A witty, candid, sharply written memoir by the cofounder of Steely Dan In his entertaining debut as an author, Donald Fagen—musician, songwriter, and cofounder of Steely Dan—reveals the cultural figures and currents that shaped his artistic sensibility, as well as offering a look at his college days and a hilarious account of life on the road. Fagen presents the “eminent hipsters” who spoke to him as he was growing up in a bland New Jersey suburb in the early 1960s; his colorful, mind-expanding years at Bard College, where he first met his musical partner Walter Becker; and the agonies and ecstasies of a recent cross-country tour with Michael McDonald and Boz Scaggs. Acclaimed for his literate lyrics and complex arrangements as a musician, Fagen here proves himself a sophisticated writer with his own distinctive voice.

A witty, candid, sharply written memoir by the cofounder of Steely Dan In his entertaining debut as an author, Donald Fagen—musician, songwriter, and cofounder of Steely Dan—reveals the cultural figures and currents that shaped his artistic sensibility, as well as offering a look at his college days and a hilarious account of life on the road. Fagen presents the “eminent hipsters” who spoke to him as he was growing up in a bland New Jersey suburb in the early 1960s; his colorful, mind-expanding years at Bard College, where he first met his musical partner Walter Becker; and the agonies and ecstasies of a recent cross-country tour with Michael McDonald and Boz Scaggs. Acclaimed for his literate lyrics and complex arrangements as a musician, Fagen here proves himself a sophisticated writer with his own distinctive voice.

A “thoughtful, loving, and thorough portrait” of the pioneering musicians behind Steely Dan, featuring interviews, essays, reviews and more (PopMatters). At its core, Steely Dan is a creative marriage between guitarist Donald Fagen and keyboardist Walter Becker. It recorded several of the cleverest and best-produced albums of the 1970s, making them one of the most successful bands to be inducted into the Rock & Roll Hall of Fame. Major Dudes collects some of the smartest and most revealing interviews Becker and Fagen have ever given, along with intelligent reviews of—and commentary on—their extraordinary songs. Compiled by leading music critic Barney Hoskyns, Major Dudes features contributions from the likes of Sylvie Simmons, Fred Schruers, and the late Robert Palmer; plus rare interviews and reviews of Steely Dan’s early albums from Disc, Melody Maker, and Rolling Stone. With an introduction by Hoskyns and an obituary for Walter Becker by David Cavanagh, Major Dudes is essential reading for any rock afficionado.

Donald Fagen will forever be associated with Steely Dan, the band he formed with Walter Becker and four other musicians in 1972. The smooth, radio-friendly veneer of the duo's songs made Steely Dan internationally popular and famous in the 1970s, but the polish glossed over the underlying layers of anger, disappointment, sleaze, and often downright weirdness lurking just beneath the surface. The elliptical lyrics were—and continue to be—an endless source of fascination. What kind of person was capable of writing such songs? Fagen has always kept his true self hidden behind walls of irony, confounding most journalistic enquiries with a mixture of obscurity and sarcasm. Nightfly cracks open the door to reveal the life behind the lyrics and traces Fagen's story from early family life in suburban New Jersey, to his first encounter with Walter Becker at Bard College, their long struggle for recognition as songwriters, and the formation of Steely Dan. The band's break-up in 1981, re-formation in 1993, and Fagen's parallel solo career are covered in detail. Author Peter Jones seeks to explain the public's continuing fascination with Fagen's music, both in collaboration with Becker and as a solo artist.

Reelin’ in the Years tell the remarkable story of the American jazz rock band who have sold over 50 million albums during a career lasting over 20 years: Steely Dan. Updated and revised for 2018. Walter Becker and Donald Fagen, a couple of cynical New York jazz fans wormed their way into a record contract and astonished critics with their first album Can't Buy a Thrill in 1973. Nine albums later, they were among the biggest selling acts in the world. Steely Dan were different from the rest of rock's super-sellers. They rarely gave interviews and, after some early bad experiences on the road, they refused to tour. They didn't have their photographs taken and few people knew what they looked like. Steely Dan weren’t even a proper group; it was two musicians and a producer, yet every top notch player in the world lined up to appear on their albums. This book, penned by Brian Sweet, the editor and publisher of Metal Leg, the UK-based Steely Dan fanzine, finally draws back the veil of secrecy that surrounded Walter Becker and Donald Fagen. Here is the story of how they made their music and lived their lives.

In this generous collection of book reviews and literary essays, legendary Village Voice rock critic Robert Christgau showcases the passion that made him a critic—his love for the written word. Many selections address music, from blackface minstrelsy to punk and hip-hop, artists from Lead Belly to Patti Smith, and fellow critics from Ellen Willis and Lester Bangs to Nelson George and Jessica Hopper. But Book Reports also teases out the popular in the Bible and 1984 as well as pornography and science fiction, and analyzes at length the cultural theory of Raymond Williams, the detective novels of Walter Mosley, the history of bohemia, and the 2008 financial crisis. It establishes Christgau as not just the Dean of American Rock Critics, but one of America's most insightful cultural critics as well.

Theory in popular music has historically tended to approach musical processes of rhythm, harmony, counterpoint, and form as abstractions, without very directly engaging the intimate connection between the performer and instrument in popular music performance. Embodied Expression in Popular Music illuminates under-researched aspects of music theory in popular music studies by situating musical analysis in a context of embodied movement in vocal and instrumental performance. Author Timothy Koozin offers a performance-based analytical methodology that progresses from basic idiomatic gestures, to gestural combinations and interactions with large-scale design, to broader interpretive strategies that engage with theories of embodiment, the musical topic, and narrative. The book examines artistic practices in popular song that draw from a vast range of stylistic sources, including rock, blues, folk, soul, funk, fusion, and hip-hop, as well as European classical and African American gospel musical traditions. Exploring the interrelationships in how we create, hear, and understand music through the body, Koozin demonstrates how a focus on body-instrument interaction can illuminate musical structures while leveling implied hierarchies of cultural value. He provides detailed analysis of artists' creative strategies in singing and playing their instruments, probing how musicians represent subjectivities of gender, race, and social class in shaping songs and whole albums. Tracing connections from foundational blues, gospel, and rock musicians to current rap artists, he clarifies how inferences of musical topic and narrative are part of a larger creative process in strategically positioning musical gestures. By engaging with songs by female artists and artists of color, Koozin also challenges the methodological framing of traditional theory scholarship. As a contribution to work on embodiment and meaning in music, this study of popular song explores how the situated and engaged body is active in listening, performing, and the formation of musical cultures, as it provides a means by which we understand our own bodies in relation to the world.