Gaucho

A man flees west, pursued by saxophones. That’s how Steely Dan’s Gaucho starts, with “Babylon Sisters,” a foreboding melody that creeps into the room like toxic fog, and a lyric about a guy in a car en route to a three-way. While the horn section keeps rupturing the mood the keyboards are trying to set, the narrator spins stick-with-me-baby fantasies of California leisure and hedonism for his female companion(s). There may be no more perfectly yacht-rock tercet in the Dan canon than, “We’ll jog with show folk on the sand/Drink kirschwasser from a shell/San Francisco show-and-tell.” But even the singer doesn’t believe the sales pitch. By the end of the verse he’s talking to himself, or maybe he has been all along. “It’s cheap but it’s not free,” he says. “And that love’s not a game for three/And I’m not what I used to be.” Meanwhile, Randy Brecker’s muted trumpet dances around him, mocking his pain the way only a muted trumpet can.

Good times! Is it any wonder Gaucho—the seventh Steely Dan album, and the last one Donald Fagen and Walter Becker would make together until the year 2000—is the one even some hardcore Danimals find it tough to fully cozy up to? The almost pathologically overdetermined production is elegant, arid, a little forbidding, and every last tinkling chime sounds like it took 12 days to mix, because chances are it did. And underneath that compulsive craftsmanship, that marble-slick surface, there’s decay, disillusionment, a gnawing sadness. But that’s what’s great about Gaucho. It takes the animating artistic tension of Steely Dan—their need to make flawless-sounding records lionizing inveterately human fuckups—to its logical endpoint.

It’s their most obviously L.A. record, so of course they made it in New York, after spending years out West making music so steeped in New York iconography it practically sweated hot-dog-cart water. And it’s also the most end-of-the-’70s record ever made, 38 minutes of immaculately conceived malaise-age bachelor-pad music by which to greet the cold dawn of the Reagan era. The characters in these songs have taken an era of self-expression and self-indulgence as far as they can. They’re free to do and be whatever and whoever they want, but all that severance of obligation has done is isolate them from other people.

The only character who’s having any kind of communal fun is the coke dealer on “Glamour Profession,” who makes calls from a basketball star’s car phone and takes meetings over Mr. Chow dumplings with “Jive Miguel…from Bogotá.” Everyone else is lost out there in the haze, having mutually demeaning sex or reaching for human connection in angry, possessive, usually futile ways. “Gaucho” and “My Rival” are both about relationships into which some threatening/alluring interloper has driven a wedge; both “Hey Nineteen” and “Babylon Sisters” are about older guys who chase younger women and wind up feeling older than ever. Things fall apart, the center does not hold, there’s a gaucho in the living room and he won’t leave, and it’s getting hard to act like everything’s mellow.

“The Cuervo Gold/The fine Colombian/Make tonight a wonderful thing,” sings the narrator of “Hey Nineteen,” and then he sings it again, as if that’ll make it true. The narrator of the bouncy, Michael McDonald-enhanced “Time Out of Mind” seems to be in a pretty good mood, but it’s only because he knows he’s going to go somewhere later and smoke heroin until L.A. morphs into Lhasa. Everyone’s alone, or together in a way that’s worse than being alone; every lyric is a one-sided dialogue.

There’s a precisely calibrated mix of empathy and irony in the way the Dan observe these poor devils, these sinners in the grip of a checked-out God— Becker, perfectly, called it “a sneer and a tear.” This is, at points, a very funny record—particularly the title track, whose unfolding absurdity builds to the moment where the narrator, having caught his lover holding hands with a bodacious cowboy in a spangled leather poncho, cries out, “Would you care to explain?” in high dudgeon worthy of Frasier Crane.

When Becker and Fagen started making this music, it was 1978, and they were coming off the platinum-selling Aja, the biggest hit they’d ever had. They briefly toyed with the idea of putting together a band and touring—a form of strenuous exercise they’d given up years earlier—but instead they went back to work on new music, and didn’t emerge from the studio until late 1980. One of the first tracks they finished was “The Second Arrangement,” a blithe kiss-off from an unapologetic Jaguar-driving lothario whose faithlessness is suddenly fashionable. You can find the song on YouTube in various states of completion—a piano demo with Fagen trying a shaky falsetto on the chorus, a polished instrumental, a bootlegged-sounding full-band version whose discoid thwack evokes a waterlogged “Get Lucky”—but you won’t find it on Gaucho. After an assistant engineer accidentally erased a large chunk of the master tape, Becker and Fagen tried for a while to recreate the track, then gave up on it entirely. It wasn’t the only good song they discarded during the sessions—even with all the king’s sidemen at their disposal, they couldn’t capture “The Bear” or the surreal colonialist fever-dream “Kulee Baba” either—but it might have been the best song on the album if it had survived. They replaced it with the merely-very-good “Third World Man,” a retooled track left over from the Aja sessions, featuring a downhearted soliloquy of a guitar solo by Larry Carlton, who was reportedly surprised to discover he’d played on Gaucho.

