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STEELY DAN - Steely Dan Live At The Rainbow 1974 05 20 FLAC & MP3@320

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 							STEELY DAN - Steely Dan Live At The Rainbow 1974.05.20 FLAC & MP3@320
 (including both FLAC
& MP3@320 files for your choice of one or the other or both)
 Excellent show, and fine stereo soundboard
recording, from the 1974 Steely Dan tour. Includes an extended version of the Steely Dan rarity 'This All Too Mobile
Home', which was only performed on this tour, and never recorded or released in any form. This was Steely Dan at their
best, the original Steely Dan in all their glory, a must for any fan of the band. (Note: For this edition, approximately
three minutes of applause and tuning were removed to fit the show on one disc).
 
 Steely Dan Rainbow
Theatre (London, England) May 20, 1974
 Track listing:
 01 - Bodhisattva (6:06)
 02 - The Boston Rag
(7:01)
 03 - Do It Again (8:20)
 04 - Brooklyn (Owes The Charmer Under Me) (4:30)
 05 - King Of The World
(5:20)
 06 - Rikki Don't Lose That Number (4:38)
 07 - Pretzel Logic (6:50)
 08 - introductions (1:25)
 09 - My Old School (tape flip during this song) (4:43)
 10 - Dirty Work (3:51)
 11 - Your Gold Teeth
(instrumental) (1:26)
 12 - Reelin' In The Years (5:41)
 13 - Show Biz Kids (7:31)
 14 - This All Too
Mobile Home (12:42)
 
 Total Time = 79:53
 
 Personnel:
 Donald Fagen (piano,
synthesizer, vocals) 
 Walter Becker (bass) 
 Denny Dias (guitar)
 Jeff 'Skunk' Baxter (guitar, pedal
steel, percussion, background vocals)
 Royce Jones (percussion, vocals)
 Michael McDonald (Fender Rhodes,
vocals) 
 Jeff Porcaro (drums) 
 Jim Hodder (drums, percussion, background vocals)
 
 Steely Dan
Rainbow Theatre (London, England) May 20, 1974 History & Review:
 Walter Becker and Donald Fagen first
crossed paths in 1967, when both were students at Bard College in upstate New York. Discovering they had common musical
and literary interests, in addition to a shared dark sense of humor, they became fast friends. Forming a song writing
partnership, they would hone their craft over the next 5 years, first by landing a small publishing deal in New York,
which then led to work as session and touring musicians with the pop group Jay And The Americans. By 1971, upon the
recommendation of ABC/Dunhill producer Gary Katz, they had signed on as staff songwriters and relocated to Los Angeles.
During these early years, Becker and Fagen had written a considerable amount of original material that nobody seemed too
keen on recording, so they took the next logical step and formed a band to record it themselves. 
 
 For the
initial Steely Dan lineup, they recruited East Coast friends Denny Dias and Jeff Baxter on guitars, along with drummer
Jim Hodder and lead singer David Palmer. Combining a penchant for jazz, blues and R&B with the more commercial
leanings of rock & roll and Brill Building-era pop, Becker and Fagen sculpted their songs from a wide-ranging
musical palette. Their ability to combine beautiful melodies with lyrics of an often sarcastic and cynical nature would
prove a winning formula over the course of the first several albums. Immaculate musicianship and a relentless pursuit of
perfectionism in the studio would result in one of the most enduring musical legacies of the 1970s.
 
 Taking
their name from the steam-powered dildo in William Burroughs' novel The Naked Lunch, Steely Dan set about recording
their debut album, "Can't Buy A Thrill," which would spawn two unlikely hits with "Do It Again" and "Reelin'' In The
Years." Unlike most New Yorkers striving for success in Los Angeles, Becker and Fagen did not adapt or cater to the West
Coast culture in their songs. Instead they conveyed an ambivalence or open contempt for the wealthy Southern California
culture now surrounding them. Their talent for creating deft melodies and harmonies within jazz-influenced song
structures, combined with the sharp sarcastic wit of their lyrics, would continue to fuel the next two albums Countdown
To Ecstasy and Pretzel Logic. The latter album, which drew more fully on Becker and Fagen's love of jazz, would become
their first Top 10 album. 
 
