From about 2:30 below:
24. Lee Ritenour: ‘Mr Briefcase’
Rit found the sweet spot on his Ibanez many times in the early ’80s, no more so than on this single that kicked off the classic Rit album. The solo also sounds double-tracked too, no mean feat considering the crazy bunch of 32nd notes at the end of bar 10.
23. Michael Jackson: ‘Wanna Be Startin’ Something’ (Guitarist: David Williams)
Not so much a solo as a suddenly-foregrounded riff, Williams became one of the most in-demand US session players after laying down this classic.
22. Pat Metheny: ‘Yolanda You Learn’
A marvellous, ‘singing’ guitar-synth solo from the First Circle album, rhythmically interesting and reflecting a strong Sonny Rollins influence, also closing with a cool quote from the standard ‘My One And Only Love’.
21. Frank Zappa: ‘Sharleena’ (Guitarist: Dweezil Zappa)
Frank’s son was apparently just 14 years old when he laid down this absurdly fluid cameo, at 2:05 below:
20. Eric Clapton: ‘Bad Love’
Nice to hear Eric pushing himself for once, delivering a striking solo played right at the top of the neck, demonstrating a mastery of string-bending and precise fingering.
19. Sadao Watanabe: ‘Road Song’ (Guitarist: Carlos Rios)
A classic rock/fusion solo, all the more impressive because it’s apparently double-tracked, from the album Maisha. Rios is still one of the most in-demand session players in Los Angeles (and one of the few leftie fusion players…), probably best known for his work with Gino Vannelli, Chick Corea and Lionel Richie.
18. Prince: ‘Batdance’
It’s the unapologetic volume and raucous tone, almost distorting it’s so hot in the mix.
17. David Sanborn: ‘Let’s Just Say Goodbye’ (Guitarist: Buzz Feiten)
Feiten seems a weirdly unrecognised figure in the guitar fraternity, but he contributed some great stuff to Sanborn’s seminal Voyeur album including this tasty break over a killer Marcus Miller/Steve Gadd groove. There are some lovely moments when Sanborn’s sax cuts in to augment his solo.
16. Paul Simon: ‘Allergies’ (Guitarist: Al Di Meola)
I love hearing ‘jazz’ musicians turning up on ‘pop’ records, and this is a classic of its kind featuring all of Al’s trademark licks in one short, tasty burst. It’s a lot more fun than listening to his solo albums, anyway… Starts at around 2:46.
15. Manhattan Transfer: ‘Twilight Zone’ (Guitarist: Jay Graydon)
At a time when he was getting much more into the production game, Graydon still found time to toss off a double-tracked showstopper on this hit single. All in a day’s work for the session genius who of course unleashed the famous solo on Steely Dan’s ‘Peg’. Speaking of which…
14. Steely Dan: ‘Glamour Profession’ (Guitarist: Steve Khan)
A mini masterpiece of precision and invention. Khan is given his head and takes the classic tune OUT in the last three minutes. When the chord changes, he changes. Stay right through the fade too – he plays some of his best stuff towards the end. Kicks off at 5:30.
13. King Crimson: ‘Elephant Talk’ (Guitarists: Adrian Belew/Robert Fripp)
Two great solos for the price of one on this Discipline opener. Fripp supplies the opening horn-like curio, then Belew adds some fire and a bit of famous elephantosity for good measure.
12. Living Colour: ‘Funny Vibe’ (Guitarist: Vernon Reid)
A classic modern blues solo from a modern master, adding excitement and elan to an already burning piece, helped along by Will Calhoun’s cajoling kit work.
11. Steely Dan: ‘Third World Man’ (Guitarist: Larry Carlton)
Another day, another classic Steely guitar solo, this one recorded in 1977 during the Aja sessions but not unleashed for another three years. Again, double-tracked for lasting power, featuring a superb mastery of tone and melody.
Sadly this is my only female entry in the list (more suggestions please), but it’s a fuzz-toned, anthemic treat, with shades of Santana and McLaughlin. From around 3:04 below:
9. The Police: ‘Driven To Tears’ (Guitarist: Andy Summers)
It’s the random, off-the-cuffness that appeals on this one. Summers sounds a lot more p*ssed off than usual, possibly reeling from yet another Sting jibe.
8. Steve Vai: ‘Call It Sleep’
Just a superb guitar composition from top to tail, but the moment at 1:22 when he stomps on the distortion pedal and rips it up is a great moment of ’80s music.
7. Propaganda: ‘Dream Within A Dream’ (Guitarist: Stephen Lipson)
Lipson modestly provided three or four extremely memorable guitar features during his golden ZTT period (not least Frankie’s ‘Two Tribes’), but this one gets extra points for its infinite reverb and a dynamite fuzztone.
