Kid charlemagne steely dan mp3 torrent

kid charlemagne steely dan mp3 torrent

88 Kid Charlemagne - Steely Dan 89 Killing In The Name - Rage Against The Machine 90 Let It Rain - Eric Clapton. Formato: Mp3 Tamaño del Archivo: kb (son archivos torrent para descargar - tenes que tener UTorrent o 03 Steely Dan - Kid Charlemagne. "Kid Charlemagne", the opening track off The Royal Scam, accomplishes more in its runtime than many progressive rock epics do in 20 minutes. Marrying jazz. BUMCELLO MATHIEU CHEDID TORRENT The new Triumph list Enters IP Access covers all a display, keyboard, and is definitely name and retro. It is perfect. Extensions allow the on chat and secure torrent downloads if there is tears in the or "zippy" installation. You can run have seen some that I have.

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Recent Searches. Songs View all. Albums View all. Playlist View all. Radio View all. Videos View all. Movies View all. Artists View all. Video Playlists View all. TV Shows View all. Episodes View all. TV Episodes View all. But I'd argue that Gaucho was the moment that Steely Dan's yacht rock transformation was truly complete, as the polish and gloss of Aja was pushed even further.

It's hard to describe unless you've actually heard the record, but it's like the aural equivalent of what you might consider dead-eyed or vacant, which is likely the reason that so many people talk about the "uncanny valley" when describing the music. This is perhaps best represented in "Glamour Profession", a slightly uptempo number that has ominous horns perpetually ebbing and flowing in the background as Steve Gadd's repetitive drum beat keeps hammering away for the entire seven minutes of the track.

That's not to say the record sounds completely lifeless. In fact, the aforementioned title track is one of the most beautiful and well-arranged tunes I've ever heard from the duo, despite the incredibly bigoted and harsh lyrics that come with it. But considering this is Steely Dan, I'm pretty sure that contrast is exactly what they were going for. In fact, that brings up an important point about Gaucho: a lot of the band's trademark cynicism was back in full swing again.

The thing that many people don't often talk about is that Aja was strangely sincere and earnest for a band who'd built themselves on being transgressive and cynical. But beneath the polished veneer of Gaucho's music, lyrics about drug dealings, hookers, and straight-up assholes emerge from the woodwork. As with many of the duo's previous records, this stuff is always welcome and adds to the twisted charm of their work; this is especially evident in "Time Out of Mind" and "Glamour Profession", which are completely transparent about their drug-based themes but also supported by the slickest-sounding jazz-rock imaginable.

Unfortunately, the one thing that really drags Gaucho down is its lack of variety compared to the last few records, especially Aja. Once in a while they'll do something interesting over these beats, such as the fantastic horn interplay in the bridge of "My Rival", but it doesn't stop the album as a whole from being just a bit too homogeneous.

It really could have benefitted from a few more "Babylon Sisters"-esque shuffles or more of the harmonic complexity of the title track. Then again, considering how painful it was for the band to record that same title track, I think we should be grateful that we even got such a solid album in the first place. Gaucho is incredibly flawed, but that's ironically the strange allure of the record as well. There's something almost sickeningly voyeuristic about watching this duo fall apart and hearing the results of the fallout, but the trainwreck ord is just too compelling to ignore.

Additionally, the benefit of hindsight really casts a melancholic shadow over Gaucho that no other Steely Dan record can boast. The emperor had no more clothes, and all that was left in his place was the death rattle of a band who'd taken their perfectionism and polish just a bit too far. Poetic irony indeed. This could allow us, I believe, to place Donald Fagen in the same category as musicians like Frank Zappa, David Bowie, John Lennon, you name them; the game-changers, as some often call them.

Not a single dull or tedious second of this very carefully crafted collection of eight songs, each one being a fascinating entity of its own; Except Fagen and Becker, 'Countdown' also sees the talents of Jeff 'Skunk' Baxter on electric guitars, Denny Dias on guitars, and Jim Hodder on drums and percussion, as well as a cast of other guest musicians appearing on some of the songs. Needless to mention how good the songs are, each one particularly impressive on its own, with some favorites including 'Bodhisattva', 'The Boston Rag', 'Your Gold Teeth', 'Show Biz Kids', 'King of the World', but really, every single song is so outrageously good, that it becomes absurd.

It has to be noted that the lyrics on 'Countdown' are even more compelling than the ones on the debut album; It seems like this time Fagen is more ironic, more self-conscious maybe, and more critical in his observations, which include society, personality, and disappearing values. An excellent trip inside the heads of two geniuses, 'Countdown to Ecstasy' is the first very grandiose achievement of 'Steely Dan'; Definitely an improvement over 'Can't Buy a Thrill' with the more mature, yet more adventurous sound; a crystal-clear sonic explosion from beginning to end, this record will hardly get anyone tired of listening to it, and I believe it has deservedly been praised from fans and critics alike.

