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FORUMS CLOSED WHILE UNDER REVISION: (forced migration) Any posts after Aug 1 may be lost. Thanks for your patience

FORUMS CLOSED WHILE UNDER REVISION: (forced migration) Any posts after Aug 1 may be lost. Thanks for your patience

movie: matt kerns My time on Maui impressed me with its relative lack of seasons. Sure, there was a hot season, dog days when the trade winds died, a rainy season... but to a North Easterner like me, such low variation made it easy to lose the sense of time passing. Birthdays were less a discreet bead on an abacus (or a salty pearl) than, well, .... just a little more time passing. I wrote this "birthday haiku" for Walter one year: “Just one season here!” -  - tossing back to the water forty-six salt pearls Apparently taken by one of the phrases, he repeated it a few times under his breath : just one season here...interesting... And what creative, personalized gift would I like for my birthday? We were trying to stop gift-giving entirely so I picked a guaranteed impossibility: write me a song! We both had a good laugh; you just don't give commissions to Walter Becker. I laughed and laughed... ...until some years later, when on one birthday I was presented with a CD, gold bow on top. It's a little late , he said. It was "my" commission. Well knock me over with a guitar pick. It was a truly precious gift of course, and somehow -- was it the "waltz with a push" maybe? -- a different type of song from his usual. It also typified something you learn spending time with a creative person: for them, the transformation of meaning is endless and effortless: any concept or phrase encountered in one context could and would be transfigured, almost automatically, to several others entirely. When he was repeating the phrase just one season , I reasonably thought he was repeating the words along with their "original" context: the timeless feel of a place without seasons. Ha. In that moment he was likely running the phrase through some kind of " context thesaurus" where the phrase takes on other meanings...in this case, the tiresome predictabilty of various interpersonal dramas. I came to think of this as a type of untethered, superflexible three-dimensional engagement with language that "regular" Folk just didn't naturally have without trying for it. His song typifies this notion.. I told him many times it was really good, he really should release it on his website. To this he invariably shrugged... but in that way that meant I wouldn't protest too much if it happened to slip itself online. Today, though, I hoard his gifts. I once urged him to share it with everyone; now , I don't want to share it with anyone. But I know how good it is, and how distinctive ...and I believe he did too. Now that I feel among friends here at at wbmedia, friends who hold WB's talent in esteem and his memory with affection, I'm happy to present you, fellow WB freaks, the World Premiere of Walter Becker's Only One Season

Go here for long-circulating demo of "Lies I Can Believe"-- but from better sounding first generation tape Love in the 4th (a.k.a. Lies I Can Believe) Walter Becker and Dean Parks Zeon Music: Runaway Inflation © 1992 Vocal: Walter Becker Drums: John Keane Bass: Neil Stubenhaus Guitar: Dean Parks Keyboards: John Beasley Saxophone: Bob Sheppard First Solo: Bob Sheppard (Alto Sax) Second Solo: Dean Parks (low-tuned fretless guitar) Engineer: Roger Nichols Recorded at Signet Studios, Los Angeles, 1992 Love in the 4th W. Becker/D. Parks Round and round - The words are spinning Why don't we take it - From the beginning I know it hurts but - Babe don't you worry Let's take our time honey - What's the hurry? Your eyes are moving - Yes I can see them The words are soothing - Why don't I believe them? Your eyes are beaming - But I can't receive them You say our love just - Needs some attention Maybe it's stuck in - The fourth dimension You say it wants more - Kissage and huggage Maybe it just got - Lost with our luggage Maybe our love just - Needs space to grow in A place to go to - A vector to grow in Maybe what I need's - A towel to throw in Don't you remember that rainy night? Riding the dog in the pale moonlight Making love up in the very last row Lord have mercy - Halfway to Jersey Spare me the details, the guts and glory The truth is just another story Why don't you give me Why don't you give me Lies I can believe? I never said I was a diplomat I guess I got no country to be true to Don't you tell me not to be like that Don't you blame me when I do like you do (This verse is in the demo, but not in the track) Life is a gamble - You're never ready The sands are shifting but - The winds are steady They never let up - So keep your head up Don't let 'em blow you away To every man goes - His share of passion But I'm way under - The legal ration I think you nailed it - Right down to the letter It's getting older - But it ain't getting better Maybe our love just -Needs a vacation