Steely Dan Shows Its Mettle (July 3, 1974 concert review)

From The Los Angeles Times, written by Richard Cromelin

Any doubts about Steely Dan's being America's most inventive band were resolved by the group's Wednesday Santa Monica Civic concert, which also took care of lingering reservations about its ability to excite as well as beguile (it packs a punch that could wake any nearby dead) and about its stage personality (subtle but intriguing, once you find it).

At every level, from Jeff Baxter's screeching, throaty rock 'n' roll guitar through Donald Fagen and Walter Becker's wry, enigmatic lyrics, the Dan effortlessly covers every possibility as it smashes out its sophisticated, highly personalized (and flawlessly amplified) jazz-flavored rock. The musicianship is incomparable, the interaction among the players nearly telepathic, and there are countless moments of uncanny exchange.

Rather than settle for mere musical accomplishment, Steely Dan uses it to powerfully express an attitude. Be it through venomous appraisal of past love affairs, a biting, sarcastic (and even moralizing) look at the California scene or a panorama of Dylanesque imagery, the persona (embodied onstage by the emaciated Fagen as a mad musical scientist) that grows from the music is uncommonly tangible and entire, aware and affecting.

Beyond that. Steely Dan is funny (both lyrically and musically), spoofing pop conventions as it creates exquisite pop songs. It's that humor that finally lifts Steely Dan above all but a very few working bands and which made the concert one of the year's best (and it happens again tonight).

Opening is Kiki Dee, a singer with the rare ability to make the pop ballad a genuine emotional experience. A lively, engaging performer, her brisk, solid set received a deservedly enthusiastic response.

Santa Monica Civic Auditorium September 2, 1973 concert review

From Cash Box, written by e.s.

From the opening strains of "Bodhsivatta," a celebrated cut from their latest ABC-Dunhill album, it was glaringly apparent that before the audience was a rock-n-roll band transformed the new Steely Dan Review. Primarily studio-oriented musicians, they have tentatively resigned themselves to the requisite exertions of showbiz, Bard College blue-jeans being hurriedly exchanged for velvet and satin. Above all, though there was the precise, hypnotic, at times scathingly sarcastic music that has placed them among the most import-ant new groups to emerge in popular music.

Featuring digital acrobatics by the band's two guitarists, their opening number established the three-ring circus pattern that the act was to follow. Donald Fagen, nucleus, key-board man and primary vocalist, assumed the central spotlight. He was flanked by the furiously duelling guitarists on one side and a newly acquired side-show composed of a singer-cum-conga pounder and two cheerleaders on stage left. Royce Jones, the new vocalist, offered smooth and professional editions of "Brooklyn," "Dirty Work" and "Change of the Guard," all standards of the Steely Dan repertoire, while the cheerleaders chimed in on the back-grounds and presented perhaps the most charming abdominal muscles ever, superfluously, to grace the stage.

In the past year, the songs of Donald Fagen and Walter Becker, the group's composers, have slowly gained recognition as prototypical music of the 70's. Rock formulas honed to catchy perfection by jazz-fan instrumentalists, a cynical disdain for sentiment combined with sophisticated, sometimes obscure literary reference may serve to make them established spokesmen for the contemporary rock audience. The only obstacle may be their own seeming reluctance to assume the role.

B. W. Stevenson is a heavy Texan balladeer who speaks of traveling light, hitchhiking on the open road. At every rest-stop, he must have played the juke-box, for it is that instrument which appears to be his chief source of musical inspiration. On stage he commands audience attention with easy congeniality, a folksy manner and a voice as big as Texas. His band is tight, his songs are simple and if his RCA Records hit single, "My Maria," is any indication, he should be serenading those same truck-stops for some time to come.

Steely Dan Brings Brains to AM Rock (September 2, 1973 concert review)

From The Los Angeles Times, written by Richard Cromelin

Steely Dan, America's answer to the Guess Who, headlined its first local concert Sunday at Santa Monica Civic, and it appears that the band, which sounded like an expendable commercial commodity when it first emerged, is about ready to assert itself as one of the country's most versatile, listenable and downright brilliant ensembles.

Like Canada's premiere hitmakers, Steely Dan injects an uncommon degree of intelligence (if not sheer intellectualism) into its music without diluting any of its AM appeal. Perhaps the key to the group's genius lies in the fact that it sounds almost like everything else on the radio, but always throws in a little something that could be from no one but Steely Dan.

Highly derivative (its influences, from the Archies to Yes, are easily spotted) in rock's finest tradition, SD's ability to hang a broad spectrum of authentically touching emotions on that strictly commercial framework is its strongest forte. In performance the group sacrifices some of the cleanness of its recorded sound for an invigorating muddiness that flirts with but never succumbs to distortion, The addition of two women singer/dancers has livened things up considerably, and while their "Hullabaloo" go-go gyrations are at first distracting, it soon becomes clear that it's all a part of a carefully calculated and ultimately successful master plan.

And any group that encores with "My Boyfriend's Back" obviously has a lot going for it.

Opening the show was B.W. Stevenson, whose time would be better spent in the studio and at the writing desk than on the concert stage.

Whisky a Go Go December 8, 1972 concert review

From The Los Angeles Times, written by Richard Cromelin

It's too bad that Steely Dan (at the Whisky through Sunday), a band that is capable of producing some appealing, energetic and intelligent rock 'n' roll, chooses to be so neglectful (or simply tasteless) in matters of appearance. Live rock 'n' roll is supposed to be a show, and how long can one look at a pair of denim overalls without becoming utterly bored or downright repulsed?

That self-imposed disadvantage should be correct-ed quickly, because if it presents a visual aspect that complements rather than detracts from its musical impact, Steely Dan has a chance to become an outstanding mainstream rock group.

Its tunes are simple and catchy, and the arrangements, led by keyboards and two guitars and stabilized by a solid rhythm section, are richly textured and constantly varied.

The band's style incorporates several elements, the most prominent being a British-sounding heaviness and concern with nice melodic phrases and strong chord progressions.

Also in evidence are traces of L.A. country-rock and a good deal of basic, commercial rock 'n' roll.
Steely Dan's stage manner is moderately energetic if not terribly original, and while the lead singer's moves are largely unimaginative, at least they're there. The memorable selections on opening night were "Do It Again," "Brooklyn" and "Boddhisattva" (the line "Boddhisattva, won't you take me by the hand" delivered over a vintage rock 'n' roll figure is evidence enough that there's some degree of consciousness at work in the group). If only they can find some time to go shopping.

Second-billed Woodpecker also exhibits considerable commercial potential. It makes no bones about its similarity to Three Dog Night (seven members. three lead singers, a rendition of a Randy Newman song), and there is every chance that a bit of tightening will result in considerable, if not quite so phenomenal success.