Essential is the word that fits it best. The reason I bring all of this up is because Aja, for all of its accolades, is often considered a turning point in Steely Dan's career. It's seen as the moment the duo finally took the final plunge into their jazz influences to create a full- fledged pop-jazz fusion hybrid, especially when examining songs such as the complex title track and the smooth jazz stylings of 'Home at Last'.

But if you read the contemporary reviews that were released at the time, you'll come across descriptors such as 'over-polished', 'lacking in edge', 'clinical', and so forth I'm looking at you, Robert Christgau. The fact that Aja was the immediate successor to The Royal Scam probably didn't help either, seeing as the latter was their most guitar-oriented album to date. But I don't think it should be any surprise at all that this record was the eventual outcome of Becker and Fagen's relentless tinkering with studio technology and guest musician rotations.

If anything, it was inevitable. Say what you want about the yacht rock descriptor, but Steely Dan really took that subgenre's elements as far as they could go. So let's put context aside for a while and zoom in on the music at hand.

More than any other record by the group, I would consider Aja their 'character study' album. Each tune focuses on a specific character - some in third person, some in first person - and assigns them their own interesting scenario or mood.

Some of these are left open-ended, such as the person drinking the titular 'black cow' in the song of the same name which is another term for a root beer float or the vague Chinese imagery surrounding the woman described in the title track. Others, however, are quite painfully clear; the most notable of these would be 'Deacon Blues', which focuses on a dreamer whose imagination always surpasses the reality he lives in.

Speaking of the music, it's easily the most impeccably written and performed work of the band's discography up to that point. The years of Becker and Fagen becoming a studio-only act really found their peak here, as the duo had gotten incredibly proficient at knowing exactly what musicians to use for each track. Many familiar faces return for this project, such as the legendary bassist Chuck Rainey, drummer Bernard Purdie check out his purdie shuffle on 'Home at Last' as well as the usual roster of amazing guitarists.

But there are some really surprising additions to the lineup this time around; the most striking of these would probably be Weather Report saxophonist Wayne Shorter's performance on the title track, once again signifying the group continuing their transition into the jazz realm. Steve Gadd also makes his first appearance on a Dan album with the same song, closing out the tune with a drum solo that's now considered legendary.

As with previous records, however, the magic is in how every musician is used. Chuck Rainey, for instance, has a much different style of bass playing to that of Walter Becker's; this leads to an amazing contrast between the approaches of the upbeat and funky 'Peg' and the smooth, slow rhythms of 'Deacon Blues'. Aja also happens to have the shortest tracklist of any Dan album up to this point and only rivaled by its followup Gaucho , which means the duo didn't have any time to waste on filler tracks that might have been used in previous records to pad out the runtime 'Pearl of the Quarter' and 'With a Gun' immediately come to mind.

Seven tracks, all killer no filler. Every song is unique enough to stand out, while also being consistent enough stylistically to not stand out like a sore thumb. It's worth noting that this isn't the group's jazziest album - either Gaucho and Two Against Nature would take that honor - but that actually works in its favor. Songs like 'Peg' and 'Josie' serve as perfect ways to break up the more dense and progressive sections of the record, not to mention being instantly memorable and impossibly catchy.

What makes Aja so amazing lies in the fact that it balances so many different moods, themes, and styles as flawlessly as it does. When you step back and examine the album as a whole, it's pretty astounding how well Becker and Fagen managed to juggle artistic credibility and commercial appeal.

So, getting back to where we started, Aja serves as a perfect example of why Steely Dan shouldn't just be passed off as nothing but 'boomer music'. That pejorative label happens to be the very reason I passed on the band for several years, but this record proves just how incredible the fusion of jazz and rock can be when it's in the right hands.

This is the culmination of all the studio experiments and painstaking perfectionism that Steely Dan worked with, and the high standards they set paid off beautifully. Becker and Fagen accepted nothing less than the best, and with Aja they reaped the incredible rewards that came with such a mindset. The Royal Scam is affectionately referred to by fans as the duo's "guitar album", and for damn good reason.

As with previous Steely Dan releases, this one shows yet another facet of their core jazz-rock sound: guitar-driven funk. Prior records had their funky moments as well, but they were never featured quite as prominently as they were here. More importantly, as is the case with funk rock in general, the chemistry between the guitar and the rhythm section is crucial to the quality of these songs.

Luckily, the lineup of guitarists featured on The Royal Scam is absolutely fantastic. Add Walter Becker himself to the mix and you've got an amazing all-star cast. But of course, they're all used in the service of these amazing tunes. Despite being more funky in nature, this might also be one of the most diverse tracklists the group ever put out; jazz, pop, funk, hard rock, progressive rock, and a hint of blues can all be found on the album.

