Robert Christgau's Music Criticism Blog - Expert Witness - MSN Music

Billboard Greatest Christmas Hits/Wee Hairy Beasties

The 12 Shopping Days Till Christmas

By Xgau Dec 13, 2011 2:06AM

 

Billboard Greatest Christmas Hits (1955-Present) (Rhino '89)

"Present" was a misrepresentation even in 1989‑-nine of these 10 songs in 27 minutes were hits between 1956 and 1964, and will presumably mean more to those who were young back then. I was, and I play this record with pleasure every "holiday season," cough cough. Between the mildly defiant rock and roll compromises of Bobby Helms and Brenda Lee, the kiddie novelties proved durable even though you never liked the Chipmunks and never heard of Barry Gordon, the Drifters' alternative "White Christmas," Charles Brown and Elvis Presley sexing it up, and the secular piety of the Harrys Simeon and Belafonte, it's a testimony to pop culture's eternal need to put mildly untraditional twists on the holy holy holy (and why the hell wasn't there a "Twistin' Santa"?). Then there's the capper and chronological ringer, Elmo 'n Patsy's 1983 smash "Grandma Got Run Over by a Reindeer"‑-a cornily deadpan, cheerfully macabre tall tale that will have romantics idealizing the old weird America for as long as Christmas is commercialized. A

 

Wee Hairy Beasties: Holidays Gone Crazy (Wee Beatz '08)

Kiddie music risks ick even when a curmudgeon like Jon Langford is cleaning the snot off its nose‑-cf. too much of 2006's Animal Crackers (although not "I'm an A.N.T," sung to the tune of Muddy Waters's "I'm a Man"). My theory is that by the time of this follow-up, he had a kid old enough to ask, "Hey Dad, what's that little arm sticking out of your bellybutton‑-looks like there's a little man . . . " There is, and he's "not known for his liberal views," unlike Rick Cookin' Sherry, whose interjected P.S.A.'s warn of the dangers of shoveling snow and eating your vegetables‑-dangers that pale before those of "Dinosaur Christmas": "Wrapped up in her stocking/There's a human for a pet." That Langford‑-always with the sense of history. A MINUS

 

238Comments
Dec 23, 2011 3:34AM
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Dec 22, 2011 2:44AM
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lol who are you guys? and what are ya'll talking about i'll need to look
Dec 16, 2011 5:14AM
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Duke & Ryan: yer both RIGHT ON! keep on keepin' on.
Dec 16, 2011 1:07AM
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Duke., what can I say. I assume those thumbs-down are dissent against dissent, but they embarrass me and shouldn't be there at all. I appreciated your comment immensely, and not just in a "thanks for your opinion" way, or because it was gorgeously constructed. I don't think I've ever received such purely valuable feedback on this board, and I'd love more like it.

I'm here to express myself, which is fun and which I don't self-scrutinize enough over, and to learn, which is much more important. So I really treasure the thought you put into all that and the thoroughness with which you demonstrated where the value was and wasn't. Your intellect dazzles, and really don't post enough (though that's probably something to learn from as well).
Dec 15, 2011 11:31PM
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I want to go to bed, so let me be brief. Justin Vernon doesn't impress me very much (if at all). But as the parent of a 26-year-old who's taught aspiring music professionals in college since 2005, I want to say that this is one sh!tty time to be growing up. My generation's self-pity was more or less a total crock. Self-pity in the wake of the War on Terror, the return of the Republican Party to the great tradition of John Calhoun, and especially the Great Recession is far more reality-based--although in the end pretty much a crock as well.


Dec 15, 2011 11:07PM
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If you want proof that happiness takes strength, look at South African township music.  Now listen to For Emma, Ever After (as I did last night), recorded under the hard, demanding condition of waiting out your mononucleosis in your family's remote cabin with nice recording equipment.  Hey, Justin Vernon!  **** you!

Dec 15, 2011 10:04PM
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OMG I'm so glad many of you agreed with my wit/cleverness premise because, at this moment in time, I really don't feel up to articulating it more. (Life is in the way, though not in a bad way.) Okay, time to babysit my friends' adorable two-year-old.
Dec 15, 2011 9:23PM
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And I suppose younger people with those different histories I was talking about in re Abebe might argue that Bon Iver's sadness speaks precisely to their historical condition. 
I haven't seen anyone make this argument, but I wish somebody would (at least about "Holocene", haven't heard the album), as it would at least give me something to engage. The song is pretty (at least the plucking and plinking is, the vocal is uh a matter of taste), and if some people feel a little less down after listening to it then more power to them. Too often, though, it seems reviewers are saying we should praise him for coming out of the forest and interacting with people. Actually, scratch that -- I do give him props for this. But saying this suffices to make his music great sets a low bar. I'd rather spend my finite hours listening to music that gets on with working, f*cking, drinking, Occupying, guffawing. Not all of these activities are compatible with sadness, but there are plenty of sad songs in which the narrator does things besides contemplate sadness past or present. There are even songs that contemplate sadness analytically, which I appreciate because this leads to progress more realistically than a sudden discovery that the problems of X little people don't amount to a hill of beans in this crazy world -- even though I've had that epiphany. Here's a cliche I've learned to appreciate this sh*tty year: life goes on.
Dec 15, 2011 9:15PM
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Bobbie Ann Mason once defined rock and roll as "happy music about sad things," which does cover a lot.
Dec 15, 2011 8:55PM
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A-ha!  I was just telling someone here today that you wouldn't review that one.  I also said that people are just as right to be skeptical of its fans as the fans are to love it in the first place.