Fagen later described the “Second Arrangement” debacle to Rolling Stone correspondent Robert Palmer as “one of the most serious emotional setbacks we’ve had in the studio.” There are less-auspicious ways to begin work on a record. But maybe Gaucho was destined to go awry no matter what. By shrinking themselves to a two-man unit (plus longtime producer Gary Katz and engineer Roger Nichols) and forsaking the road, Becker and Fagen had cut down on the entropy to which even moderately successful rock bands usually succumb, but during the course of the Gaucho sessions, they were dealing with a range of high-class problems, from a court battle with MCA Records (who’d just absorbed the Dan’s old label ABC, and believed the final album the band owed that label was now contractually theirs) to Becker’s burgeoning heroin addiction, which made him an inconstant contributor to the band’s creative process. He played some guitar and bass on three songs, but as the sessions wore on, he was busy going through hell.

In January 1980, Becker’s girlfriend Karen Stanley, who Becker later said had struggled with depression, died of what may have been an intentional overdose in Becker’s apartment. Then, in April of that year, while walking on a New York street, Becker was hit by a taxi cab. He spent seven months in a cast with a fractured tibia and was effectively sidelined from the studio for most of the three laborious months it took to mix Gaucho. Mixing was Becker’s forte; Fagen was left to muddle through. During a visit to the studio in summer 1980, Palmer watched him sit with Katz and Nichols, “inhaling a cigarette in spasmodic gulps” while endlessly retooling the fade-out at the end of “Babylon Sisters,” eventually spending four hours fiddling with fifty seconds of music.

Of the nearly 40 consummate studio pros whose work at the Gaucho sessions made the final cut, the player with the heaviest footprint belongs to “Wendel,” a Paleolithic 12-bit sampling unit designed and built by Nichols, deployed by Becker and Fagen to impose a drum-machine-like consistency on the work of live drummers like Steve Gadd and Rick Marotta. “In the ’80s,” Becker told Mojo years later, “hand-crafted, hand-played music was being overtaken by this increasingly mechanical, perfectionist machine music, and we were just trying to get there first. They had all these disco records that were just whack-whack, so perfect, the beat never fluctuated, and we didn’t see why we couldn’t have that too, except playing this incredibly complicated music…It seemed like a good idea.”

Of course, the computerized micro-tweaking of live instrumentation is now as commonplace a part of pop-music production as reverb, but back then the option to program with real drum hits was tantamount to magic, especially for two guys who’d spent much of their professional lives being just a tiny bit disappointed by some of the finest session musicians on the planet. But Wendel was also a bit of a prickly collaborator. “[E]ven the most minute event,” the band wrote in the liner notes to a 2000 reissue of Gaucho, “had to be programmed in the gnarly and unforgiving 8085 Assembly Language, in which all relevant parameters needed to be described in its baffling hexagesimal-base numerical system, which ultimately became the only language Roger Nichols spoke or understood, at least for a time.”

The Dan’s commitment to the path of most resistance paid off. “Hey Nineteen” cracked the Top 10, and the album went platinum. Even Wendel got a plaque. Then in 1981, Becker and Fagen took an 11-year break from working together as Steely Dan. It’s probably a coincidence that this album about breakups and estrangements and encroaching age and the corrosive effects of hard drugs on human fellowship immediately preceded the not-drug-unrelated suspension of a longstanding creative partnership between two guys who were just entering their 30s. But we’re talking about Steely Dan here, not Fleetwood Mac—if they ever wrote about themselves, they’d never be uncool enough to admit it. It’s probably better to think of this as a loose concept album about people with a higher-than-average chance of dying in an accident involving downers and a hot tub, but one whose content couldn’t help but mirror the struggles in its makers’ lives. It might not be the best of Steely Dan albums, but it’s definitely the most Steely Dan of the Steely Dan albums. Becker and Fagen are too smart not to know ideals like perfection and grace are for opium dreamers, but can’t help reaching for them anyway.