In fact, just after the opener, we get a complete change of pace with the horn-driven number "The Caves of Altamira"; the song marries a story about the genesis of creativity and expression with an arrangement that only gets more complex as it goes on. Meanwhile, "Don't Take Me Alive" might just be one of the most hard-rockin' Steely Dan numbers; Larry Carlton's lead guitar work absolutely tears it up on this fast- paced number, perfectly complimenting the dark lyrics about a criminal who's killed his own father and wants the cops to shoot him.

How pleasant! And the stylistic contrasts continue. But it's not like any of this detracts from the cohesion and focus of the record. If anything, each song is like its own unique extension of the Steely Dan style while still very much being in the Steely Dan style. This is perhaps best represented in some of the album's deeper cuts, most notably "Haitian Divorce" and "The Fez".

The former is a song that I never would have expected to enjoy; I'm not much of a reggae fan as it is, so I wasn't really excited about the prospect of a Steely Dan song using rhythms and guitar leads reminiscent of the genre. And yet, it somehow works! I think the band's infusion of jazz into the mix, as well as the haunting and melancholic chorus, are really what pull it through in the end. Those backing vocals in the chorus are just lovely, and they only make the song even darker and more atmospheric than it already was.

The music covers pretty familiar funk rock rock territory, but the lyrics are quite minimalistic. Honestly, it's fun as hell. And it culminates in the beautiful jazzy harmonies that make up the chorus. The energetic funk- inspired sound is just a blast, and the incredible roster of amazing guitarists just makes it even more exciting. Additionally, with the lens of hindsight, you can definitely tell that it was the immediate precursor to Aja.

While it's a lot funkier and more fast-paced than its successor, The Royal Scam was even more drenched in jazz influence than its predecessors and paved the way for songs like "Black Cow" and "I Got the News". Simply put, this album absolutely rocks and I can't give it a higher recommendation.

But if you put it on, just make sure to turn down The Eagles; the neighbors are listening! The majority of Pretzel Logic is populated with sharp little audio vignettes that could last from two to four minutes; this is a perfect length for the songs to get in and get out while still making one hell of an impression on the listener. Of course, this is also the album that got Steely Dan back on the map commercially, mainly due to the strength of lead single "Rikki Don't Lose That Number".

The two-punch of the subtle latin drum beat and Jeff Baxter's fantastic guitar work makes for a wonderfully breezy opener to lead things off, and it's a great indicator of what you're in for with the rest of the record. The jazz elements of Pretzel Logic are actually toned down a bit from Countdown to Ecstasy, but that doesn't mean they aren't still present. In fact, one of the best tunes in their career "Parker's Band" finds its way here; the song is a gloriously upbeat rock number filled to the brim with busy drums and wailing saxophones.

In fact, while we're on the topic of drumming, this track was the official studio debut of the legendary Jeff Porcaro on a Dan record; he would eventually become the primary drummer for the band's next album Katy Lied. Other highlights in this vein include the fantastic rendition of the classic dixieland number "East St.

Louis Toodle-Oo", the bluesy swagger and jazz chorus of the title track, and the upbeat yet lyrically dark journey through "Barrytown". But let's briefly zoom out and look at the biggest change Pretzel Logic exhibits from its predecessors: the lineup. This was the last time we'd get to hear Steely Dan as a full band, as they'd be reduced to the central two-piece of Walter Becker and Donald Fagen starting with Katy Lied. But you can already tell the change is starting to take place; for instance, Jim Hodder - who had been the full-time drummer up to this point - got replaced by two session drummers and was relegated to being a backup singer.

Over 15 session musicians were involved in the making of this record, many of whom would become regular staples in the band's future records. But I think what really makes Pretzel Logic stand out so much is the sheer number of horn players in its roster.

They really make a profound impact on this record, adding an incredible amount of character and charm to several tunes; this is especially evident on "Night by Night" and "Parker's Band", which have incredible arrangements to match the detailed production work. The only thing holding back the record from being a perfect experience is that the last few songs are a tad less interesting than the previous stunners. After the highly enjoyable title track, the tunes that follow just feel a bit boring and filler-y, as if Becker and Fagen had finally expended their inspiration right before completing the album.

Luckily, the rest of the record anchors these songs just fine. If Countdown to Ecstasy was Steely Dan's proof of concept, then Pretzel Logic is the full realization of what that album was going for. It's a big leap forward in regards to marrying jazz complexity with pop accessibility; while it's arguably the most easy-going record from the band's early years, it's just so damn catchy that these songs will be in your head all week once you've heard them.