6. Orange Juice: ‘Rip It Up’ (Guitarist: Edwyn Collins)
Just a funny two-fingers-up to the well-made solo, and also a fond homage to Pete Shelley’s famous break on Buzzcock’s ‘Boredom’.
5. Frank Gambale: ‘Credit Reference Blues’
Just wind him and watch him go. It starts slowly, almost wistfully, but then becomes a fire-breathing classic. Still scary after all these years.
4. Dire Straits: ‘Romeo And Juliet’ (Guitarist: Mark Knopfler)
The closing solo is just an oasis of choice phrases and unique tones.
3. Van Halen: ‘One Foot Out The Door’ (Guitarist: Eddie Van Halen)
Of course ‘Beat It’ is the industry standard, and possibly the greatest guitar solo of all time, but I’m going for this curio which closes out the oft-forgotten Fair Warning album. He just blows brilliantly over the changes with a gorgeous tone.
2. Jeff Beck: People Get Ready
The second and last solo is the one, a feast of Jeff-isms. A rare good bit from the rather poor Flash album.
1. Stanley Clarke: ‘Stories To Tell’ (Guitarist: Allan Holdsworth)
No chucking out any old solo for our Allan – this is a brief but fully-formed, perfectly structured, wide-interval classic that is easily the best thing about the tune. He seems to get a bit ‘lost’ in the middle, but then regroups for a stunning closing section over the rapid chord changes. Starts at 2:04:
I’ll never forget it. Circa 1990, I was on holiday with my parents in Kent, near the Cliffs of Dover.
A summer storm was chucking it down. Holed up inside, I flicked through some French music stations on my longwave radio.
Suddenly I heard this absolutely ridiculous guitar playing – deafeningly loud, hysterical, but totally precise, with great phrasing and notes that spluttered out in absurdly wide intervals.
The tone was heavily distorted but the feel was closer to jazz/rock than metal. And the rhythm section didn’t sound too shabby either.
By this time, I had heard Allan Holdsworth, Paul Gilbert, Yngwie Malmsteen, John McLaughlin, some pretty outrageous guitarists, but this was different. Who the hell was it? I strained my ears and just about heard the French DJ utter the words ‘Frank Gambale’.
Yes, it was the Italian-Australian wunderkind, the man who introduced so-called ‘sweep picking’ to a wider audience than before. And the album was revealed to be Live!, released 30 years ago this week and recorded at LA’s jazz/rock haven The Baked Potato on 21st August 1988.
What was really weird was that I had heard Gambale with the Chick Corea Elektric band before this, and even seen them live a few times, but he seemed pretty anonymous in that band.
Not here. To this day, ‘Credit Reference Blues’, ‘Fe Fi Fo Funk’, ‘Touch Of Brasil’ and ‘The Natives Are Restless’ sound like guitar landmarks.
But he was way more than a chops phenomenon – he’s an excellent composer too, clearly influenced by Chick Corea and Larry Carlton but with some moves all of his own.
The album also introduced me to the fantastic Joey Heredia on drums, a completely original player who can do fiery jazz/rock, spicy Latin and Police-style rock, sometimes all in the space of one tune. And the excellent keyboard player Kei Akagi was moonlighting with Miles Davis while playing some sh*t-hot stuff on this album.
Frank Gambale Live! was a key artefact in the golden age of shred guitar, and it gained him some crossover success with metal fans and lots of coverage in guitar magazines.
Sadly his solo career refused to fire after this release, with only moments of 1990’s Thunder From Down Under subsequently holding much interest for me, but this was a sporadically brilliant live jazz/rock album – and one of the best. (It has to be said, there’s not much competition – Larry Carlton’s Last Nite, Weather Report’s 8:30, Jeff Beck With The Jan Hammer Group Live!, Mahavishnu’s Between Nothingness And Eternity, and…er…)
They are of course the pop/jazz masters whose harmonic and lyrical sophistication have had the critics purring since 1972.
They’ve also often been described as ‘influential’. But is that true? Does any other music sound remotely like Steely Dan?
In the 1980s, the term ‘Steely Dan-influenced’ was bandied about particularly in relation to British bands of the ‘sophisti-pop’ variety: The Big Dish, Style Council, Everything But The Girl, Curiosity Killed The Cat, Hue & Cry, Sade, Swing Out Sister, even Prefab Sprout and Deacon Blue.
More recently, it’s The High Llamas, Athlete, Mark Ronson, Toy Matinee, The Norwegian Fords, Mayer Hawthorne, State Cows and even Pharrell.
None really sound like Steely. Sure, they show off some slick grooves, jazzy solos and nice chord changes. But they also generally scrimp on the hooks, harmonic sophistication, production values and soulful, distinctive vocals which characterise Becker and Fagen’s oeuvre.
