Steely Dan’s Aja stands as a monument in the landscape of music, particularly within the realms of ‘Yacht Rock’ and sophisticated pop. Over the decades, while the appreciation for its genre has seen its tides, Aja has consistently evaded the waves of criticism and ironic takes. It’s not just considered the pinnacle of Yacht Rock but has transcended genre classifications to be hailed as an unironic masterpiece, celebrated across rock and music in general.
But what is the magic behind this album crafted by two self-proclaimed music nerds, singing about flawed characters in intricately arranged songs? How did Steely Dan, with their jazz-infused soft rock and white R&B influences, achieve universal acclaim, even from those who typically shun these genres? And why is Aja, so emblematic of ‘Yacht Rock’, immune to the mockery often directed at its contemporaries?
The answer likely lies in Steely Dan’s unwavering commitment to excellence. By the time Aja, their sixth studio album, was conceived, the band had essentially distilled down to the core duo of Walter Becker and Donald Fagen. Having streamlined their lineup, retaining only guitarist Denny Dias for a guest solo on the title track, Becker and Fagen focused on the quintessential elements of their signature sound: top-tier session musicians, complex jazz harmonies, and narratives centered on disillusioned, often self-destructive individuals.
Aja was the culmination of years of musical refinement. Comprising just seven tracks, the album is remarkably concise, with every note, beat, and horn flourish meticulously placed. Becker and Fagen were notorious perfectionists, known for cycling through entire ensembles of America’s finest session musicians in pursuit of their sonic vision. The song ‘Peg’, for instance, reportedly underwent eight different guitar solos before meeting their exacting standards.
This relentless pursuit of perfection paid off handsomely. Aja propelled Steely Dan to superstardom, achieving chart success, Grammy awards, and significant commercial prosperity. Remarkably, this was a band that had ceased touring, yet they ascended to become one of the biggest musical acts globally.
Here, we embark on a detailed exploration of the seven tracks that constitute Aja, ranking them in order of their musical brilliance and impact. This is your definitive Aja Song List ranking, designed to illuminate the nuances of this iconic album.
Aja Song List Ranked: Exploring Steely Dan’s Masterpiece Track by Track
7. ‘I Got the News’
Steely Dan famously eschewed filler tracks, and Aja‘s near-flawless reputation is underscored by the fact that the infectiously upbeat and breezy ‘I Got the News’ is considered the “least” exceptional song on the album. However, in the context of such a stellar collection, even ranking at the bottom is a testament to its quality. Interestingly, in the Classic Albums documentary dedicated to Aja, ‘I Got the News’ is notably absent from in-depth discussion, instead playing during the end credits, almost acknowledging its position in this ranking.
While ‘I Got the News’ is undeniably enjoyable, it’s true that elements within it are executed with greater impact on other tracks within Aja. Michael McDonald’s backing vocals achieve more prominence in ‘Peg’, Chuck Rainey’s bass lines are funkier and more deeply grooved in ‘Black Cow’, and the subtly suggestive lyrical themes find a more potent expression in ‘Josie’. Nevertheless, ‘I Got the News’ boasts exceptional piano work by Steely Dan veteran Victor Feldman, who also adds layers of vibraphone, creating a rich and dynamic sonic landscape.
Victor Feldman's piano work shines on 'I Got the News', adding depth and complexity to the track.
6. ‘Home at Last’
‘Yacht Rock’ as a genre label is a retrospective classification. Back in the late 1970s, artists like Steely Dan, The Doobie Brothers, or Rupert Holmes weren’t consciously labeling themselves as such. However, if one song cemented Steely Dan’s enduring association with this descriptor, it’s arguably ‘Home at Last’.
Adorned with nautical imagery and a laid-back shuffle rhythm courtesy of Bernard Purdie, ‘Home at Last’ represents Steely Dan at their most accessible on Aja. It features a relatively straightforward verse-chorus structure, a less dense harmonic palette compared to their typical work (though it still includes the Dan’s signature “mu major” chord), and a fairly clear narrative without a central character who is a complete loser. It offers a refreshing change of pace within the album’s tracklist and is perfectly suited for relaxed listening.
