Steely Dan - Aja

REFINE UNTIL IDEALISM IS REACHED

There's no secret to Aja, in spite of what many might philosophize. As someone whose tracked Steely Dan's career from Can't Buy A Thrill (which seems like years ago by now), one thing's explicitly clear; Aja is just simply better than anything before it. There's no tricks, no clairvoyant direction, no grand ideology statements. It's merely Steely Dan at their best, tight and tuned, elastic and supple. Apart from the elongated instrumental break during the eight-minute 'Aja,' the duo's distinctive Pop Rock patterns find comfort here, be it in the melodic melancholy of 'Deacon Blues' or the excitable percussion parleys of 'I Got The News.' So much so that finding moments of emphasis with talent, evolution, or ingenuity proves difficult. Truly, Aja is just Steely Dan refining their mold until perfection (or, as close as their foxy Jazz-Rock can get to it) is reached.

That holds true for side A, undoubtedly Aja's crowning jewel and easily the band's greatest four-track run to date. 'Black Cow' is a masterclass of patient progression, nuanced set pieces, and instrumental congruity. The latter becomes most prominent with the saxophone solo, which is just as memorable as the hook or bridge. And, in my eyes, the MF DOOM 'Gas Drawls' sample, which initially caught my attention, much in the same way of 'Kid Charlemagne' off Royal Scam: Sudden surprise with an affable grin. Speaking of samples though, we can't go without mentioning 'Peg,' which has the honor (not the other way around) of birthing Hip-Hop's greatest song; De La Soul's 'Eye Know.' Prince Paul's gentle use of such remarkable sounds shan't be understated, and thankfully Steely Dan's original version holds up lavishly well too. It's elementary, sweet, and virtuous, sending praise to the leading damsel over Sesame Street-esque production, reflecting the accessible principles of hippie culture to the mainstream circa 1977.

These two songs, 'Black Cow' and 'Peg,' are the two Aja highlights. But the title track's exploratory ways, along with 'Deacon Blues'' clever lyrics and choir gentility make for strong cases as well. And though Aja sputters to its finish, none of the trifecta of 'Home At Last,' 'I Got The News,' or 'Josie' falter to a failing state. Something that can be said for any number of deep cuts off Steely Dan's previous albums. Still, to think a single four-track run can cement an artist's career is preposterous. But clearly, that's exactly what happened on Aja. And for me, that's enough.