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DISCID=5e08f407
DTITLE=Steely Dan / Gaucho (Original MCA Version - Made In USA)
DYEAR=1980
DGENRE=Rock
TTITLE0=Babylon Sisters
TTITLE1=Hey Nineteen
TTITLE2=Glamour Profession
TTITLE3=Gaucho
TTITLE4=Time Out Of Mind
TTITLE5=My Rival
TTITLE6=Third World Man
EXTD=Gaucho (Original MCA Version - Made In USA)\n1984 MCA Records, In
EXTD=c.\n(Mini LP CD Packaging)\nOriginally Released 1980\nGold CD Edi
EXTD=tion Released July 9, 1991\n"Citizen Steely Dan" Boxed Set Releas
EXTD=ed December 14, 1993\nRemastered Edition Released October 10, 200
EXTD=0\nJapanese Mini LP Version Released February 21, 2001\n2000 Univ
EXTD=ersal Victor, Inc. - Japan\n\nAlbum Details (Mini LP CD Packaging
EXTD=)\nDigitally remastered Japanese limited edition featuring a mini
EXTD=ature LP style sleeve for initial pressing.  Limited to 5000 copi
EXTD=es only! \n\nAMG EXPERT REVIEW: Aja was cool, relaxed and control
EXTD=led; it sounded deceptively easy. Its follow-up, Gaucho, while so
EXTD=nically similar, was its polar opposite: a precise and studied re
EXTD=cord, where all of the seams showed. Gaucho essentially replicate
EXTD=s the smooth jazz-pop of Aja, but with none of that record's dark
EXTD=, seductive romance or elegant aura. Instead, it's meticulous and
EXTD= exacting; each performance has been rehearsed so many times that
EXTD= they no longer have any emotional resonance. Furthermore, Becker
EXTD= and Fagen's songs are generally labored, only occasionally reach
EXTD=ing their past heights, like on the suave "Babylon Sisters," "Tim
EXTD=e Out of Mind" and "Hey Nineteen." Still, those three songs are b
EXTD=arely enough to make the remainder of the album's glossy, meander
EXTD=ing fusion worthwhile. -- Stephen Thomas Erlewine\n\nAmazon.comEd
EXTD=itorial Review\nThe multiplatinum success of Aja made Steely Dan,
EXTD= the musical conceit of Walter Becker and Donald Fagen, a househo
EXTD=ld name. But that prosperity came bundled with a fateful triple-w
EXTD=hammy for rock's dyspeptic duo: unrealistic commercial expectatio
EXTD=ns, a critical backlash spawned by punk's nascent mewling, and th
EXTD=e long-simmering meltdown of their artistic partnership. But the 
EXTD=cool, perfect sheen of 1980's Gaucho tipped its hand to none of i
EXTD=t. Ironically, those fashion victims who sniffed up their sleeves
EXTD= at Don and Walt's decadence-tinged Me Decade manifesto couldn't 
EXTD=have had a clue that just maybe Gaucho's typically oblique protag
EXTD=onists had uncomfortably blurred from the third-person to the fir
EXTD=st this time 'round. At least that's what Becker and Fagen hint a
EXTD=t in their smart-assed notes to this digitally remastered, defini
EXTD=tive edition (all original artwork and printed lyrics restored) o
EXTD=f the final album before their 20-year hiatus. Pristine and sonic
EXTD=ally polished (three years and seven studios worth), time has ser
EXTD=ved Gaucho well. Even its sense of laconic detachment now seems b
EXTD=ut a logical bridge to the two-decade removed Dan of Two Against 
EXTD=Nature. To their credit, Becker and Fagen didn't trash the first 
EXTD=half of Steely Dan's legacy on Gaucho, they simply burnished it t
EXTD=o oblivion. -Jerry McCulley \n\nHalf.com Album Credits\nDavid San
EXTD=born, Contributing Artist\nMark Knopfler, Contributing Artist\nMi
EXTD=chael McDonald, Contributing Artist\nRick Derringer, Contributing
EXTD= Artist\nRoger Nichols, Engineer\n\nAlbum Notes\nSteely Dan: Dona
EXTD=ld Fagen (vocals, electric piano, synthesizer); Walter Becker (gu
EXTD=itar, bass).\n\nAdditional personnel: Steve Khan, Hugh McCracken,
EXTD= Hiram Bullock, Larry Carlton (guitar); Tom Scott (alto & tenor c
EXTD=larinet, tenor saxophone, lyricon); George Marge, Walter Kane (ba
EXTD=ss clarinet); Michael Brecker, Dave Tofani (tenor saxophone); Ron
EXTD=ny Cuber (baritone saxophone); Randy Brecker (trumpet, flugelhorn
EXTD=); Wayne Andre (trombone); Rob Mounsey (piano, synthesizer); Don 
EXTD=Groinick (electric piano, clavinet); Patrick Rebillot, Joe Sample
EXTD= (electric piano); Chuck Rainey, Anthony Jackson (bass); Steve Ga
