Coming a mere 14 years after his last and first solo recording, Walter Becker's Circus Money sounds a lot like Steely Danjazzy, pop infused rock over witty, somewhat sarcastic and sardonic lyrics. By mixing in a bit of reggae, Becker has released an album that fits in well with the Steely Dan canon, yet stands up well on its own.
Featuring the expected strong production values and superb performances, Becker and company have produced a disc that is equal to any of Donald Fagen's solo offerings and just a notch below the classic Steely Dan releases.
As with any Steely Dan CD or, for that matter, any project headed by Fagen or Becker, the protagonists and characters that populate the songs are a bit desperate. The songs on Circus Money are about the human condition, but more precisely desperation. There are songs about gambling ("Door Number Two"), loss and ultimately regret ("Paging Audrey") and sex ("Door Number Two"), as well as manipulation, lust and all things carnal ("Selfish Gene").
While Fagen's solo recordingsThe Nightfly (Reprise, 1982), Kamakiriad (Reprise, 1993), and Morph The Cat (Reprise, 2006)have been basically concept albums, and the same can be said for many Steely Dan releases, Becker's album is simply an album of songs with similar themes that have come together at a point in time.
Sonically pleasing, the soulful, groove-driven CD is played to perfection by Becker and his cohortsdrummer Keith Carlock, guitarist Jon Herington and keyboardists Ted Baker and Jim Beard. The feel is reminiscent of Steely Dan, but is smaller and slightly more intimate.
Though hardcore Steely Dan fans might at first be a bit surprised at the Jamaican influencesBecker was reportedly listening to a lot of classic Jamaican music prior to writing and recording the albumCircus Money is a disc that reveals more with every listen. The title track is excellent, while "Somebody's Saturday Night" and the aforementioned "Door Number Two" sound like classic Steely Dan. A welcome return.
Track Listing: Door Number Two; Downtown Canon; Bob Is Not Your Uncle Anymore; Upside Looking Down; Paging Audrey; Circus Money; Selfish Gene; Do You Remember the Name; Somebody's Saturday Night; Darkling Down; God's Eye View; Three Picture Deal.
Personnel: Walter Becker: bass, guitar, vocals; Ted Baker: piano, keyboards, electric piano; Keith Carlock: drums, percussion; Larry Goldings: organ, Hammond organ; Gordon Gottlieb: percussion; Henry Hey: keyboards; Dean Parks: guitar, soloist; Roger Rosenberg: bass clarinet, baritone sax; Larry Klein: bass, producer; Luciana Souza: background vocals, pandeiro, soloist; Tawatha Agee: background vocals; Sweet Pea Atkinson: background vocals; Sir Harry Bowens: background vocals; Sharon Bryant: background vocals; Carmen Carter: background vocals; Terry Dexter: background vocals; Kate Markowitz: background vocals; Cindy Mizelle: background vocals; Windy Wagner: background vocals.
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand. Their massive record collection, my parents taking me to concerts and clubs (only one of five kids to do so), the Magnavox furniture stereo/radio ... it all added up. It was complex, emotional music. And it had rhythm! I drummed and followed the music through the '60s even as I enjoyed the new musics of my generation.
Along with side-trips to other musicians and music, it's been one hell of a pony ride ever since.