The train is rolling - Out of the station Across the platform - Another train is pulling in Lovers sighing in exotic places Holding hands with all the aces Making love up on the captain's table All the way, all the way home I see my past stretched out before me The truth is just another story Why don't you give me Why don't you give me Lies I can believe? Just Another Story Matt Kerns Signet Studios. Formerly Motown’s Los Angeles studio, where the Temptations, the Commodores, Stevie Wonder, Diana Ross, and Smokey Robinson recorded some of their best songs, by 1992 it was the recording headquarters of Bruce Springsteen, Branford Marsalis, and Frank Sinatra. One likes to imagine Walter and Old Blue Eyes rubbing elbows in those hallowed halls as WB and crew settled in for the initial tracking sessions for his first solo offering, the album that would eventually become 1994’s 11 Tracks of Whack. As far as we know, and we in this case includes some of the musicians and engineers involved with the final album, none of the material recorded at Signet was used on the final album, despite the fact that a perusal of the 11 Tracks of Whack liner notes tells us that the album was recorded at "Hyperbolic Sound USA, and Signet Sound, Los Angeles CA.” One of the reasons we know that these recordings don’t appear on the final release, other than the obvious sonic differences, is the list of LA studio heavies floating in and out of sessions: names like Neil Stubenhaus and John Keane and a few others who had recorded with Walter “back in the day.” Love in the 4th, which it turns out is the proper title of the demo we’ve all learned to love (despite multiple transfers and quite awful tape-hiss) as Lies I Can Believe, is a Walter Becker and Dean Parks collaborative effort produced in the same fertile period that begat Cringemaker and Ghost of Hipness Past. It was a personal favorite of mine from the moment I heard it, tape-hiss be damned, with all of the lyrical, melodic, harmonic, and textural greatness I love about Walter’s music. This track would quite literally have been impossible without some pretty amazing software. The Signet Session tapes in Walter’s archives contained no recorded lead vocal tracks, the only exceptions being incomplete vocals heard distantly. We struggled for quite a long time with what to do with this track. Release it without vocals, ignoring what we both agreed were a pretty great set of lyrics and a terrific vocal by WB? In the end, we agreed that if we could somehow present the Signet tracking session with the older demo vocal, we’d have the best of both worlds, and the truest expression of what this track might have been. We used iZotope RX7 to extract the vocal from the previously available demo with vocal. That demo and the Signet Studio tracking session were at slightly different tempos, and Audacity was used to bring the vocal up to the same speed as the track without changing key. Next, each phrase was positioned on the track to match the phrasing in the demo as closely as possible. This was a nearly herculean effort, and one which drove home just how much phrasing matters in WB songs. I expected the first 2-10 comments on this song to be pointing out that this is the same vocal. The fact that no one seems to have either noticed or been bothered by this means that either we managed to do a passable job, or that not everyone obsessed over the tape-hiss filled seventh generation tape demos that have been traded around the darker corners of the web for lo these many years. There has been an argument going on in Steely Dan circles ever since Walter’s 11 Tracks of Whack was released on September 27, 1994. Some people heard the stripped down songs, the demo aesthetic that permeates the album, and inferred that Walter was not now, and had never been, the source of the lush fulness of the Steely Dan sound. What then did he bring to the table, this stripe of fan may have asked, further inferring through subtractive analysis that the Walter Becker half of the Steely Dan equation was solely lyrical, or musically defined by bluesy romps like 11 Tracks of Whack’s Cringemaker. Of course the fullness of time has largely answered these questions, if they weren’t answered by a decade plus of sterling production work Walter did for a diverse array of artists including China Crisis, Rickie Lee Jones, Michael Franks, Lost Tribe, etc. etc. Circus Money, with tracks like Paging Audrey, Upside Looking Down, and Downtown Canon reaffirmed that Walter Becker as a songwriter (as opposed to simply as producer) is fully capable of the intricate, the lovely, the sublime. This track, the first Walter Becker Media release from the 1992 Signet sessions—the initial recording attempt (let’s call it “the first whack”) at songs being considered for Walter’s first solo album—sheds some light on the aesthetic decisions behind the songs that eventually made the cut. Between these sessions in 1992 and the release of 11 Tracks of Whack in late 