 When Steely Dan first began touring in 1972 in support of Can't Buy A Thrill it
was as an opening act where they were often treated poorly. During a stint opening for The Kinks that year, the band
first encountered Dinky Dawson, whose pioneering company provided sound reinforcement for the tour. Openly defying The
Kinks policy of not allowing the opening act a soundcheck, Dawson went out of his way to help Steely Dan present
themselves in the best possible manner. His conscientiousness was not forgotten. In 1974, when Dawson had just wrapped
up a year of touring with Lou Reed and The Mahavishnu Orchestra, Steely Dan brought him on board. 
 
 Dawson
was unaware of it, but he was mixing what turned out to be the final tour legs by the original band, now expanded to an
eight piece. On board were a second keyboard player and singer, Michael McDonald, and a second drummer, Jeff Porcaro, in
addition to the original musicians. Instrumentally, they were now capable of more complex arrangements and the vocal
harmonies significantly improved with McDonald's voice added to the mix. This was arguably the most compelling touring
band Becker and Fagen ever assembled.
 
 Other than some questionable experiences in the American South, they
encountered highly receptive audiences everywhere they went. Attaining headliner status, they were presented with the
opportunity of performing in England, where they would deliver what many consider to be the standout performances of the
original band's career. Presented here is Dawson's mixing desk recording of perhaps the single greatest performance ever
by the original Steely Dan lineup, recorded on opening night of a two-night engagement at London's Rainbow Theater in
Finsbury Park on the evening of May 20, 1974. This was indeed a triumphant night for the band, who were unsure of how
they would be received by the London audience. Extra attention was given to the soundcheck and the group was prepared to
give the performance of their lives. Fagen is uncharacteristically talkative, lending an intimacy to this performance,
despite the large venue. Vocally, Fagen and Jones trade off most of the lead vocal duties, but since such a large part
of the band's arrangements require multiple voices, it is more often than not Fagen, Jones and McDonald all singing
together. The group's superb musicianship is evident throughout and material from their first three albums fuels the
repertoire. A stereo recording with a well-balanced mix, this is indeed the crown jewel of all early Steely Dan
recordings. 
 
 Following Steely Dan's introduction, the double drummers kick into the rip-roaring Countdown
To Ecstasy track "Bodhisattva." Poking fun at the pretentiousness of wealthy Californians, this opener conveys just what
a tight band this is, with the blazing guitar work of Denny Dias and Jeff Baxter sailing over a boiling groove. Any band
concerns about the London audience immediately vanished when they receive a standing ovation right off the bat. From the
same album, they follow with the melodious pop rocker "Boston Rag." Here and throughout this performance, Dawson takes
full advantage of the stereo P.A. system and with Diaz and Baxter often panned to opposite channels, this becomes a
particularly exciting headphone listen. 
 
 Following these opening numbers, the London audience literally
explodes with applause and Fagen lets them know that the band appreciates such a warm welcome. Following a humorous
exchange with the audience, who are clamoring for more volume on the guitars, Fagen encourages Dawson to "Give it to
'em, Dinky," before they venture into an extended workout of their provocative first hit, "Do It Again." Revolving
around an irresistible melody, dense rhythms and abstract lyrics that explore compulsive behavior and violence, this may
be one of the most unusual songs ever to become a hit single. Clocking in at nearly 9 minutes, with an exceptional
stereo mix on the percussion instruments, this is one of the more expansive songs of their set and provides ample
opportunity for both Fagen and Dias to take impressive solos. 
 
 Another first album number follows with the
soulful paean to a prostitute, "Brooklyn (Owes The Charmer Under Me)." Written well before the band actually existed,
this is a prime early example of Becker and Fagen's fascination with upper-class decadence - a theme that would continue
to fuel their writing and eventually come to reflect their own lives. Returning to Countdown To Ecstasy material, the
jungle rhythms of "King Of The World" is up next, a song that ambivalently explores the threat of nuclear annihilation.
Introduced by Fagen as a "frightening little number," this contains the compelling chorus couplet, "No marigolds in the
promised land, there's a hole in the ground where they used to grow" and "Any man left on the Rio Grande is the King of
the World as far as I know," Steely Dan skillfully capture the mood of a society obliviously headed toward destruction.

