ITT: Irrefutable proof of Christgau's retardation

Hard mode: No Nicki Minaj/Soulja Boy

Done With Mirrors [Geffen, 1985]

Their knack for the small song, as well as small use for guitar hero/costume drama has always made them a hard rock act worthy of the name, aside from being American. Still, with a decade of bad albums and substance abuse behind them, they had a long road back. And against all odds, the old farts light one up. If you can stand the crunch, side one has more get-up and go than any one of a dozen random neogarage EPs. B+

This is the same guy who's always whining about mmuh misogyny in rock and ssstop objectifying women, you CIS male meanies. Did he even read the lyrics to those songs? Even the Rolling Stone Magazine review from 1985 called out Aerosmith for their, ahem, views on women.

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Rick Astley - Whenever You Need Somebody

Launching his career with seed money from Thatcher's Enterprise Allowance Scheme, Astley graduated from singer-bandleader to tape op and tea boy at Stock Aitken Waterman, where he ripened for a year before donning a full set of SAW hooks and emerging as beefcake juicier than Adam Faith, Marty Wilde, or Johnny Wadd ever dreamed. And that's according to the notes--it's the image he wants to project. Musically he's a a throwback to such long-forgotten big-band singers manqué as Don Rondo, with more muscle and less sweetness or swing. Blame him on Northern Soul, its attraction to Afro-America finally revealed as I-am-somebody for nobodies with a master plan. D PLUS MUST TO AVOID

He once said dubstep was just trip-hop with a different name

What he had to say on Surfs Up

>but the legendary title opus is an utter failure even on its own woozy terms and there are several disasters from the guest lyricists--Van Dyke Parks's wacked-out meandering is no better than Jack Rieley's. I'll trade you my copy for Surfin' Safari even up, and you'll be sorry. B-

He also gave As and Bs to a bunch of absolutely terrible mid-80s Dylan and Neil Young albums.

Also he gave All Things Must Pass a C rating

he rates albums on a letter grade scale

like honestly that all you need in terms of proof rating music in any non numerical form is complete retardation

And Dirty Work, an album even diehard Rolling Stones fans had a hard time defending.

robertchristgau.com/xg/music/stones-86.php

>writing an entire graduate thesis on this hunk of shit

It gets even better.

robertchristgau.com/xg/music/phair-03.php

>this pile of crap only shit out to make money
>by a late 30s single mom who suddenly wanted to be 17 again

There's really no difference between numerical and letter ratings. They're all arbitrary and for retards anyway.

This is objectively correct though.

I listen to a Beach Boys record for songs about surfing and girls, not advertisements for Greenpeace.

>There are still jazz fans in England who believe it isn't jazz unless it sounds as if it were recorded on Vocalion in 1926. There are still lots of jazz fans--one of them used to write me intemperate letters--who believe jazz ended with the big bands. Some of these (my correspondent included) are critics, and if you peruse the jazz journals you can find them still, gushing over the latest Woody Herman record and fulminating against bebop; BS&T tries but Ornette Coleman is a poseur and Bird lives only to torment the faithful. There is no reason why a similar myopia shouldn't overtake rock and roll, although rock and roll does seem to hang in there as a popular music. Even now, however, there are cliques that support various rock and roll's historical periods (rhythm and blues, mid-'60s punk) and put out mimeographed journals like a bunch of Trotskyites. We professional critics, of course, put on our shows of eclectic enthusiasm, but sometimes I suspect we're not much better. We'll be saying nice things about the spirit of rock and roll when the spirit of rock and roll belongs in an airplane hanger at the Smithsonian Institute.

This was written in 1971. Poor guy was right. This is exactly what did happen to rock, and he's also lived to see it become a Smithsonian exhibit.

Country fans are just as bad. Plenty of them believe that only Willie, Johnny, and Merle are real country and nothing that happened after the 70s is worth listening to.

I'd rather read Christgau's weird opinions on bargain bin dadrock albums than jerk off over the same dozen artists day in-day out

Christgau thought that Take Care of Your Feet and Disney Girls (1957) are the best songs on Surf's Up, but I say otherwise.

>TCOYF
Brian musing about his footsies. Fucking fascinating. Totally worth writing a song about.
>Disney Girls
It's so cute when people who aren't yet 30 (Brian was 29 at the time) start pining for their high school days. Yawn.

DEATH TO CLAIRE BOUCH...WHATEVER THE FUCK HER NAME IS.

Gave Spiderland a C+

I can't find it now, but his excuses for the Rolling Stones' misogynistic lyrics were absolutely hilarious. He said (paraphrasing) "The thing you have to understand is that Mick Jagger has always been kind of androgynous, so his songs don't really refer to any gender in particular."

Student Demonstration is the one good song on Surf's Up, and not so much because of the dated lyrics, but the fact that it's the only thing on the entire album with any drive or energy.

Wait what, wasn't punk as a term for music coined by Punk magazine in the mid 70s?

>ersatz shit