
Classic Albums: Peter Gabriel - So
2012

1999
Director
Alan Lewens
Runtime
60 minutes
Average Rating
No ratings yetSynopsis
Aja was the biggest selling album of Steely Dan's illustrious career. It was the first album by Donald Fagen and Walter Becker as a duo. Fagen and Becker recall the history of the album, along with Peg, Deacon Blues and Josie. Michael McDonald, later of the Doobie Brothers did guest backing vocals on Aja, the late British musician Ian Dury, record producer Gary Katz and the legendary session musicians who worked on Aja also contribute. This is a vivd portrait of a 70's record that is still as fresh and as memorable more than two decades after its release.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The documentary functions as a technical and biographical retrospective of a specific musical era. It lacks LGBTQ+ characters or narratives addressing non-cisnormative identities.
Gender Representation
The narrative centers on the creative partnership of Donald Fagen and Walter Becker. It features male session musicians and producers without demonstrating female agency in the musical narrative.
Racial & Ethnic Diversity
The film focuses on the technical perfectionism of the duo. While the 1970s music industry involved diverse professional contributions, there is no explicit evidence of intentional intersectional representation.
Religious & Cultural Diversity
This film serves as a celebration of Western musical capitalism and technical excellence. It prioritizes the preservation of an artistic legacy rather than engaging in social commentary.
Disability Representation
There is no visible or reported evidence regarding the depiction of physical or neurodivergent disabilities within this production.
Strengths
Areas for Improvement
AI Analysis
This documentary is a specialized look at the technical craftsmanship behind a landmark 1970s record. It prioritizes historical preservation and musicalology over social or identity-driven storytelling. The film operates within a traditionalist framework, focusing on the professional meritocracy of the recording studio. Because the subject matter is centered on the specific creative partnership of Fagen and Becker, the narrative remains narrow. Ultimately, the production functions as a tribute to studio perfectionism. It does not seek to disrupt conventional social expectations or prioritize intersectional representation.

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