1994 was the completion, mixing, mastering, and release of Donald’s Kamakiriad album, with every bit of overdub, percent of a percent decibel shifting below the threshold of human hearing, and all that. Though Walter initially set out to make an album in much the same way he had always recorded—in studios with studio musicians and all of what we here in the deep south call “the fixins,” he eventually decided that these songs were served best by a stripped down approach, laying them and himself bare for all to hear. 11 Tracks of Whack is Walter making a deliberate decision for his album to be something decidedly other than simply Steely Dan with a different singer. Though not every fan “got it,” there were those who did get it, and got it immediately. “FIFTEEN YEARS LATER, WE find out who put the edge into Steely Dan,” wrote John Pareles in his New York Times review of 11 Tracks, “[Becker]’s still smart, still a wise guy, still as cagey as any songwriter in pop. But now, he's also willing to show some bruises. He's older now; he doesn't have to worry about being cool.” And that’s really it. Walter didn’t have anything to prove that hadn’t been proven over the course of 7 Steely Dan studio albums and a subsequent decade producing stelar music for some of the world’’s most demanding and sophisticated musicians. All he had left to do was to serve the songs that he wrote, and he determined that the best way to do that was not the way he had done it before. I’ll admit that during my first listen through this track, I found myself wondering what if...what if Walter had given his first solo album the full Steely treatment? Would the album have been bigger? Would it have dominated the pledge drive of every NPR pledge drive for years to come? Would fewer people have headed for the restroom when Walter stepped to the mic at Steely Dan shows? Would the songs have been better? Subsequent listens have answered that question, for me at least. Walter knew what he was doing and made the album he needed to make. Go back and listen to Book of Liars, to Surf and/or Die, to any of the eleven...er...twelve tracks of whack and you’ll hear it. -- Matt Kerns

Thought this was telling...Walter brought enough to a song or project as a producer that he would have been within his rights to request a songwriter's credit. I also thought it was telling that for the particular song discussed here, King in a Catholic Style off of the 1985 China Crisis album Flaunt the Imperfection, the thing that Walter⁠—renowned guitar and bass player⁠—brought was a keyboard riff to really tie the song together. Easy for me to forget that Walter was no slouch on keys, and did the majority of his composing, both solo and with SD, on a keyboard/piano.

It's 10PM: Do you know where your inner child is?

Scattered here on this board and across other SM sites are a few comments from those who bid and won or bid and “lost” on this past weekend’s Becker Auction. I’d love to hear from all of you and gather your comments here. It would also be interesting to hear from those who just observed — either in person, or via the live-stream. I was at the live auction for most of the time, and what I missed in person I was streaming at my hotel room. Matt, I think, was there 100% of the time; would we possibly expect otherwise from First Lieutenant Atticus Matticus, Director Of Operations, Technology, Motivation, and All-Around Righteous Action? I have plenty of observations of the action, both the substance (items, bidders, prices) and the process (the mechanisms and the social psychology of the event were fascinating), and I’m betting Matt and you do too. Collecting reports here from all sides of the event would be pretty interesting, and would be a place for questions and answers (or hypotheses) about this mysterious and brutal ritual. [In my dreams, it's also a place where I finally respond to the worst of the know-it-all know-nothings. ooooo, so tempting...and it would be so satisfying...!] I'd also love to hear about fans who managed to snag something; it's been great to read, for instance, that one of you got a blue Hahn...and that a musician friend got the dreamy White J-style Sadowsky bass. So wonderful to learn that some of our lovelies haven't disappeared into the far nowhere after all. Are you game? If you’ve posted your experience elsewhere, can we convince you to drop a line or two here as well? And I promise lurkers will be gently welcomed, with our gratitude. I’ll start off with with a couple of mine, in no particular order: [These edited out. Reason: excessive MeMeMe!] So in short 🤣— let's hear from those who snagged something ..what did you get, and did you get it at your price? …was your guitar well set-up?…what about those who missed out on something?…what was the bidding experience like? … did you go too high or stop too soon?…did you learn something about ‘human nature’ or the ‘engines of commerce’ or ‘modes of production’ lol or whatever?…oh it’s just endless. C’mon in!

