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and a half . To name only a handful , Joe Sample of the Crusaders provides clavinet as a signature sound of “ Black Cow ,” alongside first-call guitarist ( and fellow Crusader ) Larry Carlton and Wings ’ “ Listen to What the Man Said ” saxophonist Tom Scott . The jazz-based title track “ Aja ” is propelled by the inventive drumming of Steve Gadd and spiced by Carlton ’ s fluid solo and Wayne Shorter ’ s fiery saxophone . The expansive song has more in common with Frank Zappa circa One Size Fits All than many detractors would be willing to admit . The lyric is one of the sardonic Becker and Fagen ’ s most gentle , romanticizing the welcome tranquility experienced in the company of the song ’ s title character . Funky drummer Bernard Purdie ’ s immaculate percussion drives “ Deacon Blues .” Tonight Show saxophonist Pete Christlieb played the song ’ s signature saxophone line , as envisioned by Becker and Fagen . The album ’ s characters are vivid , including the hapless loser of “ Deacon Blues ” who wants to “ learn to work the saxophone ” and disappear into his music . The buoyant “ Peg ” features Michael McDonald ’ s chorus vocals joining Fagan ’ s while describing a budding Tinseltown starlet from the perspective of a jilted lover who predicts her comeuppance . Chuck Rainey ’ s agile bass stands out here and on the following song , “ Home at Last .” Jazz pianist Victor Feldman and guitarist Dean Parks are highlighted among the illicit thrills suggested in “ I Got the News .” Rainey again provides captivating hooks with his bassline during the subdued but taut funk of “ Josie ,” which celebrates the return of a favorite local girl ( perhaps from prison ) and the anticipated fun that will follow in her wake . Becker plays the song ’ s wiry and expressive lead guitar solo . The track unfolds with memorable parts from every player in the combo and includes harmony vocals by Eagles veteran Timothy B . Schmidt .
Gone is the comparably loose interplay of Steely Dan ’ s earlier formation as a band on singles like “ Do It Again ” and “ Reeling in the Years .” On Aja , every note and breath is deliberate and in its proper place . There are those who scoff and those who applaud the album ' s precision . Naysayers claim the approach lacks soul , while others embrace the notion that Becker and Fagan refused to compromise in the slightest while pursuing their vision to the point of madness . Nothing gets in the way of the pair ’ s intention for these songs .
– Jeff Elbel
9 DAVID BOWIE Pin Ups
( Rhino )
The Pin Ups album offers a parting glimpse of Ziggy Stardust , as Bowie was pivoting away from the hard-edged glamrock of 1973 ’ s Aladdin Sane ( released six months earlier ) and heading toward the transitional 1974 album Diamond Dogs ( released seven months later ). Pin Ups arrived soon after Bowie pulled the plug on his character and band the Spiders from Mars at London ’ s Hammersmith Odeon , shocking his fans and bandmates alike . Fifty years after its release , this stop-gap album of covers for the 1973 Christmas season still throws sparks and points toward some of Ziggy Stardust ’ s foundational influences . Pin Ups is now available as a 50th anniversary LP reissue , with a new , limited edition ,
high-quality half-speed master . The album collects new interpretations of favorite acts that an impressionable teenaged Bowie saw during the ‘ 60s in London . The music begins with an energetic and tightly paced volley of songs by the Pretty Things , Van Morrison ’ s band Them , and the Yardbirds . The hard-charging “ Rosalyn ” makes a tight crossover into “ Here Comes the Night ,” featuring Bowie ’ s saxophone solo as he croons about the heartache of seeing his girl on the arm of another guy . Mick Ronson ’ s primal pop-rock riff ignites “ I Wish You Would ,” written by Chicago blues legend Billy Boy Arnold . The set shifts gears for an over-thetop cover of Syd Barrett-era Pink Floyd psych-pop single “ See Emily Play ,” with an unhinged chorus and an arrangement that descends into madness . Bowie relishes the bluesy verses and cooking choruses of the Mojos ’ “ Everything ’ s Alright ,” with Mike Garson ’ s sparkling piano and a campy rock and roll arrangement that would have suited the Rocky Horror Picture Show soundtrack . Side one wraps with a somewhat sludgy and undercaffeinated take on the Who ’ s “ I Can ’ t Explain ” – Pete Townshend ’ s homage to the Kinks . Giving away the ending , Bowie concludes with his own Kinks tribute by making a spunky cover of the disgruntled “ Where Have All the Good Times Gone .” Side two adds a cheeky cover of Aussie pop favorites the Easybeats ’ “ Friday on My Mind ” and The Mersey ’ s “ Sorrow ” to second helpings of the Pretty Things ( the bristling “ Don ’ t Bring Me Down ” is a keeper ), Yardbirds , and Who ( a raucous “ Anyway , Anyhow , Anywhere ”). The album ’ s famous cover art features Bowie and proto-supermodel Twiggy in striking makeup that makes them appear to swap faces . When fashion magazine Vogue declined to run the image as a cover , Bowie snatched it for himself ,
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