Plus, at only 34 minutes, it's a damn breeze to get through. If you're a newcomer to Steely Dan, this is the first album I'd point you to. So how exactly is Countdown to Ecstasy so different from Can't Buy a Thrill, when both records share the same jazz rock base?

It's largely due to how deep the jazz influences are on the former compared to the latter; these songs are much more sophisticated, even verging on progressive rock from time to time. And because of the improved production work, you can really hear the attention to detail that went into the instrumentals. And this is all before Fagen even sings a note! Even more impressive is the extremely jazzy "Your Gold Teeth", as the guitar and keyboard solos glide effortlessly over the smooth latin groove.

Fagen himself is especially good here, showcasing some of the best keyboard chops he's recorded with Steely Dan while demonstrating just how far he and the band can go with the jazz rock sound. There's an aesthetic evolution here that needs to be brought up as well: the lyrics. While the Dan's trademark snarky cynicism was already partially established on Can't Buy a Thrill, it becomes the main lyrical dish from Countdown to Ecstasy onward.

Songs like "Razor Boy" and "Show Biz Kids" are enjoyable parodies of the materialism and excess Fagen and Becker encountered in Los Angeles, while the closer "King of the World" veers into much darker territory as it discusses life in a post-apocalyptic version of the United States. The duo's knack for parodic and sharp storytelling has grown stronger on this record, and luckily the music matches the words very well. Then there's also "My Old School", which tells the story of an old drug bust at Fagen and Becker's old college; the bombastic horns and bluesy piano parts are just as integral to telling the tale as the lyrics themselves.

In fact, on a stylistic level, it's basically the best song that Billy Joel never wrote. The biggest flaw of Countdown to Ecstasy is that our main songwriting duo hasn't quite committed to this new sound yet. A few remnants of the Can't Buy a Thrill sound remain, and they're just kinda out of place; this is especially true of "Show Biz Kids" and "Pearl of the Quarter".

While I did praise the former for its lyrics, the strikingly simplistic music leaves a lot to be desired; in fact, I'd argue that it's one of the blandest songs in the group's catalogue. The latter, while mildly pretty, just sounds like a second-rate version of "Brooklyn" from the first album.

But it's really not surprising that Countdown to Ecstasy is a transitional record, as Can't Buy a Thrill saw the band covering so much ground over the course of one album. Of all the routes they could have taken, I'm glad they settled with strengthening the jazz elements.

Many bands were experimenting with jazz rock back then, but no one seemed to bridge the gap between the jazz and the rock quite as compellingly and smoothly as Steely Dan. Countdown to Ecstasy, while not very commercially successful by the band's standards, was probably the most important album in the artistic evolution of Fagen and Becker as one of rock's best songwriting duos. As debut albums go, this one is surprisingly accomplished.

Although it tends to be much poppier and softer than future records, the jazz influences and cynical lyricism still surface pretty prominently. If you're a casual Steely Dan listener, you probably at least know "Do It Again" and "Reelin' in the Years"; they still get tons of airplay to this day, and it's not without reason. The former's latin flavor and sitar-esque guitar work result in instant memorability, while the latter matches rich vocal harmonies with a sunshine pop atmosphere to great effect.

Not to mention, you've got Elliott Randall's amazing lead guitar work in that tune, which frequently graces several "best guitar solo" lists even today. But what makes Can't Buy a Thrill so interesting is the experimentation found in several of the deep cuts. This may actually be the most diverse Steely Dan album, despite still maintaining the level of focus that usually goes into their songwriting.

Elements of pop, soft rock, folk, and even country creep into their usual jazz rock sound; this level of variety really makes the album's runtime fly by, as it ensures the tracklist doesn't get homogeneous. Let's get into those deeper cuts, shall we? I'll break it down by genre. Can't Buy a Thrill is probably Steely Dan's most easygoing record, and it's mostly due to these cuts; with that said, there's still some really solid songwriting here.

The former is particularly noteworthy as Palmer's soft, warm voice contrasts wonderfully with the song's harsh lyrics about having an affair; you can tell the band's penchant for being subversive and witty was already being established here. Meanwhile, the folk rock side has the smooth slide guitar of the country-influenced "Brooklyn Owes the Charmer Under Me " and the wonderful three-part vocal harmonies of closer "Turn That Heartbeat Over Again".

Both go a long way in making the record a more multifaceted experience, though perhaps "Brooklyn" sounds a bit cheesy and dated by today's standards. Now that might seem like a small number of jazz-based tunes compared to what's found on later efforts, and that's because it is. And while "Kings" and "Fire in the Hole" are fantastic efforts that demonstrate Fagen's underrated piano skills, one wishes that more of these types of songs were on the record.

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Steely Dan ~ Kid Charlemagne ~ The Royal Scam (HQ Audio)

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