Recipients of our Sept 3 Newsletter read all about our “Goodwill Giveaway” pilot program We pretty much know it’s a tacky idea. But we want to know — we need to know — how tacky? Here's our poll collecting your votes You can also leave your free-form comments there, so make yer voices heard! Remember, the fate of Goodwill Giveaway: The Sequel may well rest in your hands. 4/24/24: Inquiries, acknowledgments, etc. have finally slowed to near zero (remember, Wieners were selected from Newsletter Subscribers — only a tiny fraction of whom frequent these WBM boards). So I think we can officially call this first tranche a wrap. Thanks for playing! Will there be a Sequel? Time (and some other stuff) will tell...   General Notice: The return address PO Box is wrong. Long (embarrassing) story. Don’t waste a stamp 🫠 Wow!: Looks like some % of The Mainland US Goods have already dropped. Maybe we caught the USPS on a good week 🍒 PS: learned that sending an 8x10 flat cello package "by regular mail" from Hawaii means...IT GOES ON A F***ING BOAT! 😤, Uh....No Thanks to that. Lately: Even as we speak, a decrepit USPS is busy mishandling, mangling, misdirecting, and misplacing the Giveaway goods, lord save us. <—- Wieners will get (?) a parcel festooned with these. Ignore them at your peril; packaging is tighter than an SD rhythm section 1/31/24: Response Deadline for Round 2 drawing is Thursday, Feb 8, 11PM EST. I suspect some of my notification emails are gettig caught in Spam filters so please check your Junk/Spam folders 1/14/24: With the holidays over and most everyone now reunited with their email, contact with selected Newsletter subscribers begins later tonight (HST)! [Check your Junk/Spam folders too]. The mailing includes instructions for how to claim an item, with a response deadline of Friday, Jan 19, 11PM EST. Those who reply as instructed before the deadline will receive a randomly selected item via USPS. (If you receive a mailing and do NOT want an item, simply do nothing; another subscriber will be selected for contact after the deadline passes).

I have spent the last few months working on a real labor of love project. There are quite a few professionally shot videos of Steely Dan in concert floating around the Internet and YouTube, but the quality is all over the place since they're mainly just hastily made copies of the house video feed. I have tried to find as many of these recordings as I can, and clean them up to look and sound as good as possible. The video on all of these has been upscaled to 1080p using Topaz Video Enhance AI (easy to use, but took 12-24 hours to render each video!). I also did some brightness and color correction. The audio was very labor intensive... I did some noise reduction, heavy EQ adjusting, multiband compression, and stereo widening to improve the sound, and I used Izotope RX 7's Music Rebalance tool to split the audio into separate tracks for bass/drums/vox/other sounds so I could process those elements individually and blend it back into the mix. CONCERTS WITH VIDEO: 1993-09-12 Mountain View, CA at the Shoreline Amphitheatre with special guest Boz Scaggs A great snapshot of the early reunion days. There's MP3 style compression on the audio in the source I have, so I couldn't fix that, but otherwise it sounds fantastic. Boz Scaggs plays guitar on Black Friday. 1993-09-16 Nashville, TN at the Starwood Amphitheatre - VERSION 2 I had originally remastered this concert a few months ago, and it absolutely took off in popularity on YouTube more than any of my other videos except for Storytellers, and this was frustrating because the video quality was truly terrible since it was from a VHS tape of God knows what lineage. However, I recently found a better copy of this concert! The video is infinitely better, and the audio is also a little better than before, so I have remastered that one as well. 1996-07-21 Manassas, VA at Nissan Pavilion at Stone Ridge My friends, this is a good one. There are some songs in this set list that don't show up in concert often like Any Major Dude Will Tell You and the reworked Rikki Don't Lose That Number. More importantly, this has the unreleased Wet Side Story, and the fiery early version of Jack of Speed with Walter on vocals. UPDATED WITH NEW AND IMPROVED VERSION APRIL 2023 2000-01-28 Steely Dan's Plush TV Jazz Rock Party - Raw footage from 1st night of taping When they filmed the PBS special/live DVD, they recorded it over two nights. Here is the footage from the entire first night's concert. Some of these songs made the final product, some they used the performance from the other night, and some of the songs didn't even make the cut to the final product at all! 2000-06-25 Detroit/Clarkston, MI at Pine Knob Music Theatre Some real magic here! Walter takes vocals for Daddy Don't Live and Monkey in Your Soul, and I am a big fan of how those two sounded in concert. The set list is filled with other cool stuff, like The Boston Rag, Night by Night, and West of Hollywood. Also, there's a brief power outage issue during Josie and they have to restart the song, but I added a little Easter egg to the video there. 