Author: Peter Podbrežnik
Artist: Steely Dan
Label: Island Records
Release: 1976
Length: 41:11
Rating: 5/5
“The Royal Scam” is the sixth studio gem in the story of the legendary jazz rock project Steely Dan, who under the conducting baton of Donald Fagen and Walter Becker truly reached epic proportions in this period. On “The Royal Scam,” their trademark lyrical cynicism, fed by the gloomy corners of American turbo-capitalist society, hit its peak. You can tell from the musical atmosphere and the lyrics just as much as from the chilling gothic cover, which shows a well-dressed homeless man haunted in his sleep by a nightmare of depressing skyscrapers with the heads of assorted beasts. A cover that was ahead of its time, it’s a sharp satire of the so-called American Dream. To my mind it embodies the noticeably darker atmosphere compared to the rest of the Steely Dan catalog, especially the next album, the far more melancholic “Aja” (1977).
The album is unique in terms of composition and instrumentation too, since it’s their most guitar-oriented record, one that positively buckles under the weight of eclectic solos, clever riffs and multi-part harmonies. Becker and longtime collaborator Denny Dias got help from the legendary jazz fusion guitarist Larry Carlton and highly respected studio names like Elliott Randall, Dean Parks and Hugh McCracken. The Steely duo anchored their virtuoso contributions perfectly within refined yet energetic jazz arrangements and highly complex rhythmic patterns. The latter, which have always been a trademark of the Steely Dan sound, got even juicier thanks to a beefed-up horn section. Fagen’s highly charismatic singing, once again stretched between razor-sharp sarcasm and melancholic sensuality, got more enriched than ever with occasional erotic female backing vocals.
In the best Steely Dan tradition, “The Royal Scam” stands out for its extremely clever rhythmic patterns, magnificent jazz arrangements, potent riffs and production perfection. The refined jazz arrangements built on keys and horns became even more dominant compared to the r’n’b, pop and soul elements that played a bigger role on their early albums. Thanks to the strong guitar backbone, you could argue it’s their most rock-minded record, alongside ”Countdown to Ecstasy” (1973). Here and there, small disco influences sneak in too, adding even more to the album’s sonic breadth. The compositions are again wildly eclectic, held together by a dark atmosphere and lyrical sarcasm that reached its fullest bloom in the band’s story. This kind of biting social satire, about drug dealers, immigrants’ troubles, safe sex and similarly grim social visions, would be toned down considerably in the years to come, to the disappointment of some fans and the relief of others.
The individual compositional gems on the album almost compete with each other over which one will turn out more dazzling. The dramatic jazz rocker “Kid Charlemagne,” which was also released as a single, is a magnificent opener. With its dark, mocking lyrics, funky rhythmic patterns, grand jazz harmonies, rock-style instrumental breaks and kinetic backing vocals, it’s one of the best Steely Dan classics. The lyrics are about the notorious American chemist Owsley Stanley, who experimented heavily with LSD in the ’60s, while also touching on other, less romantic images of the psychedelic ’60s. This superb track also stands out for its shamelessly good closing solo by Larry Carlton. It’s also worth saying that “Kid Charlemagne” was a hugely influential track on many musicians of the time, including the legendary guitarist Steve Lukather (Toto), who said in an interview that Carlton’s solo is one of his favorite guitar solos of all time.
The magnificent “The Caves of Altamira,” which sheds a bit of light on the otherwise gloomy atmosphere of the whole album, is also one of the best creations in the Steely Dan story. A pompous intro is followed by grand jazz arrangements, backed by seductive vocal harmonies and phenomenal singing from Fagen. It’s hard to single out the main virtues of such an exquisite composition. Well, besides the extremely juicy sax solos that form epic, layered harmonies, it’s the hypnotic chorus with its nostalgic lyrics that really kills. “Don’t Take Me Alive,” about an outlaw on the edge of the abyss, is the next compositional gem, boasting a completely different structure from its predecessor. Steely Dan once again managed to create perfect harmony between jazz and rock elements. Refined jazz harmonies and rhythmic patterns are spiced up with potent, almost hard rock guitar passages. Meanwhile, in the magical chorus, through Fagen’s enviable vocal charisma, romance and nostalgia mix with rage at the repressive authorities, who in this case are wrongly hunting a free-spirited fugitive.
