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Hahahah. Thank you for finding this. I loved every word of this. I was waiting for it to backpedal on its own argument (the “gotcha! Rocks still great this is clickbait!” moment) but it thankfully never came.
The definitiveness of the album list, as something more than mere personal preference, is over. Death to the monoculture.
i liked the article. but honestly, i found the whole premise kind of shaky. the author spends the first part of the article pointing out all the acts and genres that the “rock” lists always left off, to make it clear that “rock” lists were always about a specific kind of music, “rock”. which they were. they were always based in Boomer rock and the newer albums that Boomers would tolerate alongside (well, downlist-from) their favorites.
and then he writes:
so to replace the Boomer-rock list, we’ll get several genre specific lists. right. all these lists already exist. i look at them all the time when i’m snooping around genres i’m not familiar with. hell, just google “best [GENRE] album” and google will put up a handy thumbnail list of records right at the top of the results. it’s automated these days.
jazz and country and classical have always had their own lists. and they’re all as narrowly defined and stuffily curated as the rock lists have always been. ‘pop’ music might not be so big on lists, but maybe obsessive curation is antithetical to pop music.
i think what’s really happening is that people are going to have to make new lists because the “rock” genre is dying, and that canon is aging and becoming irrelevant. it’s become too hard to shoehorn a lot of modern music into the same lists as Dylan, Elvis, The Beach Boys, Hendrix and The Clash (which is actually a really broad range!). and that’s because most of today’s music is so different from the Boomer-rock style. they don’t write em like that anymore.
so, the rock canon is basically complete.
—
i’ve had “Hey 19” in my head for the past few weeks because of one line:
Hey nineteen, that’s Aretha Franklin
She don’t remember the Queen of Soul
Hard times befallen the Soul Survivor
She thinks I’m crazy but I’m just growin old.
he’s lamenting the fact that kids these days don’t know who Aretha Franklin is. and that came out in 1980!
in 30 (well, 2) years, nobody will care about Black Midi. and nobody will be trying to put new things on the canonical list of Black Midi hits.
IMO
Hahah, well, the shakiest part of his argument is his prediction that we’ll see more genre-specific lists. Those, as you point out, will still suffer from the same biases, and they will likely be created by the same narrow subset of listeners that love speaking definitively.
This article takes a step in the right direction, and I think that’s the basis for most of my enthusiasm. The greatest albums lists (rock or otherwise) have increasingly felt dishonest to me. Critically dishonest, if not dishonest in their enthusiasms for the albums they celebrate. These massive surveys of albums (100 albums, 500 albums 1001 albums) are no longer useful. I think too many publications have let their “lists speak for themselves,” but as the author clearly points out, these lists haven’t spoken for anyone but a group whose definitions of an album are rooted in a specific listening experience that is nearing retirement age.
If rock had a period (I’ll say 1968-1988) where the genre made contributions to the album as a format that were vital and thrilling and multifarious, doesn’t that mean that I should see a cross section of those albums, which should further my understanding of what a rock album could be? Do 8 Bruce Springsteen albums (in the case of the Rolling Stone 500 albums list) help me see that? If you like 8 Bruce Springsteen albums, that’s totally cool with me (actually it’s not but I’m pretending it is). But if you’re excluding Joni and My Bloody Valentine and Portishead and Sharon Jones and Loretta Lynn and Aretha and Nina and Billie and Sade from your top 50, you’re saying more about about your own personal preferences and less about albums in general.
I think there needs to be a reevaluation of what an album is – what it does, what it can do. The reason I set those dates (1968-1988) is because that period is, for me, the LP to CD period. It took rock musicians a little longer than jazz musicians to figure out the LP, and unless you had a very strong sense of what a great 70s rock album was (yes Cobain and Malkmus, Corgan and Vedder not so much), the CD allowed you to be a lot more “prolific” than anyone needed you to be. There are still great rock albums after 1988, but they rely on the conventions before them. Now that’s just an opinion, but it complements yours. “The rock canon is basically complete.” I don’t know about that… but I can bend what you think to help me understand something about albums more generally.
I think the lists you’ve posted in the past have said something about albums more generally because they are personal, they reveal intricate nuances in your listening, and allow someone else to create a map of what you have been exposed to over the years. They are participatory, exciting, and enlightening.
When publications make lists that take the all-encompassing third person, we don’t have a better conversation about albums. So fxxk those things.
Here’s a line in the article that I thought was interesting: “I suspect Prince and Michael Jackson will see their statuses elevated.” LOL. They’re pretty fxxing elevated bro. I think what he means… hopefully, is that we will evaluate their albums differently. But not if we don’t start evaluating all albums differently, and that has to be the first step in moving the conversation away from an editorially crowd-sourced best albums list (genre-specific or otherwise) and more toward a “I can only speak for myself here, but I might accidentally say something new.”
This article is a little messy but it kind of had to be. It could have used better examples to prove its points but it still confronted something that’s felt missing for too long. IMseriouslylongwindedO
Anyway, great find!