2013 Steely Dan Interviews

Steely Dan on Making New Music: 'We've Been Talking'
Band kick off 53-date Mood Swings tour this weekend


By Andy Greene
July 18, 2013 11:40 AM ET

Interviewing Steely Dan is no easy task. Walter Becker and Donald Fagen turned messing with journalists into an art form back in the Seventies. Rolling Stone checked in with Becker and Fagen during the final days of rehearsal for their upcoming 53-date Mood Swings American tour. It kicks off on July 19th in Atlantic City and runs through October 8th in New York. Select shows will include complete performances of Aja, Gaucho and The Royal Scam.

We spoke with Fagen first, and he lulled us into a false sense of security by casually answering our questions in a relatively straightforward manner. A couple of hours later, Becker called. He was a little less cooperative, though equally sardonic. The pair talked about choosing songs for this tour, the possibility of a new Steely Dan record, their aging fan base, what songs they're sick of playing and many other topics.
.....

Read the full interview HERE in Rolling Stone.

And here's one from Scene HERE.

Awesome Donald Fagen Interview from 2006 about His Bard Days

Back to Annadale
The origins of Steely Dan -- Donald Fagen returns to campus and revisits the origin of his old grudge
By Rob Brunner on Mar 17, 2006

On Halloween 1967, a party is raging inside Ward Manor, an Elizabethan-style mansion-turned-dorm at Bard College, in Annandale-on-Hudson, N.Y. On a small stage set up in the corner of the common room, a band called the Leather Canary tears through the Rolling Stones' ''Dandelion,'' Moby Grape's ''Hey Grandma,'' and Willie Dixon's ''Spoonful,'' along with a few recently penned originals. It's a typical late-'60s student shindig — most of the audience is tripping on acid — but it's hardly an ordinary band. Behind the drums is Chevy Chase, familiar around campus as a gifted musician and good-natured goofball who's been known to drop his pants after losing late-night games of ''dare'' poker. Just in front of him is a long-haired muso named Walter Becker, one of the school's most accomplished guitarists. And the shy singer behind the electric piano? That's Don Fagen, decked out in a leather jacket with feathers attached to it (hence the band's name). Just a few years later, Chase will find fame as one of the greatest comedians of his generation. Fagen and Becker, meanwhile, will evolve into Steely Dan, score huge hits with songs like ''Rikki Don't Lose That Number'' and ''Reelin' in the Years,'' and create several of the most beloved and enduring albums of the 1970s. And in 1973, on their second LP, they will record ''My Old School,'' an angry kiss-off that, for reasons that have never been entirely clear, takes a very public swipe at Bard. ''California tumbles into the sea/That'll be the day I go back to Annandale,'' Fagen famously sings. ''I'm never going back to my old school.'' You can practically hear him sneer.

Almost four decades after that Halloween gig, Donald Fagen is back at Ward Manor, gazing around the very same common room. In many ways, this quiet lounge — its ornate wood-paneled walls and elaborately plastered ceiling unchanged after all these years — is where Steely Dan sputtered to life. Fagen and Becker both lived here, and they wrote their first, now-forgotten songs together on an old piano that disappeared from the corner years ago.
....
Read the whole interview in Entertainment Weekly HERE.

Mongolian Metal Band Ego Fall: Metal + Overtone Singing!

Astronaut Chris Hadfield Sings Space Oddity in Space

Bonnie Raitt's Cover of Randall Bramlett's "Used To Rule the World"

A great blues ode to the fall of aged winners:

Then listen to his intro anecdote about her request to change one line:

I heard Raitt's cover first. Interestingly, the line I think is best is the one Bonnie Raitt changed. Original: Miss Cocktail Dress, looking in the bathroom sink, did anybody find the ring? Raitt's: Miss Cocktail Dress, standing at the bathroom sink, looking for a back way out. The new line is so much more pathetic and desperate, the difference between misplacing something (first version and a theme in the song) and an unfortunate/bad choice (the second), a potent image that suggests a hope gone wrong set within an implied bigger failure. Subtle, but some serious lyric chops there.

Freddie Mercury Riding Darth Vader

Javanese Gamelan Cover of a Gang of Four Tune

I can't believe I'm typing it, but here is a gamelan version of a 1979 Gang of four tune "Not Great Men," which is basically a tune about how the powerful have hegemony over the telling of history.