“Sign in Stranger,” which touches on the almost standard lyrical themes of prostitutes and gangsters, moves along slower, funky rhythmic patterns and melodramatic piano passages. The main highlights are the relatively atypical chorus with Fagen’s almost enraged vocal performance, his cheeky piano solo and yet another excellent guitar solo at the end. “The Fez,” which deals with an unusual sexual fantasy, is also an extremely interesting creation. The disco influences on the rhythm are clearly audible, while the magnificent jazz arrangements are pushed far into the foreground in the production this time. This practice would come into full bloom on their next masterpiece. The central melody is extremely hypnotic. The chorus also gives you goosebumps right away, so it’s quite a surprise that this excellent composition didn’t become a hit. The next compositional treat dealing with sexual fantasies is “Green Earrings.” It’s a great example of a colorful cross between jazz fusion and r’n’b. Playful rhythmic patterns are backed by layered jazz harmonies and razor-sharp guitar riffs and solos.
The superb “Haitian Divorce,” a vivid autopsy of a failed romance, might even be their most hypnotic song ever. Its main quirk is that they experiment with reggae rhythms on it, while playful wah-wah guitar passages wander in between. Bouncy rhythmic patterns are seasoned with seductive vocal harmonies that in an instant carry the listener off to a lonely Caribbean island, and into the lonely heart of the lyrical protagonist, left without his romance. Fagen’s vocal practically buckles under the sarcasm in the chorus. The solid “Everything You Did,” which mocks certain aspects of jealousy, once again has a completely distinctive compositional nature compared to the rest. This time the production puts juicy guitar passages up front, along with the warm sound of Hammond organs, while the jazz arrangements sit more in the background.
The triumphant finale comes courtesy of the highly complex title epic “The Royal Scam,” which brings a good number of exotic sonic elements into its rich structure. This superb, musically and socially provocative creation boasts a mighty guitar riff, witty piano passages and unorthodox drum fills. All of it is occasionally cut across by mischievous horn passages. The peak of the social provocation lies in the lyrics, which describe the discriminatory position of Puerto Rican immigrants in American society. To be more precise: how, after the end of World War II, thanks to the extensive industrialization of their island, they moved en masse to the USA, where they met with contempt and got third-class status. Their dreams of the “promised land” ultimately turned out to be a nightmare, since, thanks to the spread of high-rises, they started being driven out, ironically, even from their shabby slums. Fagen, backed by magnificent female backing vocals in the chorus, “narrates” all of this in such an immersive and sarcastic way that it almost gives you the chills.
With “The Royal Scam,” the legendary Steely Dan duo pulled off one of their most magnificent feats, and it still stands proud today like an obelisk of compositional and production perfection. Fagen and Becker hit quite a few career peaks on it. “The Royal Scam” has, in my opinion, the best lyrics in the Steely Dan story. At the same time, I’d call it their most balanced album, the one where they managed to find that almost perfect balance between jazz and rock; a golden scale on which the musical elements of both genres are arranged with truly special finesse. By their next masterpiece, the mega-successful album “Aja,” the jazz arrangements would take on a more dominant role, while they’d tone down the lyrical sarcasm quite a bit and steer into more romantic waters. A shame in its own way, since with its unique, dark atmosphere “The Royal Scam” is excellent proof that the legendary project was at its most convincing when it ruthlessly laid bare the true face of the American Dream. The indestructible duo was incapable of making a bad album, but “The Royal Scam” embodies everything someone could wish for if they want the clearest possible glimpse into the wonderful Steely Dan kingdom.
Line-up
Donald Fagen – keyboards, vocals, backing vocals
Walter Becker – bass guitar, guitar, vocals
Chuck Rainey – bass guitar
Timothy B. Schmit – bass guitar, vocals, backing vocals
Paul Griffin – keyboards, vocals
Don Grolnick – keyboards
Denny Dias – guitar
Larry Carlton – guitar
Hugh McCracken – guitar
Dean Parks – guitar
Elliott Randall – guitar
Bob Findley – horn
Chuck Findley – horn
Dick Hyde – horn
Slyde Hyde – horn
Jim Horn – saxophone
Richard Hyde – trombone
Plas Johnson – saxophone
John Klemmer – saxophone
Rick Marotta – drums
Bernard “Pretty” Purdie – drums
Gary Coleman – percussion
Victor Feldman – percussion, keyboards
Venetta Fields – vocals, backing vocals
Clydie King – vocals, backing vocals
Sherlie Matthews – vocals, backing vocals
Michael McDonald – vocals, backing vocals
Production
Gary Katz
Track list
1. Kid Charlemagne
2. The Caves Of Altamira
3. Don’t Take Me Alive
4. Sign In Stranger
5. The Fez
6. Green Earrings
7. Haitian Divorce
8. Everything You Did
9. The Royal Scam
