It’s customary to start year-end lists by chewing some fat about how making them is strange and difficult work, and in general, I find that these intros can be exceedingly skippable. Everyone knows that album rankings are subjective (even when they’re created on behalf of a publication or website), and no one needs to be reminded that the list maker didn’t listen — and couldn’t have listened, of course! — to every single thing that came out in the preceding 12 months. You don’t share Santa Claus’ knack for bending the space-time continuum. Understood. But before I get to my Top 10 albums, I would like to share a quick story about how I came up with my list, and how Beyoncé helped me find meaning in this whole strange and difficult exercise.
On Fridays, We Wear Pop Music
I don’t know about you, but things have been pretty heavy in my sector lately. (My sincerest apologies for the Vague Declaration of Distress. The VDoD is one of my least favorite Internet behaviors, but Internet whining ranks even lower, so I’ll stop at “things have been pretty heavy in my sector lately.”) In an effort to lift spirits and welcome this weekend with open arms, I’d like to share with y’all kind folks some of the poppy obnoxiousness that I’ve been (almost completely shamelessly) enjoying between moments of weightiness.
[Point of Parliamentary Procedure: The title of this post not does indicate that this will be an every-Friday thing. Like the .gif above (YHT’s first embedded .gif, I believe, which is shameful in its own right), it’s a reference to Mean Girls. If you do not know the script of Mean Girls well enough to derive meaning from this post’s title, please do the right thing and lock yourself in a room until you have the dialogue memorized like a civilized human being. Thanks.]
The 2012 installment of the Pazz & Jop critics poll hit the interweb this week, and to the surprise of no one, especially not Robert Christgau, Frank Ocean’s breakout effort came out on top. I mention Christgau not because of his 33-year tenure organizing the Pazz & Jop poll, which invites hundreds of critics to assign point values to their top 10 albums, but because he published this preactionary piece, correctly guessing which 3 albums would sit atop the list and examining the consensus that sucked the suspense out of those top 3 spots.
I’m a fan of the piece he wrote for a few different reasons. His admiration for Todd Snider’s Agnostic Hymns & Stoner Fables is one; Snider struck me as a cross between a savant and a messiah when I saw him open for Justin Townes Earle in May, but I’m ashamed to say that a lack of external validation eroded my enthusiasm. It’s like Christgau’s words gave me an opportunity to say “I told you so” to myself, if that makes any sense. Felt good.
One part of Christgau’s piece struck me as especially thought provoking — the part in which he talks about the role his age may be playing in his lack of esteem for 2012’s anointed triumvirate:
If twentysomethings want to like Kendrick Lamar’s album more than Loudon Wainwright’s, I say more power to them. The Cloud Nothings’, even — there’s an imagined future there that neither Loudon Wainwright or I will ever know firsthand again, and why shouldn’t someone whose life stretches ahead cherish that? But it bums me that it doesn’t go the other way — that the residual formal mastery of someone like Wainwright seems incapable of touching musical aesthetes of a certain age…
He makes an excellent point, though I think there’s more at work here than just age (of the listener or of the artist’s recording career). I think the “mastery” itself deserves some of the blame.
I’m not a critic, and I certainly didn’t have a Pazz & Jop ballot to fill out, but I do know that writing about music that approaches perfection is difficult. When everything’s done well — great composition, great backing band, great performances, great recording — it’s hard to zoom in on what makes the song or album special, which I’d imagine would be frustrating if your livelihood depended on coming up with an angle that the rest of the Internet hadn’t already chewed up and spit out. It’s hard for me to believe that wouldn’t affect your enjoyment of a recording, or at the very least incentivize pumping up something that’s also brilliant but contains charming or revelatory flaws.
I felt this effect as recently as last week.
On Saturday, Mrs. YHT and I met up with friend of the blog Trang and made our annual pilgrimage to the Pennsylvania Farm Show, and boy howdy was it fun. And fattening. The fried cheese was nice and cheesy, the milkshakes were shakin’, and the potato donuts left nuttin’ to be desired. I even snagged a free Tractor Supply Company hat, which I sported throughout our post-feeding frenzy tour of the the best and smelliest livestock the commonwealth of Pennsylvania has to offer.
It was a good day.
So how does one switch gears and return to the 9-to-5 city life after rockin’ camo at the Farm Show? How about a brand new tune from Justin Timberlake called “Suit & Tie?” Featuring Jay-Z? Even better.
I’m having a bit of a rough week, so I thought I’d follow up yesterday’s “Call Me Maybe” post with something just as ridiculous and fun — the video for “Labrador,” a song from Aimee Mann’s new album Charmer.