“I Got the News”—third song, side two of Aja (1977)

A song I’ve listened to a million times (Side Two of Aja, a million times) without paying much attention to it—why? One reason is because Side Two of Aja is like a sandwich where the Peg and Josie bread is slightly more tasty than the meat and condiments in-between. Secondly, there’s the title—a bit of a turnoff—in that I’ve never liked the mention of “the news” in any rock or pop music format. The third reason may be because of the upbeat jauntiness of this tune—something that often initially turns me off—even when that’s far from fair. (What’s fair? We’re talking about cranky codgers’ opinions about pop music!) Fourth (and hopefully last)—might be—a superficial perusement of the lyrics reveals some slightly moist love mush—never my first choice when it comes to focused listening. But, however, now is the time for a closer assessment—that’s why I’m doing this, after all! Exactly what is going on here? Over time (and there’s been 47 years since I bought this record with my own 17-year-old working man’s money) bread—no matter how tasty—becomes stale (never mind what happens to meat and condiments—the metaphor stops with the bread).

The place I always like to start, with this record, is the hilarious liner notes by “Michael Phalen”—and this one is no less: “…a Manhattan-jukebox thump-along, serves as the vehicle for the coy pianistics of Victor Feldman, whose labors are capriciously undermined by Walter Becker’s odd, Djangoesque guitar and a pointlessly obscene lyric.” Well, first of all, I like to listen to a song in context of the entire album. Is that just an excuse to listen to this record for the one millionth time? That’s what my wife thinks. I don’t care—it’s important. Also, it’s 5 p.m. on Sunday and there’s nothing on TV but the news. There is no wife. It’s hard—because there is no greater recurring moment in life than dropping the needle on “Black Cow”—how in the world is that Side B bit of bologna and mayonnaise ever supposed to hold up? As I’ve said before, the real key to my full appreciation of SD records is a close reading of lyrics with the music, as I’m not necessarily a hearer of lyrics—I often let the songs go by, uninformed (I’m no better in conversation). This one is no different—I may not finally “get” the song (though, some sticky, sultry rhymes persist) but now, at least, I see it, IN COLOR (as they used to say) even 3-D. For one thing, the drums and bass parts are insane. After that, it’s all a bonus. Piano and vibes, odd synth, almost imperceptible noodling guitars (and nice solos, of course). Also, you’ll want to pay particular attention to that part of the song I sometimes call (sometimes incorrectly?) “the bridge”—which, in Steely Dan songs, is often such a bonus as to seem, even, like the point of the song. This one is no exception.

—Randy Russell 4.7.24