By Walter Becker & Rickie Lee Jones
We will fly way up high
Where the cold wind blows
Or in the sun, laughing and having fun
With the people that she knows
And if the situation should keep us separated
You know the world won't fall apart
And you will free the beautiful bird
That's caught inside your heart
Can't you hear her?
Oh she cries so loud
Casts her wild note
Over water and cloud
That's the way it's gonna be, little darlin' We'll be riding on the horses, yeah Way up in the sky, little darlin' And if you fall I'll pick you up, pick you up
You will grow, and until you go
I'll be right there by your side
And even then, whisper the wind
And she will carry up your ride
I hear all the people of the world
In a little bird's lonely cry
See them trying every way they know how
To make their spirits fly
Can't you see him? He's down on the ground He has a broken wing Looking all around
That's the way it's gonna be, little darlin'
You'll be riding on the horses, yeah
Way up in the sky, little darlin'
And if you fall I'll pick you up, pick you up
Don't worry 'bout a thing little girl Because I was young myself not so long ago And when I was young, when I was young And when I was young, oh I was a wild, wild one.
vocals: Rickie Lee Jones
string synthesizer: Rickie Lee Jones
drums: John Robinson
electric guitar: Buzz Feiten
bass: Neil Stubenhaus
electric guitar: Dean Parks
keyboard: Greg Phillinganes
percussion: Bob Zimmiti
organ: William "Smitty" Smith
piano: Michael Omartian
Engineers: Greg Penny, Roger Nichols.
Hi Marco -
interesting observation. I think that issue has been at the root of most discussions about "Becker vs Steely Dan"or even "Becker vs Fagen". They are fundamentally different artists, of course, but still I imagine— and that's the right word: imagine — that I could come up with a handful of things, that can be put into words, that distinguish the two.
One of those factors is, as you say, the level of "gloss" they each prefer for their songs---or should I say, for their production. Another critical factor, I think, is simply the use of what I call "Steely Dan chords". Everybody knows about the Mu major, but there are several chords -- or more correctly, voicings of chords -- that makes something "sound like Steely Dan". It's ridiculous, really; think of all the songs that are nothing like Steely Dan in any real way, EXCEPT that they include a few of those distinctive chords...chords that are so distinctive that they are often enough, just by themselves, to leave most (casual) listeners with the "like Steely Dan" impression.
Listening to Walter’s versions across time of his solo songs is really fascinating, in all sorts of ways. One thing that surprised me greatly (that’s a huge understatement) is how in a few cases, the very first version — indeed, sometimes even while he is still mucking around on the keyboard looking for his harmonies — things start sounding ”like Steely Dan’” because of the use of those chords — especially on the bridge. Then on the very next version, or soon after, those “Steely Dan chords” are gone. It’s as though the sound of 10 years is engraved in his head, providing his default harmonic structure, and he makes a conscious decision to "subtract the Steely Dan," probably so that he could break away from a very habitual or automatic “ear” into something … different than that, and new to him.
Maybe if I can remember where I most obviously heard this effect, I’ll post the two versions. Matt, I know I played one such example for you; let’s privately discuss, and maybe I can find it again.
Others: My “difference list” is longer… these are just the first two I think of. Do you have — and can you elucidate — a list of your own, or an item you would add to any list? And I don’t mean obvious factors out of their control, like “Fagen is a better singer, Walter doesn’t sing in tune,” or things like that. I’m talking about substantive artistic sensibilities, creative choices, moments of evolution or important inflection points — based on their different “ears”.
If there is any group more able to think about this, I’d like to know who they are.
whew! maybe my longest post yet! Sorry guys, sometimes I get carried away.
I think the main difference between Don and Walter is that Don often goes beyond perfectionism. Walter's music much has more of an edge. Donald what to polish things a little bit more. I am always hoping Don to keep the drums a little more lively that the way he treads them on his solo albums. A bit like Walter did on his solo records. That smoothness, that sophistication is the Steely Dan "layer" but you can go a little too far and it gets too smooth. Doesn't need that. Keep the edge.
Great added insight to a great article and moment. Thank you.
Wow, great story D-Mod. I also love The Horses. That would have been a moment for me right there.
I always thought RLJ's remembrance of WB in Rolling Stone was one worth reading.
(PS to RS staff writer: Carnegie Hall , Beacon Theatre: some high-brow old-timey Manhattan Music Hall...same difference, right? )
Personal heartbreak scene from the '16 tour:
The magnificent Steely Dan band, working hard on a great chart (M. Leonhart's, maybe?) of "The Horses" before RLJ joined the soundcheck, whereupon they all ran down the song together, twice....never to be heard by anyone again. (In her text linked to above, she said she couldn't "hit those notes in the key change any more". Those notes sounded pretty hit to me. But...singers. It has to feel right to the singers. I believe that. I respect that. But...oh, Rickie!I I was grateful at least to hear it twice.)
This right here, was a marriage made in heaven.
beautiful, jimckay
Walter is briefly featured talking about Rickie and this album.
Great analysis jjmckay, couldn't agree more. You articulated what I've always felt about WB's contribution to Steely Dan but could never quite put my finger on.
Is this song, or more accurately the Daryl Braithwaite cover of this song, the highest charting song that either Becker or Fagen had a hand in? Or does that honor belong to some hip and/or hop track that sampled an SD song? It charted at number 1 in Australia on the 19th of May, 1991.
If you listen to China Crisis' "Flaunt the Imperfection" (preferably the two-disc version that came out last year) and then the "Flying Cowboys" abum that WB did with Rickie Lee Jones, the "11 Tracks of Whack" album is the next logical progression in the Walter Becker continuum. For some reason, I think of all three album as Walter Becker albums first--they just happen to have China Crisis and RLJ on them. Why do I think that? I think it's because just like on Steely Dan albums, Walter's prescence is both profound and oblique. Walter's that guy pulling the strings and taking things to a new level while everyone is in the conventional listener mode of focussing on the relatively literal and obvious performance of the lead vocalist and soloists. There's that quote: (sic) "You never know what's going on for sure in a Steely Dan (or WB) song, but whatever it is..." Well, it's Walter who adds that intriguing contrast of both dark and light spirituality that you know is there but can't quite put your finger on, that you can never know for sure. Walter prescense is the primary factor in why Steely Dan tracks in this extra dimension of ever-openendness of infinite meaning that transcends when Donald Fagen might give a more pat response to questions about a song's background or meaning, "This track is about so and so or such and such." Walter uniquely contributes an extra psychological/spiritual dimension of subtle insight that is found in few songs, except perhaps those by Leonard Cohen. That is what I think Donald Fagen was talking about when he recently acknowledged Walter had a unique way of writing lyrics and more. That extra dimension, realm, whatever it is you want to call it but is truely hard to describe in finite terms, is Walter's greatest gift.