"Peg" by Steely Dan

Key takeaways

Steely Dan’s 'Peg' exemplifies highly controlled studio craftsmanship, with a revolving cast of top session musicians assembled specifically for each track.
The song features jazz-influenced harmony with complex chords like major 9 and altered dominant chords, which is unusual for pop and rock songs.
The use of effects such as phase on keyboards and flanger on guitar contributes significantly to Peg's distinctive sound.
Tom Scott’s Lyricon adds a warm, unique wind sound that harmonizes with the descending chord progression, demonstrating innovative instrument choices.
Michael McDonald’s harmony vocals are carefully layered through overdubbing, showcasing detailed vocal arrangement work.
Jay Graydon’s guitar solo is a product of creative constraints, inspired by blues thinking, and highlights expressive bending and phrasing.
The elaborate production process makes Peg a difficult song to reproduce, but also a paragon of meticulous studio work.
The song’s layered complexity—musically, vocally, and production-wise—creates a timeless, unique piece that can only exist as it was originally conceived.

Summary

Introduction to Guitar Techniques and Episode Context

Kirk Hamilton introduces the episode by explaining musical techniques such as double stops, bends, and bent double stops, highlighting their physical and sonic characteristics. He emphasizes the show's focus on how these techniques are used in music, specifically referencing jazz and popular music contexts. Kirk then sets the scene for revisiting Steely Dan, one of the most requested bands on the show, mainly focusing on their 1977 album Asia and the track Peg. He discusses the band's evolution and their approach of assembling different session musicians to craft each song's unique sound, rather than functioning as a traditional band. This sets the stage for a deep dive into the song's musical composition, production, and performance.

Historical and Production Background of Steely Dan and 'Peg'

Kirk reviews the history of Steely Dan's lineup, emphasizing the studio-based and highly controlled process of recording albums like Asia. He notes the band was more a project of Walter Becker and Donald Fagan, supported by various top session musicians who played on different tracks, rather than a fixed band. Details from a documentary illustrate how Becker and Fagan would bring in different groups of musicians for each song, rather than a stable band lineup. Kirk highlights the extensive and elaborate session work for Peg, including contributions from notable musicians like Larry Carlton, Wayne Shorter, and Michael McDonald, illustrating the song's exceptional complexity and the studio's meticulous craftsmanship. He emphasizes how this approach resulted in a highly specific, polished sound.

Analysis of 'Peg's' Musical Composition—Chords, Melodies, and Arrangement

Kirk analyzes the song's harmonic structure, starting with its key of G and an intro built around major 9 and altered dominant chords, blending jazz and pop elements. He describes the use of phase effects on keyboards and specific guitar effects, discussing guitarist Steve Khan's flanger pedal. The melody, played on a Lyricon synthesizer by Tom Scott, is explained as descending in parallel with the chord progression, emphasizing the song’s nuanced harmonic language. The bass line by Chuck Rainey is particularly noted for its expressive sliding and the creative choice to add flair by moving up to the 6th rather than sticking to roots, showcasing decision-making in studio arrangements. The rhythm section's groove, especially Rick Morata's detailed high-hat work and Rainey's slap bass, is highlighted for fostering a lively, expressive feel, supported by engineering choices that make every percussion detail stand out.

Vocal Arrangements and the Song’s Lyrical Meaning

Kirk discusses Donald Fagan's vocal style, characterized as dry and cynical, fitting the song's themes. He shares Fagan's interpretation of Peg as a scene set at a 1950s LA photo shoot, with lyrics depicting a resentful perspective of someone observing another's success, flavored with insider slang and vivid imagery. Michael McDonald's harmony vocals in the chorus are examined in detail, praising their distinctive, velvety quality and complex layering that almost makes them sound like lead vocals. Kirk explains how McDonald approached recording these tight harmonies—by breaking down each part and building them up individually—highlighting the care taken in vocal production. The lyrical content conveys a sense of bitterness with a celebration of superficial success, contrasting its polished sound with undercurrents of cynicism.

Guitar Solo and Session Insights—Graydon’s Approach and the Use of Effect Pedals

Kirk praises Jay Graydon's guitar solo, noted for its peculiarity and technical challenges, such as bending double stops in tune. Graydon describes being influenced by Amos Garrett's style on Midnight at the Oasis and how producer Fagen advised him to think in blues terms despite the jazz-influenced harmony. The solo's distinctive start, with a sequence of bends, exemplifies the album's complex, experimental guitar work. Kirk relays Graydon's insight into the importance of emotional expression over gear or effects, emphasizing the note choices and phrasing. The discussion also touches on the collaborative process of selecting the solo, including Graydon's comments on how they considered alternate takes and the traits that made the final version ideal, illustrating the meticulous craft behind each element.

Concluding Thoughts: The Complexity and Legacy of 'Peg'

Kirk concludes by reflecting on the elaborate nature of Peg's production, its blend of jazz sophistication and pop accessibility, and how the song's layered intricacies make it a unique studio achievement. He notes that the song’s complexity was the result of an iterative process involving many talented session musicians and producers, making it difficult to replicate. Kirk emphasizes that Peg's particularity and craftsmanship are what give it enduring appeal, standing as an example of what studio perfection can achieve in pop music, and why it remains a celebrated track in Steely Dan's catalog.

Show notes

Strong Songs has covered Steely Dan songs from 1976’s The Royal Scam, 1980’s Gaucho, and even 2000’s Two Against Nature, but somehow 1977’s Aja has remained unaddressed… until now. On this episode, Kirk takes a look under the hood of “Peg,” one of the most loved songs on The Dan’s most celebrated album, with all the double-stop bends, lyricon solos, and multi-tracked Michael McDonalds that entails.

Written by: Donald Fagen and Walter Becker

Produced by: Gary Katz

Album: Aja, 1977

Listen/Buy via Album.Link

ALSO REFERENCED/DISCUSSED:

Strong Songs episodes on:
- "Babylon Sisters" (Full song)
- "Janie Runaway" (Chris Potter's solo)
- "Kid Charlemagne" (Larry Carlton's solo)
"Babylon Sisters" by Steely Dan from Gaucho, 1980
"Kid Charlemagne" by Steely Dan from The Royal Scam, 1976
"Janie Runaway" by Steely Dan from Two Against Nature, 2000
"Deacon Blues" from Aja, 1977
Classic Albums: Steely Dan: Aja, 2000 Documentary
"Peg" live from Steely Dan, Two Against Nature tour DVD, 2000
"Midnight at the Oasis" by Maria Muldaur w/ Amos Garrett from Maria Muldaur, 1974
Tom Scott playing lyricon on "Say You Love Me," 1987
"What a Fool Believes" by Michael McDonald and Kenny Loggins, recorded by The Doobie Brothers, 1978
Steve Kahn's blog post recalling the "Peg" recording session
2020 Wall Street Journal interview with Fagen on the meaning of "Peg"'s lyrics
Rick Beato interviews with Jay Graydon and Michael McDonald
Donald Fagan's "Peg" piano lesson
PlayLikeTheGreats.com - a fantastic transcription resource

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