 
 At this point, the group tackle a pair of songs from the new Pretzel Logic album. They begin with the
single that would catapult them up the charts, "Rikki Don't Lose That Number," which had just been released in England
three days prior. Containing an introductory riff appropriated from hard bop pianist Horace Silver's "Song To My Father"
and a sumptuous groove, it is no wonder this would become a pop radio staple, despite the fact that the subject matter
is nearly impossible to discern. The same can be said for the title song, which follows. Although Fagen has gone on
record stating it is about time travel, the lyrics to "Pretzel Logic" also seem intentionally open to interpretation,
which makes this modified blues all the more compelling. Both of these numbers display the band in terrific form and are
textbook examples of Becker and Fagen's clever and increasingly cryptic songwriting. Following "Pretzel Logic," the
London audience again erupts with applause and gives the band another standing ovation. Fagen even acknowledges what a
strong performance just occurred, before taking the opportunity to introduce the individual members of the group.


 Following these introductions, some humorous stage banter occurs, with Jeff Baxter dedicating the next number to
his band mates, before fronting the group on Becker and Fagen's smirking tribute to their time together at Bard College,
"My Old School." This contains the only flaw in the recording as several seconds are missing when the master cassette
required flipping, which occurred shortly into this number. The sparkling ballad "Dirty Work" turns up next featuring a
standout lead vocal from Jones and superb pedal steel embellishments from Baxter. A song about adultery, uniquely
written from the perspective of the other man, Jones delivers Fagen's self-loathing lyric in a touching and mournful
manner. However, what make both of these songs so memorable are the rousing harmonies on the choruses that simply compel
listeners to sing along.
 
 Serving as sort of a prelude to the set-closer, Steely Dan next serve up an
instrumental portion of the salsa-flavored "Your Gold Teeth." Unlike versions on the American tour that followed, which
segued into a solo guitar interlude, here it is Fagen's synthesizer and piano work that lead up to the blazing opening
riff of "Reelin' In The Years." A hate song aimed at a self-professed genius, this features one of Fagen's most vengeful
lyrics. Despite the subject matter, this too became a hit single. Baxter's volcanic lead guitar and another soaring
chorus results in the London audience again erupting with applause followed by another standing ovation as Steely Dan
exit the Rainbow stage.
 
 When they return for an encore, Steely Dan serve up one more from the second album,
"Show-Biz Kids," with Michael McDonald taking over on lead vocals. With an irresistibly funky backbeat and Baxter's
moaning pedal steel, this song again explores the decadence of Southern California's idle rich, but does it in a
hilarious and satirical manner. Not since Frank Zappa's early work with The Mothers Of Invention has a band so blatantly
mocked their own audience, but Steely Dan do it so brilliantly and the song is so irresistible, one can't help being
swept up in the groove and hypnotic chant that serves as its chorus. 
 
 Another standing ovation follows,
which compels the band to return for a second encore. In typically perverse style, Steely Dan closes the show not with
another of their most popular songs, but instead dish up a non-album rarity in the form of "This All Too Mobile Home."
With a lyric that explores abandonment, loneliness, relentless travel and rip-offs, this song could easily sum up Becker
and Fagen's thoughts on the touring life. Following the initial verses, the song becomes an extended jam featuring
impressive solos from Baxter, Fagen and eventually the two drummers. There's even a brief sequence showcasing Becker's
nimble bass work. Baxter is responsible for one of the most delightful solos right off the bat, beginning his with a
direct quote from the 1960s hit, "Theme From A Summer Place" (originally taken to the top of the charts by Percy Faith
and his Orchestra). With the London audience going wild during the jam, each member exits the stage one by one until
only Fagen and the drummers are left. Fagen's final words to the audience are "Sweet dreams, my brothers, goodnight!"
leaving Hodder and Porcaro onstage to conclude the performance with a drum solo. With Dawson's phase shifter unit
engaged like a jet flying overhead, the drummers get a lengthy last workout before bringing this outstanding performance
to a close in a most unusual manner.
 
 Following their triumphant visit to England, Steely Dan would embark
on one last tour leg in The States. After the final night in Santa Monica on the 5th of July, Becker and Fagen would opt
out of touring altogether, preferring to focus all their energies on writing and studio recording. They would go on to
create some of the most compelling music of the decade and in terms of production, literally set the bar to which all
others were measured. Despite monumental success and many lucrative offers, these 1974 tour dates would be the last time
the original configuration of Steely Dan ever appeared on stage.
  						

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