5. ‘Josie’
‘Josie’ stands as the slightly less prominent of the two songs focused on female characters within Aja, yet it still delivers a significant impact. From its distinctive chromatic guitar introduction to its captivating inverted chord progressions, ‘Josie’ flirts with disco influences more overtly than perhaps any other Steely Dan track. It could almost be interpreted as a playful parody of the genre were it not for the sheer musicianship evident in the execution of its complex chords and rhythms.
Despite not primarily aiming for mainstream pop chart dominance, Steely Dan possessed the innate ability to craft classic pop songs seemingly at will. Much like their other highly melodic tunes like ‘Rikki Don’t Lose That Number’ and ‘FM’, ‘Josie’ incorporates just the right measure of musical sophistication and unconventional rhythms to maintain the band’s deep jazz roots.
4. ‘Black Cow’
As a potent album opener, ‘Black Cow’ immediately establishes the sonic and thematic territory of Aja: a supremely funky, remarkably intricate pop-jazz album populated with tales of marginalized figures and self-deceiving hipsters. In a characteristically quirky twist, the song’s central figure seeks solace not in typical vices like alcohol or drugs, but in a root beer float.
Underpinned by soulful backing vocals that deliver some of the most subtly venomous lyrics in Steely Dan’s repertoire, ‘Black Cow’ remains somewhat of a hidden gem within Aja, despite its opening track placement. It serves as an ideal entry point into the nuanced and often morally ambiguous world of Aja, and indeed, Steely Dan as a whole.
3. ‘Peg’
What truly constitutes Steely Dan’s secret weapon? Is it Chuck Rainey’s unparalleled bass playing? The constant rotation of top-tier guitarists and drummers, injecting fresh perspectives into their material? Or perhaps the infusion of pop melodies that prevent their songs from becoming overly indulgent jazz explorations? While all are compelling arguments, the undeniable, though sometimes understated, element is the irreplaceable Michael McDonald.
By layering his own vocals into a chorus of exceptionally tight harmonies, McDonald imbues ‘Peg’ with its distinctive allure. The song’s sharp, ironic lyrics contrast beautifully with its buoyant musical arrangement, epitomizing Steely Dan’s penchant for luring listeners into narratives of questionable characters with irresistibly catchy music. They employed this tactic repeatedly, but few songs achieved the same level of breezy, immediate appeal as ‘Peg’.
2. ‘Deacon Blues’
Steely Dan truly shone when they allowed themselves to expand their musical structures, blending their most intricate arrangements with their most memorable melodies. ‘Deacon Blues’ exemplifies this perfectly, featuring one of the band’s most existentially weighty and melancholic narratives. Walter Becker himself described the central theme of ‘Deacon Blues’ as embodying the “broken dream of a broken man living a broken life.”
Fittingly, this somber theme is juxtaposed with some of the most uplifting harmonies, unforgettable saxophone melodies, and exquisitely jazz-inflected arrangements ever to grace a Steely Dan song. Paradoxically, ‘Deacon Blues’ represents Steely Dan consciously distancing themselves from mainstream expectations. As Donald Fagen noted, “One thing we did right on ‘Deacon Blues’ and all of our records: we never tried to accommodate the mass market. We worked for ourselves and still do.” Evidently, audiences resonated deeply with their self-directed approach, and the enchanting sounds of ‘Deacon Blues’ make it clear why.
1. ‘Aja’
The title track of Aja encapsulates everything that defines Steely Dan’s genius, compressed into an expansive, nearly eight-minute composition. Featuring stellar performances from Denny Dias on guitar, Wayne Shorter on saxophone, and particularly Steve Gadd on drums, ‘Aja’ is quintessential Steely Dan distilled into a single track.
Lyrically, the song depicts a character past his prime, yearning for escape in the form of the eponymous woman, Aja. Donald Fagen delivers one of his most fluid and emotionally resonant vocal performances on record. Walter Becker’s guitar accompaniment further enriches the track, making it a rare instance from this era where both core members are prominently featured in the final recording.
But most significantly, for a fleeting span of minutes, Steely Dan transcends their characteristic irony and cynicism, achieving a rare moment of pure musical elation. They unleash unadulterated joy, immersed in the magic of having some of the most accomplished musicians of their time at their command. Aja is an exceptional album in its entirety, but it is within the title track that the album unequivocally asserts its claim as one of the greatest of all time.
This aja song list ranking aims to guide both seasoned fans and new listeners through the rich tapestry of Steely Dan’s Aja, highlighting the brilliance of each track within this landmark album.