EXTD=dd (drums, percussion); Bernard Purdie, Rick Marotta, Jeff Porcar
EXTD=o (drums); Nicholas Marrero (timbales); Crusher Bennett, Victor F
EXTD=eldman, Ralph McDonald (percussion); Leslie Miller, Patti Austin,
EXTD= Toni Wine, Lani Groves, Diva Gray, Gordon Grody, Frank Floyd, Za
EXTD=ck Sanders, Valerie Simpson (background vocals).\n\nProducer: Gar
EXTD=y Katz.\n\nReissue producer: Andy McKaie.\n\nRecorded at Soundwor
EXTD=ks, A & R Studios, Sigma Sound Studios and Automated Sound Studio
EXTD=s, New York, New York; Village Recorder, West Los Angeles, Califo
EXTD=rnia; Producers Workshop, Hollywood, California. Includes liner n
EXTD=otes by Walter Becker and Donald Fagen.\n\nDigitally remastered b
EXTD=y Roger Nichols (Digital Atomics, Miami, Florida). \n\nProbably t
EXTD=he most critically revered band of the 70s, Steely Dan's brand of
EXTD= slick pop with a dose of jazz/funk left a meagre but vital catal
EXTD=ogue to cling on to. This was their last gasp at the onset of the
EXTD= 80s. Perhaps they were aware of the fact that they were too 70s 
EXTD=for the 80s. This was their least accessible and most mature albu
EXTD=m (no criticism is intended), as the content washes over the list
EXTD=ener like a warm shower. 'Hey Nineteen' is the hit single from th
EXTD=is set, a radio-friendly nostalgic look at 1967, impeccable in pr
EXTD=oduction and with evocative lyrics. Lots of echoey Fender Rhodes 
EXTD=and sensitive brass.\n\nAmazon.com Customer Review\nSing that Gha
EXTD=na Rondo: We will never see their kind again, November 9, 2000 \n
EXTD=Reviewer: Gavin J Wilson from Thames Ditton UK \nAnd so we come t
EXTD=o what I assume is the end of the Steely Dan remastering project.
EXTD= Aja was the last Dan album recorded in analogue (and apparently 
EXTD=Fagen & Becker did consider recording Gaucho digitally).\n\nI was
EXTD= expecting this to be the Dan album that benefitted least from th
EXTD=e re-mastering process -- as it was the most recent of the analog
EXTD=ue albums -- but no, wrong again. So much new detail is revealed 
EXTD=in the mix that it constantly battles for my 100% attention. In t
EXTD=he past I could work quite happily with a Dan album playing in th
EXTD=e background, but all these remastered versions just insist that 
EXTD=I drop everything else and listen. It's almost like listening to 
EXTD=an entirely new set of tunes.\n\nOnce again we have Becker and Fa
EXTD=gen's elliptic sleeve notes. They contribute a vital perspective 
EXTD=on what was going on at the time, without saying much about what 
EXTD=was actually going on. There is no reference to the copyright law
EXTD=suit that Keith Jarrett pursued and won -- compare the opening to
EXTD= 'Gaucho' and then Jan Garbarek's sax opening on 'Long as You Kno
EXTD=w You're Living Yours' on the 'Belonging' album. What was such a 
EXTD=talented songwriting team thinking of?\n\nAllegedly Becker and Fa
EXTD=gen made extensive use of a drum machine for this album -- Fagen 
EXTD=felt that no drummer could keep a perfect beat -- but a human dru
EXTD=mmer is given a credit on each track.\n\nSadly Denny Dias is not 
EXTD=on this album. The track listings on the entire remastered series
EXTD= have made the fullest declaration yet of who played what on each
EXTD= track, and I have been astonished to find out this year how ofte
EXTD=n Dias played some of my favourite 1970's guitar solos.\n\nLarry 
EXTD=Carlton, one of the the Dan's most stalwart session guitarists, t
EXTD=urns up for just the last track, "Third World Man", and boy, is t
EXTD=hat solo a goodie. Apparently the solo had been hanging around, u
EXTD=nused, in the Dan vaults for a number of years, and Fagen finally
EXTD= wrote the song around the solo. It is a fantastic finale to the 
EXTD=end of the first Dan era -- seven diamond-encrusted albums from w
EXTD=hat was the world's finest pop/rock/jazz/whatever band. We will n
EXTD=ot see the likes of them again. \n\nIn which Steely Dan finally g
EXTD=ets the last laugh..., August 14, 2001 \nReviewer: fred (see more
EXTD= about me) from L.A. - "Here Come Those Santa Ana Winds Again!!!"
