Christgau's Consumer Guide Grade List: A+

Yeah, I do too. Bought it because of xgau's review, and liked it, but seemed more low-key than what I was hoping for, not paradise of guitarrr celebration.

from January 19 Christgau substack email:

You haven’t reviewed an Elvis Costello album since 1991 and haven’t A-listed one since 1986. Is there any hope that he will ever release an album up to your standards again? — Adam S. Fenton, Menifee, California

By “review” you seem to mean a full paragraph as opposed to an Honorable Mention sentence/clause. But Honorable Mentions are reviews by me. They represent at least three to five listens, often more while less is very unusual. Sometimes the writing is dashed off—if something succinct comes to me I thank the prose gods and go with it. Usually, however, I put real time into the first draft and go over it many times. In addition, at the bottom of my Costello page you’ll find a full-length review of his Roots show and collab written for MSN in 2013. Have played the new one once. Thought it began strong. Will return at my own pace.

In terms of the Universal era, he skipped When I Was Cruel altogether but besides the positive Roots show review he gave *** (the "highest" honorable mention) to Painted from Memory, The Delivery Man and The River in Reverse. Sounds about right though I'd probably do 'choice cuts' for the latter - some of the originals are gems, but as fine as the covers may be, I'd rather play the better known vintage recordings by Lee Dorsey et al.

(Also IIRC honorable mentions are all B+'s, or would have been pre-honorable mention, which is kind of weird but that's what he said in a recent podcast interview.)

Straying from the thread topic here, but I can't let a mention of Painted from Memory pass without repping for its sibling, The Sweetest Punch, with Bill Frisell arranging the former's songs for and fronting a truly fantastic band. A beloved album in my home.

He's got two good songs, one brushed by chamber-y strings, the other by a bridge that leads me back though his album with Bacharach, briefly, though overall the setting of this one comes off kinda Motown---they both also end up fitting pretty well into Johnny Cash--Forever Words (Expanded Edition), the 2021 re-re-issue, which finally got to 34 tracks, sailing along. It's an army of artists responding to JC's previously unset lyrics, poems, even a sample of his comments on some of that, with the words coming through clearly enough on Costello's (and all other) ventures, seeming like some directions he might have gone in or come back to if he'd lived longer. Costello does 'em his way, but okay by (non-stan) me.

some directions that Cash might have etc.

Two good new songs

Christgau top albums of 2021 list is up

how'd Wussy do?

https://robertchristgau.substack.com/p/deans-list-2021?r=khofd&utm_campaign=post&utm_medium=email

lol Neil Young

So although preliminary listening and research persuades me that Rolling Stone had reason to put Puerto Rican pop phenom Rauw Alejandro’s Vice Versa high on its list, there’s no way he’ll ever be Olivia Rodrigo or even Harry Styles for me unless he starts singing in English (as he probably will, to exactly what effect is another matter). And while there’s no denying that Toronto’s Tamara Lindeman showcases actual songs on Pitchfork’s seventh-ranked Weather Station album Ignorance, their smug gentility reminds me all too vividly of Joan Baez putting me off lo these many decades ago. Which isn’t even to mention the impressionistic musical poesy of Pitchfork’s second-place L’Rain, or the huzzahs that greeted my old fave Jazmine Sullivan when she compensated for her songwriting drought by inviting women to contribute spoken-word accounts of their sexual travails and got album-of-the-year plaudits from Pitchfork for the dodge

Correct about Sullivan, RONG about the Weather Station.

Figures: he's always had a blind spot about Baez's better albums, and, closer to Lindeman's sound, early Joni as well. Haven't gotten into L'Rain's album, though will listen more; she's effective on the xpost Bowie trib, Modern Love.

I remember noticing a couple years back that Firesign Theatre was the first act to whom he'd awarded two A+ grades, and a friend rightly said, "how like Christgau of you to notice"

sexual travails: manages to be a lofty shit even "just" en passant; that's some A Movable Feast-level shit, class out the ass!

Something Scott Woods created, a tribute to some of Christgau's A+ albums. I'm one of the readers, fumbling my way through his Attica review--also Kevin Bozelka and a couple of others.

https://www.youtube.com/watch?v=tIIfvvDzI2w