Here's a version of that tune, a remake GOF did:


or you can check out the lyrics:
Not Great Men

No weak men in the books at home
The strong men who have made the world
History lives on the books at home
The books at home

It's not made by great men
It's not made by great men
It's not made by great men
It's not made by great men

The past lives on in your front room
The poor still weak the rich still rule
History lives in the books at home
The books at home

It's not made by great men
It's not made by great men
It's not made by great men
It's not made by great men

The past lives in the books at home
No weak men in the books at home
History lives in the books at home
The books at home

It's not made by great men
It's not made by great men
It's not made by great men
It's not made by great men

Now here's the gamelan version. How the heck did they choose this to cover?

Gang of Four Videos

Gang of Four was the best British neo-marxist funk rock band in the world. They came out of the wave of UK bands after the initial punk explosion and thus often got pegged as new wave, but they were really quite unique, powered by Andy Gill's ridiculously huge sounding guitar and Jon King's anguished vocals. The group's bleak lyrics seemed appropriate for the bleakness of the UK and then global recession, the beginning of the Thatcher years, soon to be followed the next year by the Reagan years. I saw them live a couple of times, probably in 81 and 82, and they were fantastic. King and Gill had such total conviction and the band had a tight massive sound. I love the way they played "Paralyzed" in near darkness before roipping into more uptempo tunes. One tour I saw them after they had replaced their original bassist and had Busta Jones playing bass, and when King and Gill started flying around the stage with this huge angry distorted guitar sound, Jones looked like he didn't know what the hell was happening. No problem, he just stayed in his groove and the band killed. I remember at one point near the end Gill was playing his spastic whack distorted guitar and he started doing it with a beer bottle. The sliding distortion sounded even more intense and strange, but I was up close and could see that he was doing it with his stage beer and it was rather full and the top was off, so while he was tearing off his clippy distorted stuff the beer started foaming out of the top of the bottle. This seemed to inspired Gill, who never broke a smile the whole concert, to jab at his guitar with the bottle even harder, which produced even more foam! Those were great shows that I can remember the feel of thirty years later.

GOF have reformed a couple of times, and very recently Gill and King were out with a new rhythm section. Their old music still sounds fresh; what high praise that is after 31 years.

Check out a rolling Stone review of them playing in 2011:
Early in the set, singer Jon King recalled being there when the venue was called the Ritz – three decades ago. There was also the eerily identical resonance of the rallying choruses and aggro-dance relief in the band's reignitions of the 1979 single "At Home He's a Tourist" and the metallic '81 goosestep "To Hell With Poverty": howling broadsides against unchecked greed, suffocating conservatism and narcotic pop culture. In King's chanted provocations – from the blunt helplessness of "Not Great Men" on Gang of Four's master argument, 1979's Entertainment!, to the furious entrapment in "Do as I Say" from the group's new album, Content (Yep Roc) – little had changed, except for the worse.

In the music, little has changed, because it is unnecessary." read the rest HERE.

So I've been trying to find as much video from their heyday, and there isn't a lot easily available, but enough to remind me of what I saw.
I love Gill and King on this clip from British TV's Old Grey Whistle Test (1981, I'd love to see more of this). Sadly, the drummer and bassist screw up the break (the bastards!).


At Home He's a Tourist (1980)


Damaged Goods (low quality) 1980


Anthrax (1980)



Not Great Men from Atlanta, 1980:


He'd Send In His Army (1981) Badass intro:


What We All Want (1982)


I love a Man in a Uniform (1982)


At Home He Feels Like a Tourist (1983)

Geezer Rock

David Bowie performs "Young Americans" in 1974

His voice is pretty hoarse, the microphones are poor and the the levels out of balance in places, but he kills it live on the Dick Cavett Show in 1974. The chorus is fantastic, and if I'm not mistaken that's Luther Vandross singing in the chorus.

Jimi Hendrix Reference for the Win

Guide to Rocking

Cover Version of the Month: The Bad Plus does a jazz version of Nirvana's "Smells Like Teen Spirit"

Great video Mashup of 36 cover versions of Radiohead's "Paranoid Android"

How the Dave Matthews Band Makes a Lot of Money

SLATE

moneybox
Concerted Effort
The Dave Matthews Band shows how to make money in the music industry.
By Annie Lowrey
Posted Monday, Jan. 3, 2011, at 4:50 PM ET

As usual, the list of North America's top-grossing music tours of 2010 was heavy on AARP-eligible best-selling rockers: Bon Jovi, Roger Waters of Pink Floyd, the Eagles, and Paul McCartney all figured in the top 10. But tucked among them, taking in $72.9 million, was the Dave Matthews Band, the '90s-era jam-loving college-town rockers known affectionately as DMB (and less affectionately as "the Dave Matthews Bland").