2003-07-23 Costa Mesa, CA at Pacific Amphitheatre with special guest Dean Parks This was the 2003 tour opener, yet the band already sounds in fine form. The set list is a bit different than most shows the rest of that tour, including The Last Mall, Do It Again, and Reelin' in the Years. Dean Parks appears at the end to play guitar on FM. Great show! 2003-08-11 Detroit/Clarkston, MI at Pine Knob Music Theatre One of my personal favorites. It's a combo of a great variety of songs plus the band hitting on all cylinders, and the quality of the recording is pretty solid. Highly recommended. 2003-08-23 Camden, NJ at Tweeter Center This show has the same set list as the Clarkston show from a couple weeks before it, and the performance is great. The audio quality isn't quite as good here, as I had to splice it together from multiple incomplete sources. 2006-08-12 Charlotte, NC at Verizon Wireless Amphitheatre with special guest Michael McDonald Here is a really good quality recording of a great concert. Unlike almost all the other audio I've been working from, this one was in stereo! The addition of Michael McDonald to several songs makes for a nice change of pace too. 2006-09-04 St. Louis, MO at UMB Bank Pavilion with special guest Michael McDonald The 2006 tour closer, which is neat since they celebrate the behind the scenes guys before the encore. A couple of minor set list changes here compared to the Charlotte show, including Chain Lightning. For the video, good news is that it's widescreen! (Even if not quite as good quality as the video from the Charlotte show). Despite the source audio being mono, this one sounds really nice. 2007-07-25 Bonn, Germany at Museumsplatz Beautiful video quality here for a great show! I love Walter's solo on Bad Sneakers in this concert, and during his Hey Nineteen rap you get to hear him talk about "pitching woo in earnest" in a beautiful forest, "which parenthetically happens to be an enchanted forest." 2008-07-13 Cincinnati, OH at National City Pavilion IMPORTANT! 1) I actually attended this concert, so it's really neat to have a recording of it anyway, and 2) this was perhaps the best concert I've ever attended. It was one of those nights where everybody in the band was locked in tight and taking it to the next level. And the set list! The Fez, Everything You Did, Parker's Band, an incredible fucking version of Glamour Profession, and Walter singing Gaucho!! Oh, and bonus points for Walter's Hey Nineteen rap. Must watch! 2011-07-08 Los Angeles, CA at the Greek Theatre - "Aja Night" You Got The Bear!!! How cool is that?? And just to sweeten the deal even further, Your Gold Teeth and Everything Must Go. Walter avoided "the usual cornball rap" since it's Hollywood where things are "weird," and boy does it make for a fun one. (Removed from YouTube, let me know if you want a copy) 2011-09-17 New York, NY at the Beacon Theatre - "Rarities Night" I have finally remastered the Rarities Night concert! I was able to find video for about half of the songs, and for the other songs I just did a slideshow. It's pieced together from audience recordings of varying quality, but other than a couple of the last songs it actually sounds very nice. 2016-06-18 Hollywood, CA at the Hollywood Bowl, featuring the Hollywood Bowl Orchestra A unique concert, as it's the only time Steely Dan has performed with an orchestra. I had two audio sources to work with thankfully, since noise was a serious problem on both recordings, and even after doing a lot of very careful noise reduction, I was only able to retain the treble and presence of the instruments by combining the two audio sources. I left in some noise because any more reduction sucked all the feeling out of it. This video is a mix of some different video clips I found filmed from the audience, along with some slideshow stuff to fill in the gaps. SPECIALS: Steely Dan's Plush TV Jazz Rock Party - DVD release Here is the live DVD with the video AI upscaled to 1080p so it looks stunning, and I boosted the bass ever so slightly. VH1 Storytellers While there is some great live music in this special, the highlight is hearing Walter and Donald answer the audience questions, because regardless of how simple or silly the questions are, the answers are always entertaining. I absolutely cracked up at the useless oversized map part. AUDIO ONLY CONCERTS: 1974-03-20 Los Angeles, CA at the Record Plant Great performance, and you can really feel the energy now thanks to the improved sound quality! 