The other day, I found myself listening to Donald Fagen’s excellent solo debut album The Nightfly. More frequent visitors of the blog know I dig Steely Dan big time, so one wonders what took me so long to write about this record released in October 1982. Well, to my defense, I included The Nightfly in a previous post about Fagen’s 70th birthday in January 2018 but haven’t dedicated an entire piece to this gem. Until now.
In many ways, The Nightfly mirrors previous Steely Dan albums. To start with, the producer was Gary Katz, who also had produced all of the Dan’s seven records that had appeared by then. Driven by Fagen’s and Katz’s perfectionism and some technical challenges, The Nightfly took eight months to record, about on par with the Aja album, though shorter than Gaucho, Steely Dan’s final album prior to their 20-year recording hiatus. Like previous Steely Dan records, The Nightfly featured an army of top-notch session musicians. Larry Carlton (guitar), Chuck Rainey (bass), Jeff Porcaro (drums), Rick Derringer (guitar) and many other of these guys had played on Steely Dan albums.
But one musician was absent: Fagen’s long-time collaborator Walter Becker. While initially, Fagen thought he could easily handle the song-writing by himself, there came a point when he began to struggle. After the album’s release, he developed a full-blown writer’s block. It would take more than 11 years for his second solo album Kamakiriad to come out. That record was produced by Becker and was the first time he and Fagen collaborated since their breakup in 1981. Another key difference compared to Steely Dan albums were the largely autobiographical lyrics. Many of the songs incorporated topics from Fagen’s childhood in suburban New Jersey. Unlike most Steely Dan albums that were recorded live, for The Nightfly, Fagen opted to overdub each part separately.
Let’s get to some music. I was going to skip the excellent opener I.G.Y., since it was included in my above-mentioned post on Fagen’s 70th birthday. But as one of the album’s standouts, I simply couldn’t resist. I.G.Y, which stands for International Geophysical Year, captures America’s widespread optimistic vision about the country’s future in the late 1950s. The song includes concepts like undersea rail, solar-powered cities and public space travel – and a good dose of sarcasm. I.G.Y. also became the album’s lead single. It peaked at no. 26 on the Billboard Hot 100 and is Donald Fagen’s only solo top 40 single on that chart.
According to Wikipedia, the title of the next song Green Flower Street was inspired by the jazz standard On Green Dolphin Street. During his childhood, Fagen became a huge jazz fan. It’s no coincidence that the album’s cover pictures him as a radio DJ with a turntable and a copy of 1958 jazz album Sonny Rollins and the Contemporary Leaders.
Ruby Baby is the only cover on the album. Co-written by music songwriting machine Jerry Leiber and Mike Stoller, the tune was first recorded by The Drifters in 1956. Fagen’s take is jazzier than the original doo-wop version. It also was released as the record’s third and final single.
Another great tune is New Frontier. The title was taken from a quote by John F. Kennedy, who said during his acceptance speech for the Presidential nomination in 1960: “We stand today on the edge of a New Frontier—the frontier of the 1960s, the frontier of unknown opportunities and perils, the frontier of unfilled hopes and unfilled threats.” The lyrics are about teenage romance, which prompted a Wall Street Journal reporter to speculate the title may be a humorous metaphor to sex and adulthood. Here’s the song’s official video clip, which combines animation and live action, and is considered an early classic played on MTV. The tune also appeared separately as a single.
I’m Lester the Nightfly
Hello Baton Rouge
Won’t you turn your radio down
Respect the seven second delay we use
This is the first verse from the album’s title track, which captures Fagen’s fascination with jazz during his teenage years and his dream to become a late-night radio DJ. It’s the final tune I’d like to call out.
During a British radio segment about The Nightfly, which apparently aired around the time of Fagen’s 70’s birthday and featured archive interview soundbites of him from 1982, he commented: “I guess I’m 34 now, and I started to think back about how I came to be a musician. And in exploring that, I started thinking about the late ’50s and early ’60s when I first started listening to jazz and rhythm and blues and that kind of music. And that’s the kind of music that formed a lot of my attitudes at the time, not only the music but the whole culture connected with jazz and late-night radio and hipster culture and all those things, which I thought of as an alternative to the rather bland life I was leading out in the suburbs near New York City. So that theme runs through most all of the songs in the album.”
The Nightfly was not only a standout musically, but also technologically. It is one of the earliest fully digitally recorded albums. In fact, it brought to a successful conclusion Fagen’s and Katz’s previous experimentation with digital recording on Steely Dan’s Gaucho, which ended up being an analog record. But it wasn’t an easy feat and led to various challenges with the digital recording machines. In a 1983 story by Billboard magazine, Fagen said, “I was ready to transfer to analog and give it up on several occasions, but my engineering staff kept talking me into it.”
The album was positively received by music critics. It was also nominated for seven Grammy Awards in 1983. While performing worse commercially than Dan’s Gaucho, The Nightfly still was certified platinum in the U.S. and the UK. It climbed to no. 11 on the Billboard 200, making it Fagen’s second-best chart performing solo album after Kamakiriad, which peaked at no. 10 on that chart.
Sources: Wikipedia; Songfacts; Billboard Magazine; YouTube