Steely Dan’s last two studio albums, Two Against Nature (2000) and Everything Must Go (2003), are anomalies. The music is stellar, at or near the level of the band’s best early work, but it’s almost unknown, even among fans. (Back in 2011, one night of a week-long gig at the Beacon in New York City was supposed to highlight songs from these two albums—the program was called “21st-Century Dan”—but the idea was dropped when almost nobody bought advance tickets.)