Steely Dan’s 1980 album Gaucho had its rough patches in terms of productions. Started only months after the release of their Aja album in 1977, there were some major issues that hampered the sessions. Two revolved around the now late Walter Becker. One had to do with his increasing drug problem. The other had to do with a traffic accident that sent Becker to the hospital. And into six months of recovery. Donald Fagen collaborated with him via phone during that time. The album finally came out just a little over three years after its predecessor-in November of 1980.
Even for all that and a number of legal battles over the album title from Keith Jarrett, Gaucho continued Steely Dan’s peak of musical excellent. It would be their final studio album for twenty years. And that was just fine for most people. It was one of the few newer albums my parents had in their record collection during my own early years. Most of my life, the song from it I was most familiar with was “Hey Nineteen”. By the time its followup Two Against Nature came out, I began to explore Gaucho even deeper. And that’s how I discovered what’s likely my favorite song on it called “Glamour Profession”.
Steve Gadd’s straight up dance beat sets the pace right away. Its accompanied by Fagen’s processed Fender Rhodes piano and Anthony Jackson’s counter melodic bass hump. Before the refrain comes in, Tom Scott’s Lyricon and Michael Brecker’s sax play a nighttime friendly horn chart. During the refrains and chorus, Steve Khan plays some bluesy jazz guitar riffs. He also gets time for a solo just before the vocal bridge of the song-where the song changes key for a bar or so. The song fades out on an extended instrumental refrain with Khan’s soloing taking precedence.
“Glamour Profession” is likely the coolest song (and only one as I recall) about a fading basketball player’s involvement in an elaborate drug deal I’ve ever heard. Donald Fagen’s lyrics are as poetically cryptic as usual. Its also an amazing “dazz” song-its disco jazz flavor enhanced by the jazzy chords of the guitar,bass and processed Rhodes part that define the song. The production and melody are the sonic equivilent of clear glossy lacquer. The sound is slick and slippery. Yet is also full of weight and texture. And surely one of Steely Dan’s many fine musical moments of their original run.