Fagin? . . .

. . . no. . .

Fagen, as in Donald. . .


Fagen met Becker at a college coffee house at Bard College in 1967. Responding to an ad in The Village Voice in the summer of 1970, Fagen and Becker met guitarist Denny Dias and started a musical partnership that formed the basis of what would eventually become Steely Dan. However, the original group's line-up would only be assembled in full around December 1971 in Los Angeles, California, to where Becker and Fagen had relocated, initially to work as staff song writers for ABC/Dunhill. Fagen and Becker formed the core of the band and co-wrote all the group's music; on tour and record, Becker played bass (and later lead guitar) and Fagen played keyboards, as well as performing almost all of the lead vocals on their recordings.

After releasing their third LP in 1974, the other members gradually left (or were fired from) the band, which gradually evolved into a studio project headed by Becker and Fagen. They scored their biggest success in 1977 with the platinum-selling album Aja.

After a lengthy period of inactivity as a band which began in the early 1980s, the duo of Becker and Fagen revived Steely Dan in the mid-1990s, and have since produced two more Steely Dan studio albums: 2000s Two Against Nature which won several Grammys, Everything Must Go (2003), as well as the live CD Alive in America (1995) and a live concert DVD entitled Two Against Nature, which included material spanning much of the band's history.

Fagen frequently uses aliases. He wrote the liner notes to Can't Buy a Thrill under the name Tristan Fabriani, which he would use on stage when he played keyboards for Jay and the Americans, (Becker would use Gus Mahler). On his solo albums, when he plays or programs a synthesizer part to replicate a real instrument (bass, vibraphone, horns, etc.) he will credit one of his aliases - Illinois Elohainu, Phonus Quaver, or Harlan Post.

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Finally it happened. . .

. . . the trials and tribulations of Ful Treatment. . .

A match. A 'club' that required exactly the musical product we were offering. It was a relatively roomy, oblong configuration with a large rectangular bar that encircled the tending staff, located at one end with a dance floor to the side and a stage at the far end of that. It was located in an industrial area to the south of the city, in close proximity to the docks, business of which brought many merchant marine and an assortment of blue-collar clientele for some weekend reverie. In fact, we frequently, unfairly generalizing, joked about the patrons' general lack of teeth and violent tendencies. Let's face it though, large amounts of quickly consumed alcohol frequently does result in less-than-gentlemanly behavior in humans, irrespective of type of employment or socioeconomic level.
Our bigotry was not based entirely in fiction though. One particularly well-lubricated Friday night crowd included two, physically imposing females, complete with the teased, bouffant hairdo, each with a personalized version of a blond-streak adornment. Someone in the crowd was heard to refer to these ladies as 'skunk-heads', referring to the aforementioned blond coloring. As the evening progressed, it became obvious to us and our wives/girl-friends/significant others that accompanied us to the gig that night that the 'skunk-heads' had become enamored with several male members of the crowd. It became more obvious still later, that there was some discontent among the party of ladies and their newly-found, romantic interests. Eventually a real, true-to-life bar brawl erupted as a result of the developing sexual tension (or was it friction?) When the fists began flying, the entire band and our visitors were, for lack of a better description, was flabbergasted. At that point, we all know precisely what happened, but each would relate a different version now if asked, one of the involved merchant marines picked up a chair from a table adjoining the dance floor, and broke it over the head of his antagonist, sending a wooden chair leg hurling meteor-like onto the bandstand. It seemed as thought the frame froze at that point, all sound ceased, and we all stared toward the crowd, mouths agape in astonishment for what seemed to be a short eternity, but ended with Greg (our saxman/vocalist) picking up the disconnected furniture appendage, waving it in the direction of the audience saying something to the effect that he dared anyone to try anything NOW!




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It's magic. . .

. . . when the music takes you directly, authentically and effortlessly AWAY.

A haunting, angelic voice capable of moving you to tears with a whisper before whisking you away to a smokey bar amid screams and shouts. And a band that fills in every gap with breathtaking color and nutritionally and emotionally satisfying musical sustenance while providing freight-train unstoppable rhythm and heavenly ambience.

I actually witnessed this in action last night. Music is, without a doubt, MAGIC. These magicians demonstrated their expertise and then some. . .



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You don't know Jack. . .

. . . but you should know Doug.

Doug Alan Wilcox, the Hagerstown (formerly Frederick) singer/songwriter/bard/guitarist/entertainer/excellent human being who offers his melodic musical compositions to you via live performance and cds. . . his newest of which is called WHAT I MEANT TO SAY. And you can hear it on his website by clicking on the hyperlink below.

Not only is Doug the creative musician par excellence, he is a board member of the Frederick Acoustic Music Enterprise promoting local original music and musicians.



Visit Doug's Website

Doug Alan Wilcox with Ray Jozwiak, Frederick Coffee Company, June 11 @ 8PM


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