I’ve made no secret that I prefer Walter Becker’s two solo albums to the solo albums 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. However, Fagen’s albums lack the lyrical wit, snark, and edge that Becker displays in 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. 

Walter Becker’s “11 Tracks of Whack” ( released September 27, 1994) is his first solo album after years of success as half of Steely Dan alongside Donald 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, it has garnered a cult following, especially among Steely Dan fans. Indeed, the album is not mainstream, owning more to Leonard Cohen’s 2000-era work than Steely Dan.  

’11 Tracks of Whack’ was co-produced by Becker and Steely Dan partner  Donald Fagen. Despite their production partnership, Se the 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 work taking a more prominent role. Becker’s bass playing and lead guitar 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 twelve songs. 

The arrangements are sparse, not as musically dense as Steely Dan’s complex compositions. This leaves room for Becker’s unique lyrical voice to shine.

Lyrically, Becker 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’s material, with Becker reflecting on his struggles and the darker corners of life.

Musically, there are 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. Also, though sparse, Donald Fagen’s restrained but effective horn arrangements add to the color palette. 

Check out Walter Becker Media for unreleased full-band versions of some of these songs and demos. They are all golden. 

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 its grim subject matter. The guitar solo by Becker and the key change is devilish 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. ly

– “Hat Too Flat”: Featuring Becker’s signature sardonic wit, the song has an offbeat groove and a laid-back feel, with playful, jazz-infused instrumentation and a touch of reggae. Is this a lyrical sequel to Steely Dan’s “Sign In Stranger”? ‘” regret

Becker’s vocals are understated and somewhat unconventional. They are also not as good as on ‘Circus Money.’ 

Becker’s deadpan delivery and laid-back phrasing suit the album’s wry tone. His vocal approach works well within the album’s context, lending an almost spoken-word quality to some tracks.

In retrospect, many Steely Dan fans have grown to appreciate the album as an important piece of Becker’s legacy, offering insight into his creative mind outside of his famous partnership.

This is a gem in the Steely Dan canon and an album that deserves a deluxe edition ( on vinyl) that includes some of the Becker media material, well-known B-sides (“Medical Science” and “Fall Of ’92”), and unreleased live Steely Dan recordings from their 1993/1994 tours. 

If you’re a Steely Dan fan, you must have this album in your catalog, even if you haven’t picked it up. It’s the good stuff. https://youtu.be/pfmuICElL-w?si=erooU6qqqKJonU-L