1993-08-22 Saratoga Springs, NY at the Saratoga Performing Arts Center This is the earliest soundboard recording I've found from the '93 reunion tour, neat to hear them still finding their sound on the same songs they'd do in later recordings in the coming weeks. (The soundboard recording doesn't have the last few songs of the night, I was able to find alternate sources for most, but this is missing the encore unfortunately) 1993-09-01 St. Louis, MO at Riverport Amphitheatre This soundboard recording started off overly bright with almost no bass, and it was in mono. I've managed to bring it some much needed fullness. I was putting the finishing touches on this one the other night when I found out that Warren Bernhardt passed away. Unfortunately this recording is missing only one song from the concert, the performance of his song Tuzz's Shadow, but thankfully we get a chance to hear his wonderful playing throughout the rest of that night. 1993-09-02 Houston, TX at the Cynthia Woods Mitchell Pavilion This might be the best sounding recording we have from the '93 tour, definitely worth checking out! 1994-09-02 Dallas, TX at the Starplex Amphitheatre Excellent soundboard recording, with more reverb than most Steely Dan soundboard concert recordings for a unique vibe. Down in the Bottom and Hard Up Case both are exceptional here! 1994-09-17 Irvine, CA at the Irvine Meadows Amphitheatre Stunning sound quality on this soundboard recording, a little more room sound and reverb than Alive in America but just as good in its own way, and Walter performs both Down in the Bottom and Hard Up Case! 1996-08-17 George, WA at the Gorge Amphitheatre The last American stop on the Art Crimes tour. Great soundboard audio, and it gives us a killer version of Jack of Speed with Walter on vocals, My Waterloo and the unreleased Cash Only Island. 2000-07-15 Mansfield, MA at the Tweeter Center Taken from an assisted listening device, this recording has some static at times, but it doesn't ruin the whole show or anything. 2000-07-22 Manassas, VA at the Nissan Pavilion This one was hot! As in the recording itself was too hot and there was some distortion and clipping. I did my best to clean that up, and it ended up sounding very nice! 2000-09-10 London, England at the Hammersmith Apollo I was surprised how good this soundboard recording ended up sounding after I did some work on it, it was technically in stereo but sounded almost mono, and I was able to really liven it up and make it sound much more full and rich. 2003-10-02 Los Angeles, CA at the Universal Amphitheatre Best audio quality of any recording from the 2003 tour. John Beasley stopped by for a guest appearance on FM, and speaking of keyboard players I think Ted Baker was in fine form throughout this whole show. 2006-08-27 Mansfield, MA at the Tweeter Center Another soundboard recording from the Steelyard Sugartooth McDan tour featuring Michael McDonald. I had to clean up a lot of noise from this one, but it still sounds really nice. 2007-07-14 Rotterdam, Netherlands at Ahoy from the North Sea Jazz Festival A beautiful soundboard recording, even if it's short set list. 2009-07-22 Boston, MA "Aja and The Royal Scam Night" at the Wang Theatre This one is pretty cool as they played both the Aja AND Royal Scam albums back to back. They also played The Boston Rag and a cover of Dirty Water to salute the Boston crowd. Phenomenal sound quality! 2009-09-03 Chicago, IL "Royal Scam Night" at the Chicago Theatre with special guest Larry Carlton I was inspired to go ahead and remaster this one after listening to a wonderful interview Inside Musicast did with Larry where he mentioned this run of shows -- he agreed to appear, but then realized he hadn't played most of these songs in decades and had to go re-learn them! Fantastic interview from a great podcast, go check it out. In the meantime, you ABSOLUTELY must listen to this one. The sound quality is almost as good as the officially released live albums, and how cool is it to get to listen to Larry Carlton play with them for an entire show? 2011-07-22 Toronto, Ontario, Canada at the Molson