EXTD= \nWhen I was still a buck, yet music had already lost enough inn
EXTD=ocence to spawn the abominable "The Rolling Stone Guide to Rock A
EXTD=nd Roll," trees fell in vain over this album. The critical consen
EXTD=sus was one star, with a call or two for the gas chamber. \n\nMan
EXTD=, how time has evened up the score! Although I like 'em, I'm not 
EXTD=the biggest Steely Fan, which makes me all the more confident say
EXTD=ing this is one of the most unfairly maligned albums I've ever he
EXTD=ard. \n\nGenius? Naaah. Still, our hindsight (and their foresight
EXTD=) flings "Gaucho" as closely to its sweet edge as our boys ever g
EXTD=ot, conceptually and lyrically speaking. \n\nAlready famous for t
EXTD=heir powers of subversion ("Rikki Don't Lose That Number"; "I Got
EXTD= the News") and inscrutability (that damn "Josie" refrain!) D/W p
EXTD=ulled off a more meaningful ruse with "Babylon Sisters" and "Hey 
EXTD=Nineteen." \n\nEver feel the strikingly different impact of "19" 
EXTD=on and off the album? As a Top-40 hit, "19" was a trifle whose ob
EXTD=vious lesson exhausted most of its meaning and all of its welcome
EXTD= after a few spins. That's why this record became the soundtrack 
EXTD=to your next root canal.\n\nBut when heard after "Babylon Sisters
EXTD=," the same recording is a jarring, real-time rumination on leche
EXTD=ry and loneliness. It sets an ambitious agenda of introspection a
EXTD=nd denial that is fulfilled by the rest of the album (with more t
EXTD=han the usual attention to drugs and the charms of ahem, young bo
EXTD=ys and young girls). \n\nSuddenly, those deceptively Prozack-y ri
EXTD=ffs and under-key vocal arrangements (which sound surprisingly ri
EXTD=ch on the remaster) drip with irony. \n\nOF COURSE it's easy list
EXTD=ening, these guys are GETTING OLD...GET IT? Either critics didn't
EXTD=, or didn't want to.\n\nIn fact, after listening to this album ag
EXTD=ain, it seems these boys were being extremely hard on themselves,
EXTD= and by proxy, critics who were also past prime. The 70's were ov
EXTD=er; so was the fun -now what? \n\nThe finality of it all rankled 
EXTD=on levels many seemed unwilling to acknowledge, let alone accept.
EXTD= As tales of this project's excess and calamity got out - and esp
EXTD=ecially after Donald Fagen released the crtically-praised "The Ni
EXTD=ghtfly" two years later -it seemed Steely Dan was history, and th
EXTD=at "Gaucho" was, atop its other sins, an ungracious middle finger
EXTD= of a breakup album. \n\nNot quite - but it would take years for 
EXTD=that to become clear.\n\nMeanwhile, the White Male Oracles of Roc
EXTD=k had game to hunt. They had finally slain Disco. They didn't dar
EXTD=e discuss the self-destruction of punk (hard-wired and already we
EXTD=ll underway), for they had long championed that genre's tradition
EXTD=al values of rock n' roll rebellion.\n\nThere really wasn't a lot
EXTD= to go after. But Steely Dan presented a juicy morsel. After all,
EXTD= they had reveled in disco's hedonism, albeit with two left feet 
EXTD=(interestingly, several theoretically undanceable Steely Dan hits
EXTD= remain standards on the gay disco circuit). Face it: these dudes
EXTD= had leered for years at topics most critics didn't even want to 
EXTD=think about yet, and were making mad money doing it. But this tim
EXTD=e, the fix was in...and Steely Dan apparently knew it before the 
EXTD=first copy sold:\n\n"Turn that Jungle Music Down/Just Until We Ge
EXTD=t Out of Town," indeed.\n\nBut you know what? \n\nI'm 38 years ol
EXTD=d now, and offended not one bit, now that I'm the one talking to 
EXTD=the 19 year-olds.* \n\nThey were absolutely right! So I think I'l
EXTD=l crank it up on the way home tonight!\n\n*metaphorically speakin
EXTD=g, heh, heh... 
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