However, there are random tracks over the years – by artists one wouldn’t necessarily have predicted – that have seemingly ‘cracked the code’.
Here’s a smattering, not all necessarily from the ’80s. More suggestions welcome if you can think of any.
10. Billy Joel: ‘Zanzibar’
Lush production (Phil Ramone), cool chords, great arrangements, biting Fagenesque vocals, quirky lyrics and nice guitar from Steely regular Steve Khan. Also featuring two kick-ass solos by trumpet/flugelhorn legend Freddie Hubbard.
9.The Stepkids: ‘The Lottery’
Underrated American psych-soulsters deliver jazzy weirdness, a nice groove, oblique lyrics, cool chords, memorable hooks and a distinctly Fagen-like croon from vocalist Tim Walsh.
8.The Tubes: ‘Attack Of The 50ft Woman’
The bridge and backing vocals always remind me of Steely, and I’m sure the boys would also appreciate the ‘50s B-movie lyric concept and ‘easy listening’ middle eight.
7.Danny Wilson: ‘Lorraine Parade’
The Dundonians’ superb debut is full of Dan-ish moments but this (sorry about the sound quality) could almost be an outtake from Katy Lied. See also the B-side ‘Monkey’s Shiny Day’.
6. Frank Gambale: ‘Faster Than An Arrow’
The Aussie guitar master swapped the chops-based fusion for this slick, lushly-chorded, Steely-style shuffle. Gambale sings, plays piano and guitar and also wrote the excellent horn chart.
5.Maxus: ‘Nobody’s Business’
The AOR supergroup came up with this standout in 1981. Jay Gruska’s vocals and Robbie Buchanan’s keys particularly stand out as Steely-like (apologies for the creepy video).
4. Cliff Richard: ‘Carrie’
More than a hint of ‘Don’t Take Me Alive’ in the chorus, lovely production and Cliff does a neat Fagen impression throughout. And hey, isn’t that ‘Mike’ McDonald on backup? (No. Ed.) Apparently co-songwriter Terry Britten was a huge Steely fan (as Cliff told this writer during a live radio interview circa 2008).
3.Boz Scaggs: ‘We’re Waiting’
Steely regulars Michael Omartian, Victor Feldman, Jeff Porcaro and Chuck Findley contribute to this enigmatic cracker which could almost be an Aja outtake. The oblique lyrics possibly relate to Hollywood in some way. See also Boz’s ‘Gimme The Goods’ which sounds suspiciously like ‘Kid Charlemagne’.
2. Tina Turner: ‘Private Dancer’
This Mark Knopfler-written gem pulls off the Steely tricks of simple melody/elaborate harmony and a risqué lyrical theme. There’s also more than a touch of ‘FM’ in the intro riff. Knopfler was always a big Dan fan and of course guested on ‘Time Out Of Mind’. See also Dire Straits’ ‘Private Investigations’ whose outro bears more than a passing resemblance to ‘The Royal Scam’.
From one of the biggest-selling debut albums in US chart history, this features the production/piano skills of Omartian, backing vocals from McDonald and a majestic guitar solo by Dan legend Larry Carlton. See also ‘Minstrel Gigolo’ from the same album.
In a previous piece about Robert Cray, I talked about ‘touch’ guitarists, those whose sounds are almost entirely in their fingers and not dependent on pedals or amps.
Larry Carlton is certainly one of them. He played some of the great guitar of the 1970s with Steely Dan, The Crusaders, Michael Jackson and Joni Mitchell, his sound characterised by a deceptively ‘sweet’ take on the blues, alongside elements of jazz and rock. In the early ’80s, he put out some fine studio albums including Sleepwalk and Friends, but ’87’s Last Nite was his first official live release.
And what an album. In 1987, I was a big fan of his playing with Steely Dan but had never heard any of his solo stuff. A glowing review of Last Nite in Q Magazine sent me scuttling off to my local Our Price. Recorded on 17th February 1986 at the Baked Potato club in North Hollywood, the album is Larry uncut, blowing on a mixture of originals and jazz standards, with no thought of commercial or airplay potential.
It’s hard to think of another guitarist who could cover such a stylistic range so effortlessly. He kills on the slow blues, tears up the fast Texas-style shuffle, delivers deliciously ‘out’ fusion on the title track and swings his ass off on ‘All Blues and ‘So What’, though with a pleasingly piercing tone as opposed to the warm sound favoured by most ‘jazz’ players.
He’s also endlessly melodic, producing memorable phrase after memorable phrase. But don’t be fooled by the beatific expression and cream jacket – he isn’t afraid of throwing in some pretty wacky modal curveballs too.
Another key aspect of Last Nite is Carlton’s band. He uses the cream of the LA studio scene – John ‘JR’ Robinson on drums, Abe Laboriel on bass, Alex Acuna on percussion – and brings them right out of their comfort zone. Apparently they didn’t know ‘So What’ and ‘All Blues’ were on the setlist until Larry called them.