The band is nothing to sneeze at, of course. It has won a Grammy. Six of its seven studio albums have hit No. 1 on the Billboard charts. Still, compared with the other big touring acts of 2010, DMB is a featherweight—"Stay" is no "Livin' on a Prayer." Bon Jovi (who, to be fair, will not be eligible for AARP membership until 2012), Roger Waters, and Paul McCartney have helped sell 130 million, 200 million, and north of 1.3 billion records, respectively. In the course of its two-decade-long career, DMB has moved a more modest 30 million.

But in an industry busy having its foundations rocked, in a matter of speaking, it hardly matters. Analysts and executives have long lamented that the music industry is dying. That is not quite true—it is the record business that is clearly done for, and in its place, touring stands as the top moneymaker for many industry participants. DMB lives to tour, making them not just popular, but very, very profitable.

When I say DMB lives to tour, I do not jest: Every summer for the past two decades, the band has hit the road. In 2010, that meant playing 62 shows in 50 cities to 1,270,477 fans—more than any other artist touring in North America. The group also took trips to Europe and South America, and there was a Dave Matthews and guitarist Tim Reynolds mini-tour. And the year was hardly unusual. Since 1992, Dave Matthews Band in its various iterations has played a whopping 1,692 shows.

So the precipitous decline in record sales in the past decade has hardly hurt DMB's profitability: The band makes the bulk of its money touring anyway. And it makes a lot of money doing it. According to Billboard Boxscore, between 2000 and 2009, DMB sold more tickets to its shows than any other band on the planet, moving a staggering 11,230,696 tickets. (No other band sold more than 10 million tickets in the same time period.) In the aughts, DMB grossed more than $500 million from touring alone.

On top of that, of course, there are profits from merchandise, records, and other revenue streams. As long ago as 1998, DMB reportedly pulled in $200,000 a day in merchandise sales on tour. Plus, DMB has a reported 80,000 fans paying $35 a year for fan-club membership. And it benefits from a large catalog of cheap-to-produce live-show discs and DVDs. "Without any marketing or promotion, Live at Red Rocks debuted at No. 3 on the Billboard 200 chart and was instantly certified platinum," the band itself boasts of a 1998 album. "[It] provided fans with a high quality and reasonably priced alternative to the over-priced, ill produced, and illegal live DMB CDs."

Part of DMB's success undoubtedly comes from managing its tour so well—because gross ticket sales do not always translate into profitability. Lady Gaga, for instance, was also in the Top 10 for ­2010, grossing $51 million in North America, charging legions of fans about $100 a pop. But the shows proved enormously expensive to put on, what with the army of scantily clad backup dancers and dozens of fancy costumes—including a bra that shoots sparks, a feathered bird get-up, and an enormous wearable gyroscope nicknamed "the Orbit." Add in the fountain of fake blood and the price of flying such nonsense around the world, and extravagance cut into the bottom line. The tour actually lost money at first.

In contrast, DMB's tour seems downright humble. There is food. There is merchandise. There are video portions. But mostly, there are just the jams and the fans—and that's how DMB obsessives like it. Indeed, the band cultivates enthusiasts particularly well, a main secret of its success. It keeps ticket prices low in comparison with other big shows, an average of $58.79 compared with, say, $91.56 for arena-rockers Aerosmith. It offers a high proportion of plum tickets to fan-club members and offers them tons of freebies and special deals online. It also plays a stable roster of songs, but jams or improvises at each gig—meaning DMB fans tend to hit up the tour every year, often more than once. Thus, while even the biggest-selling artists front the occasional flopped tour, DMB never does.


read the full post HERE.

Roentgenizdat: Soviet Era "X-Ray LPs" of Banned Western Recordings

From Weird Vibrations

October 12, 2009
Roentgenizdat: Sentimental Songs on X-Ray

In the 1950s, music enthusiasts in the Soviet Union made copies of banned Western records using sheets of x-ray film purchased from clinics and hospitals. Photographic film, like wax, acetate, or vinyl, is thick and firm enough to be used with commercially available music engraving machines. X-rays weren’t the ideal medium, being prone to warping, but they worked well enough, and were cheap to boot.

Comments on roentgenizdat have been floating around for a few years, and Princeton English professor Eduardo Cadava is writing a book on the subject, out soon.

