By James Lamperetta
The Saratogian
SARATOGA SPRINGS, NY — Steely Dan was the reigning king of FM style and sophistication through the ’70s and into the ’80s. However, since the group existed almost exclusively in the studio during this time, seeing Steely Dan in concert just didn’t happen — then.
On Friday night, the dynamic duo of Donald Fagen and Walter Becker, better known as Steely Dan, continued to make up for lost time as they brought their traveling minstrel show to the Saratoga Performing Arts Center for the third time in the past 10 years.
Once again sporting a crack band that included a four-piece brass section, three female backup singers and one mean rhythm section, guitarist Becker and keyboardist/vocalist Fagen showed quite clearly that they are now as much a live act as they once were a studio act.
In concert, as on their recordings, the group deftly balances the intricate changes and jazzy inclinations of their musical musings with the power of rock ‘n’ roll. But on stage, a funkiness that tends to percolate just beneath the surface of the polished studio recordings is pushed to the fore, resonating loud and clear.
Since they are touring in support of their newest CD, “Everything Must Go,” it was expected that the band would present some newer tunes. Of these, “Godwhacker” and “Things I Miss The Most” were vintage Steely Dan — both musically and lyrically, with Fagen belting them out with conviction.
“Slang of Ages,” also culled from the new disc, featured Becker’s dry, laconic, half-spoken vocals. Despite its strong bluesy underpinnings, it came across very flat. So much so perhaps, that it provided the background used to introduce the members of the band before they left for intermission.
While the newer material was politely received, whenever Fagen and Becker trotted out the big guns from their heyday they could do no wrong.
With Fagen announcing numerous times, “We’re going back to the deep ’70s,” the band fired off four tunes from the 1977 album “Aja.” “Josie” and “Peg,” which remain radio staples. The songs were instantly recognizable and offered with an undiminished passion.
“The Royal Scam,” which predates “Aja” by one year, also provided a quartet of tunes. The one-two punch of “Kid Charlemagne” and “Don’t Take Me Alive” showed the band at their muscular best and earned well-deserved standing ovations.
Guitarist Jon Herington had the Herculean task of recreating the solos for these two tunes, which are akin to scripture in the rock world. He did so with amazing technical facility and aplomb.
“The Caves of Altamira” and “Haitian Divorce” were less obvious choices from the album but equally satisfying with the latter tune’s infectious reggae beat setting the stage for Becker’s second and stronger vocal effort.
The super slinky grooves of “Hey Nineteen” and “Babylon Sisters,” which have since become a trademark of the Becker/Fagen partnership, were culled from “Gaucho,” an album that would not be followed up for twenty years until 2000’s Grammy Winning effort “Two Against Nature.”
The high-energy of “Parker’s Band” provided a springboard to feature the vocal wares of the ladies and the group’s collective jazz chops.
Returning for just one encore, the group finished on a high note with “My Old School,” which originally appeared on 1973’s “Countdown to Ecstasy,” making it the oldest song played, and “FM,” (which actually originates from Fagen’s first solo outing).
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