It’s no secret that I prefer Walter Becker’s two solo albums to those released by his Steely Dan partner Donald Fagen. It’s not that Fagen’s albums are bad. Two are outstanding and the others are a good listen.
Fagen’s albums just lack the lyrical wit, snark and edge that Becker displayed on 11 Tracks of Whack and Circus Money. Even the unreleased songs posted on Walter Becker Media show an artist who was breaking from his past and progressing.
Released on Sept. 27, 1994, 11 Tracks of Whack was Becker’s first solo album after years of success as half of Steely Dan alongside Fagen. The album has a distinctive sound, combining jazz, rock, blues and Becker’s often dark, sardonic lyrics. While it may not have achieved widespread mainstream success, 11 Tracks of Whack has garnered a cult following – especially among Steely Dan biggest fans. In the end, the album seemed to owe more to Leonard Cohen’s 2000s-era work than Steely Dan.
11 Tracks of Whack was co-produced by Becker and Fagen. Despite that, this album stays away from the polished, slick sound of Steely Dan’s meticulous production, maintaining a more personal, stripped-down atmosphere. There’s an edginess here, with Becker’s guitar taking a more prominent role. Becker’s bass playing and lead work are excellent throughout. Dan favorite Dean Parks handles most of the rhythm work with members of the Lost Tribe (including current Dan guitarist Adam Rogers) acting as backing musicians on three of the 12 songs.
The arrangements are sparse, not as musically dense as Steely Dan’s complex compositions. This leaves room for Walter Becker’s unique lyrical voice to shine. He covers similar thematic ground to Steely Dan’s catalog, with his characteristic cynicism and biting humor on full display. Songs like “Junkie Girl” and “Cringemaker” reflect on addiction, alienation and dysfunctional relationships — topics Becker often explored with a mixture of empathy and detachment.
His storytelling is sharp, blending the personal with the observational. In many ways, 11 Tracks of Whack feels more introspective than Steely Dan, with Becker reflecting on his struggles and the darker corners of life. There are also stand-out performances from the small ensemble assembled by Becker.
Parks and Rogers enter the guitar spotlight with growling solos on “Lucky Henry.” Rogers also stands out on “Surf and/or Die.” Bob Sheppard delivers the best horn work on the album with a delicate and fascinating solo on “Book of Liars.” The song also contains an off-kilter synthesizer/piano solo, presumably played by John Beasley. Though sparse, Donald Fagen’s restrained but effective horn arrangements add to the color palette.
My favorite songs on 11 Tracks of Whack:
“Down in the Bottom”: A moody, slow-burning opener, setting the tone with a melancholic, bluesy groove and tasty Becker soloing.
“Junkie Girl”: One of the standout tracks, both musically and lyrically. It’s a dark, wry take on addiction, with a catchy melody undercut by grim subject matter. The guitar solo by Becker and the key change are devilishly fun.
“Surf and/or Die”: A poignant song inspired by the tragic death of a friend in a surfing accident. The song captures both the thrill and peril of extreme experiences. The live band spokes here, and Becker spews out the lyrics with aplomb.
“Hat Too Flat”: Showcasing Becker’s signature sardonic wit, this song has an offbeat groove and a laid-back feel, with playful jazz-infused instrumentation and a touch of reggae. Is it a lyrical sequel to Steely Dan’s “Sign In Stranger”?
Head over to Walter Becker Media for demos and unreleased full-band versions of some of these songs. They are all golden.
Throughout, Becker’s vocals are understated and somewhat unconventional. They are admittedly not as good as on Circus Money, but Becker’s deadpan delivery and laid-back phrasing suit this album’s wry tone. This vocal approach works well in context, lending an almost spoken-word quality to some tracks.
We’re left with a gem in the wider Steely Dan canon. In retrospect, 11 Tracks of Whack can be seen as an important piece of Walter Becker’s legacy, offering rangy insights into his creative mind outside of his famous partnership with Donald Fagen.
It’s also an album that deserves a deluxe edition (on vinyl) that includes some of the Walter Becker Media material, well-known B-sides including “Medical Science” and “Fall of ’92,” and unreleased live recordings from Steely Dan’s concurrent tours in 1993-94.
If you’re a Steely Dan fan, you must own 11 Tracks of Whack. It’s the good stuff.
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