Amphitheatre An excellent soundboard recording, other than the bass guitar being mixed extremely low. I did my best to repair that, so it isn't perfect, but overall the sound is fantastic on this one. Your Gold Teeth is a big highlight for me! 2014-07-12 Inglewood, CA at the Forum Recording taken from an assisted listening device... I had to fix some serious reception issues, but now it sounds great outside of some static here and there in the last few songs. BONUS: The Dukes of September Rhythm Revue 2010-09-29 Los Angeles, CA While this is not a Steely Dan video, and Walter does not appear at all, this fun show is still worth a watch. Stunningly good audio quality too. (Removed from YouTube, let me know if you want a copy) Donald Fagen 2006-03-18 Chicago, IL with special guest Howard Levy Another video sadly without Walter, but worth sharing with people who love Steely Dan. And I wanted to share this one in particular because it's a show that I taped myself, and I have yet to find any other recordings of, so it's nice to get this one into circulation. The quality is... not great. I did my best to clean it up, but my recording equipment at the time was limited by my being a broke college student. That also meant I didn't have the greatest seats either! I still did my best to clean this recording up and make it sound better, and since it's audio only I included a slideshow too. Donald Fagen 2006-03-03 Westbury, NY I was putting the final touches on this one when I heard about us sadly losing Jeff Young. Take some time to sit down and listen to his wonderful playing during one of the early shows from Donald's 2006 solo tour. Phenomenal sound quality here, and even a couple brief video clips (which are low quality, but better than nothing). Donald Fagen 2006-03-07 New York, NY with special guest Martha Wainwright Another Donald solo show, this one with the infamous surprise Martha Wainwright appearance halfway through the night grinding the momentum to a halt according to a good chunk of the crowd. Fantastic soundboard audio for this one to go with an audience member's camerawork. Donald Fagen 2006-03-13 Toronto, Ontario, Canada at Massey Hall Pristine sound quality and a neat setlist, this one includes my favorite live version of the DF+WB song Snowbound. Donald Fagen 2006-03-28 Oakland, CA at the Paramount Theatre This soundboard recording features a rarely heard performance of Maxine.

An unreleased song from the 11 Tracks Of Whack era (c.1992-3) BONUS alt take: No "talking intro", w/ extended outro. By Download only movie: matt kerns Our Lawn Words and Music: Walter Becker © Zeon Music, 1992 They very best days of the summer Now will they jazz us no more Spare parts and leftover pieces Lay out across the garage floor Babe it's a sad situation Tell me, what can it be? What's happening all over Elm Street Is happening all over me We frolicked here once in reckless green abandon Stretching out to the horizon line Even as the season ended We were running low on sweet borrowed time Those dead leaves piled up out by the mailbox Stacked up against the first decent blow You wonder what would it feel like To just dive in and let go All of sudden there's that tear in your eye It’s the end of an era so kiss kiss goodbye Our lawn is dying, we're watching it die Well when the sun starts looking lazy On ‘bout a quarter to five The girls are talking and laughing Up at the top of the drive Me stuck here in my wood-paneled dungeon Wondered what we're gonna do Who's gonna save the Bermudas Now that we've forgotten to A little taste, a little light conversation Isn't that the way it always was No lousy zero-sum equation Nor a lesson in some long-lost losing cause Green Peace Whole Earth Utne Reader Tell ‘em that I already gave Tell ‘em it's the midnight hour Dancing by the side of the grave The margins are crumbling now and its starting to show You might not even notice cause it’s going down slow Our lawn is dying, in case you don't know Let's throw a party on this doleful occasion Show the bastards who you really are No aging overnight sensation Hitched his hammock to the wrong shooting star All the way from DC to daylight Illumination in the cold, gray dawn Jacked up on the cellular level In case you got to call someone There's no one to blame now And there's nothing to do Let's just make the best of What's real and what’s true Our lawn is dying, so what else is new Walter Becker, Vocals Adam Rogers, Guitar Dean Parks, Guitar Fima Ephron, Bass Ben Perowsky, Drums John Beasley, Keyboards Engineer: Roger Nichols 2nd Engineer: Dave Russell