JR in particular is a revelation, sounding like he’s been cooped up in the studio for far too long. And who knew he could swing like he does on the jazz cuts. Keyboard player Terry Trotter also impresses with his rich voicings and empathetic accompaniment.
Sadly, Last Nite turns out to be a bit of an anomaly in Larry’s discography, marking the beginning of an era when he was veering more and more towards a much smoother studio sound. But he’s always ripped it up in the live arena and has spent a lot more time on the road in his later years.
When I was about 12 or 13 years old, I was obsessed with my dad’s very old ABC Records cassette of Steely’s Greatest Hits.
It may have been the opening eight bars of ‘Do It Again’ that did it. I never looked back; they quickly became my favourite ‘band’, and remain so to this day.
I heard Gaucho – which turns 35 today – a few years later, maybe in 1986 or ’87, not even knowing of its existence until then. The album knocked me out. I practiced my drums to it every day.
By all accounts, it was a laborious and very expensive record to make, with various obstacles: whole songs were inadvertently erased (‘The Second Arrangement’) and other classics shelved.
Walter Becker endured a serious injury after being hit by a cab and there was even a lawsuit from Keith Jarrett regarding the similarity between the title track and his 1974 composition ‘Long As You Know You’re Living Yours’.
But it all paid off in the end; Gaucho was sumptuously mixed and mastered with songs that were built to last. Guitarist Steve Khan was a key contributor to Gaucho. Along with Larry Carlton, he would seem the perfect player for their later work, combining a jazz sensibility with a great feeling for the blues and also speedy sight-reading skills.
I was delighted to catch up with Steve from his New York base to talk about his role on the albumand the ‘Glamour Profession’ session that led to one of the great guitar solos in the Steely canon.
On getting the call to play on Gaucho:
SK: I had played on almost all the tracks for Gaucho (even though I was erased from some, and some tracks didn’t survive), so I was a pretty healthy part of that recording. As to why they thought of me, who the hell really knows? Donald tends to like players who have a jazz sensibility but who also have a bluesiness or soulfulness about their playing. I guess, in his eyes, I fall into that category of possibilities. I was the last thing to go on ‘Glamour Profession’, just as I was the last one to go on ‘Third World Man’ as well.
‘Glamour Profession’ lead sheet, prepared by Steve Khan. Click to enlarge
On playing the ‘Glamour Profession’ rhythm parts:
SK: The first thing we did was all the rhythm parts. In a sense that was very simple because they just wanted me to double what some kind of synth had already played – probably sequenced – and with perfect time. At about 3:30 in the track, there’s a little four-bar guitar chorale that Donald wanted me to play, so we wrote out the four voices and I played each voice individually, giving each one a touch of ‘soul’ with a little personal phrasing and vibrato here and there. Then, I think that we returned to doing the rest of the rhythm part. Honestly, I don’t recall if I did the rhythm part on my Telecaster Custom or not – when I listen now, there’s a crispness to the sound which leads me to believe that this was the Tele.
On recording the famous ‘Glamour Profession’ solo:
SK: I used my new Gibson ES-Artist (with active electronics) – which is really a 335 – and after that solo, I never used it again – I sold it back to Manny’s Music! In the end, all the fancy things that they can do to guitars are fine but everything comes down to one’s touch, and I’m mostly speaking about the fingertips on the left-hand. If one has a good touch, the music will translate through virtually any amp. Equipment is just a tool.
In concept, the solo represents a lot of linear concepts that I had been working on for years. And only in hindsight, many years later, after the publication of my second theory book ‘PENTATONIC KHANCEPTS‘, I hear these kinds of linear ideas at work. Based upon the chord progressions, it all seemed to work perfectly because, in the end, it is a combination of the angular with a bluesy feeling to it – and that’s what Donald and Walter like – with a touch of harmonic sophistication. I think that the things that I was working on, a long time ago, in terms of other approaches to changing up the normal jazz/bebop-oriented construction of lines, seemed to be very present on ‘Glamour Profession’. If you apply the Pentatonic Khancepts to those chords, you’ll see/hear exactly what I was doing then, mixed in with a healthy dose of blues too.
The horns and the synth lines were already there, so it becomes like playing through a bit of a minefield because you have to dance around those other linear elements. I did one complete take which I actually liked very much. Then, of course, they asked me to do another one. Because of track space, I couldn’t have done more than three of them. Then, thank goodness, I think that we all felt that the first one had the most ‘meat’ to it, and so we would work from that. Then we went back through it. They kept all the phrases that they loved and asked me to try something else in a number of spots. Whether I wanted to or not, it’s still a job and you do what you are asked to do!