Sounds Like Steely Dan?

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, 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 little-known 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’.

1. Christopher Cross: ‘I Really Don’t Know Anymore’

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.

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Book Review: Steely Dan FAQ by Anthony Robustelli

The general consensus seems to be that there’s relatively little published analysis of Steely’s work. But is that accurate?

Brian Sweet’s ‘Reelin’ In The Years’ was uncritical but biographically exhaustive; Don Breithaupt’s Aja book was excellent on The Dan’s musical methods, while Ian MacDonald wrote briefly but evocatively about Gaucho (probably my favourite album of the 1980s). And then of course there are the intriguing, sometimes amusing ‘geek’ websites Fever Dreams and The Steely Dan Dictionary.

So it seems there’s actually quite a lot out there, but all the same I was intrigued when ‘Steely Dan FAQ (All That’s Left To Know About This Elusive Band)’ appeared recently. Is there anything left to ‘know’?

The first thing to say about the book is that it’s hard to know exactly which ‘frequently asked questions’ it’s answering – it’s structured more in the style of Omnibus Press’s old ‘Complete Guides’ series, with chapters on individual albums containing summaries of each song. Then there are some extra sections dealing with Steely’s early days, their concert history, session players and solo projects.

But, despite its rigid structure and a lack of any input from the two protagonists, ‘Steely FAQ’ comes up with some nice surprises. Robustelli is particularly good on Dylan and The Beatles’ influence on Becker and Fagen’s songs. There’s the odd musical detail which hits the spot (during ‘Show Biz Kids’, I’d never noticed that guitarist Rick Derringer references Elliott Randall’s famous ‘Reelin’ In The Years’ solo after the ‘They got the Steely Dan t-shirts’ line) and there are some excellent, rare photos throughout.

Steely in all their scuzzy glory circa 1973. From left: Jim Hodder, Walter Becker, Denny Dias, Jeff ‘Skunk’ Baxter, Donald Fagen

The book is good too on the recent history of the Dan (though musically it’s an era I generally struggle with), with everything you’d ever need to know about the albums and tours since the 1990s. There’s also a great chapter on cover versions, many of which I’d never heard (including Earl Klugh, The Pointer Sisters, Howard Jones, Dave Valentin, Grover Washington Jr. – approach them at your peril…).

On the minus side, musical/lyrical analysis is often scant and/or inaccurate – Michael Omartian’s solo piano outro on ‘Throw Back The Little Ones’ is described as ‘discordant’; the song ‘Pretzel Logic’ is summarised as ‘their first shuffle’ (what about ‘Reelin’ and ‘Bodhisattva’?) and the tutti line that kicks off ‘Parker’s Band’ is falsely characterised as a ‘dissonant chord’. It’s weird too that Robustelli doesn’t mention the websites listed above and pretty much ignores their (sometimes) excellent lyrical analysis in his song summaries.

But, in the end, the success of such a book is measured by whether it takes you back to the music with a fresh ear; ‘Steely Dan FAQ’ certainly does that, despite its shortcomings and rather matter-of-fact style. It’s well worth chucking into your holiday bag this summer.

‘Steely Dan FAQ’ is published by Backbeat Books.