Roentgenizdat are interesting, first, as a series of artifacts. Prefiguring picture disks, non-circular shapes, and other graphically novel record gimmicks, these albums feel like an early example of what few people got into until the 70s and 80s – experimentation with records as objects. Although dubbing onto x-ray was in this case a matter of political necessity rather than unprovoked aesthetic tinkering, the dubbers quite clearly paid attention to the images they chose, as well as the placement of the center holes.

.....
Read the entire post HERE.

U2's "Walk On" From a Tribute to Heroes Concert

Springsteen's "My City of Ruins" on The Tribute to Heroes Telethon

On this contentious anniversary of 9/11, I thought I would post this. This is the opening song of the A Tribute to Heroes concert, a benefit concert for the victims of 9/11 that took place on 9-21-01. Truthfully, I don't think I have ever been so proud to be a musician as when I saw this. It's a nice song, but in the context of that performance it was, well...everything, at least everything it needed to be. Sometimes you really do need a voice and a song.

Springsteen's Born In the USA (live and acoustic)

It's easy to see in hindsight how Springsteen's post-Vietnam Rust Belt anthem got mistaken for a jingoistic rock tune. Funny how music has a way of doing that (making one misinterpret or overlook the words). I remember seeing Springsteen doing this acoustic version a long time ago on the Charlie Rose Show (PBS). The show was an hour-long interview and then they finished with this,no introducing it, no comment afterword, just the titles (at least that's how I remember it). It was the first time I had seen the acoustic version and I was floored. I recently found the show version on YouTube:



And here is another live acoustic version from a concert. The twelve-string sounds great:

Donald Fagan interview

At the Gothamist.

an excerpt from the middle of the interview with Steely Dan member and solo artist Donald Fagan:

.....

Do you have any theories about what’s made your collaboration with Walter [Becker] so fruitful? We share a lot of the same interests. We met at Bard College in the late ‘60s and we were both jazz and blues fans as kids, which was kind of unusual at the time; I guess it still is. At the time there were a lot of different kinds of music and it was all novel at the time; soul music was basically invented when we were in high school and that grabbed our attention. And we just combined all those things into the kind of music that we like.

On the other hand, we were both also interested in literature. At the time, I guess we were of the generation that began what they used to call black humor, which they now just call humor. It was a kind of dark humor that was typical of the upcoming writers like Kurt Vonnegut and Bruce Jay Friedman and, on a more sophisticated level, Vladimir Nabokov, who was a big influence. We were both fans of those people and I guess our world view was kind of shaped by the subculture which we were a part of. Now the whole world sees everything the way we did back then, but at the time, coming out of the conformist ‘50s and so on, it was sort of unusual, I guess. But it’s not anymore.

There was a long period where Steely Dan existed as just a studio band and the impression was that you didn’t like playing live. I guess that’s changed? For a long time we had been trying to get a band together. And we finally got a record contract still without having a band, really. So we got together a bunch of guys we knew who were competent but we had never spent any time together. And when we went out on the road various problems developed. They were all very enthusiastic and had a lot of energy and all that and the band had all that going for it, but it wasn’t exactly what we had in mind when we dreamed of starting a band. So after a couple albums we decided to let everyone go and employ studio musicians to try to realize what we had in mind. And that made it difficult to tour because studio musicians for the most part didn’t want to go out on the road. And we ended up just making records.

The first couple nights at the Beacon will be opened by Bill Charlap. Yeah, rather than get someone we don’t really know – especially since we don’t know too much about popular music anymore anyway – we’re taking it as a great opportunity to have some jazz musicians come on and open. Bill played with us in the studio a couple times and he’s going to open. And we have the Sam Yahel Organ Trio opening for us in the south and a few other places. There are some other jazz artists opening on the west coast too. I think it’s good; a lot of people over the years told me they started listening to jazz because they starting hearing some jazz artists soloing on our records. So I think it’s a good thing to do.

My older brother is one of the many fans always hoping to hear Dr. Wu live. Why has that become such a rarity? We tried it out in sound check a couple times last year and it sounded okay. It’s mainly that I don’t like the way it feels on stage. I think a lot of those songs have aged really well and aren’t dated at all. And if the words still seem relevant in some way or can be recast to make some kind of sense, we rearrange it – if the music seems dated. That tune feels dated to me and it’s difficult for me to sing if I feel, you know, that it’s not… There’s something about the curve of the song that doesn’t work dramatically on stage for me.

...........

Read the full interview HERE.