Morph the Cat
When Steely Dan debuted in 1972, it was one of dozens of slicked-up boogie bands playing an eclectic mix of roots-rock, jazz-fusion, and pop-R&B. Later, co-founder Donald Fagen began focusing more on the fusion, such that he's now narrowed his sound to a single synthetic funk groove with jazzy overtones. The Fagen of…
There are no surprises in sound and style on Morph the Cat, Donald Fagen's long-awaited third solo album, nor should any be expected -- ever since Steely Dan's 1980 masterwork, Gaucho, his work, either on his own or with longtime collaborator Walter Becker, has been of a piece. Each record has been sleek, sophisticated, and immaculately produced, meticulously recorded and arranged, heavy on groove and mood, which tends to mask the sly wit of the songs. When it works well -- as it did on Fagen's peerless 1982 solo debut, The Nightfly, or on Steely Dan's 2001 comeback, Two Against Nature -- the results go down smoothly upon first listen and reveal their complexity with each spin; when it doesn't quite succeed -- both 1993's Kamakiriad and the Dan's 2003 effort Everything Must Go didn't quite gel -- the albums sound good but samey on the surface and don't quite resonate.