Adele's sadness isn't what gets me.  It's her thorough presentation of her folly.  This is 2011's Dog Returning to its vomit, and Christopher Owens never had a chance at that title.  Over and over again she speaks of moving on, but only so that her old flame can watch her do it.  Then there's that triumphant centerpiece, "I'll Be Waiting," that speaks of limitless devotion, but it becomes pathetic and delusional coming two songs after "He Won't Go" establishes a relationship that needed killing.

I've probably written more words an Adele's 21 than any other 2011 album at this point, and my EW Facebook chums are probably sick of it.  I'll save my bigger spiel for the list that I can now begin writing, but my adoration for that album keeps growing.
Dec 15, 2011 8:21PM
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There's no reason to beat around the bush. I prefer happy music to sad music, because I think happy music takes more strength--what Albert Murray says about the blues, which is that it's not about sadness but about triumphing over sadness in what he calls "the Saturday night function" if I have the phrase right. The problem is that fools equate sadness with seriousness when in fact they're far from identical, because sadness is weak more often than not. BUT CERTAINLY NOT ALWAYS. Layla's not such a good example because it does exactly what Murray's talking about--it's a transmutation. But My Life sure is. After the Gold Rush sure is. Don't Leave Just Now on FDII sure is. And I suppose younger people with those different histories I was talking about in re Abebe might argue that Bon Iver's sadness speaks precisely to their historical condition. For all I know that's exactly what P4K will say about it. But somehow I doubt I'm gonna be convinced. I'm not even convinced by Adele.
Dec 15, 2011 8:15PM
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Wasn't "Ode To Billie Joe" by Bobbie Gentry?
 Yes...and she's not even dead Embarrassed
 I got royally confused by the fact that Billie Jo Spears, who.did a cover of the song, died.  BJS had 5 Top 10 Country hits between 1969-1977, including a #1.  Apparently she remained popular in the UK long after her U.S. recording career was effectively over.  Sorry for the confusion, folks.
Dec 15, 2011 8:12PM
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I very much enjoyed reading your posts, Ryan, but I'm afraid I had more trouble with them on the level of substance than most of the rest of us appear to have. I found something rather hollow about them--hollow like tin man, with a straw man or two beside him.

Here's my little dog, too:

Taking for the moment as a given that the received opinion of Smith pans out the way you say it does, which strikes me as passable if exaggeratedly defensive cultural assessment, I'm afraid I find your actual assertion of his gifts to be a little thinly spread. Your posts go out of their way to debunk theories that no one's actually asserted, at great length, by positing them in your own words, and then telling us why you think they're misguided, even going so far as to expand your rebuttal's purview into a yet broader category of things you like which other people supposedly don't.

The flourish about the two competing schools was nice--it all has an energy about it, which is good, considering the subject--but you've thinned an absolute minimum of actual opinion into an absolute maximum of surface area. The whole affair is so completely dictated by your unfulfilled desire to critically respond to a nebulous atmosphere of rejection that the best actual statements about Smith and his music are a few spasmodic listings of song titles with accompanying descriptive language. Yes, maybe "we"* will go off and listen to those songs, and hear those qualities you attribute to them, or maybe we won't. The rest of the time your tactic for defense consists of turning your established premise of rejection on its head, and vehemently insisting it is, in fact, a good thing. It's scattered and it completely fails to come to terms with the actual music, while also failing to attest suitably to your conception of it--or, when you're very directly conceiving of this music, you wind up conceiving of it within the narrow, internecine framework of your self-established context, by blandly and weirdly insisting that an album (or type of album) has 'stakes', as opposed to the ones that just have 'narratives' for their own sake? There's an awful lot here it sounds like you didn't actually believe or think before you started trying to articulate your thoughts about this album, and if I were you I wouldn't start thinking or believing much any of it now.

I'm going to stop there because I get the sneaking suspicion I'm being rather unfair in all this, ambushing you at an (in)opportune moment in a few comments on another man's blog. If you happen to think there's nothing to help this being an out of the way, or inappropriate post, then I'll keep my thoughts to myself in the future. It seems clear enough that this is all pretty well outside the established norms for conversation, here. But my reasons for feeling an impulse to do so probably come down to two things: 1. I've been observing, measuring, and enjoying your writings now for some time, and 2. I think you take your music writing here very seriously, which is an ambition that I happen to take very seriously. 



*I personally enjoy Elliott Smith.
Dec 15, 2011 7:41PM
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sadness as component of musical work, lyrically or musically/rhythmical​ly
I love Layla, My Life (which definitely would have been on my 15 most pleasurable listens list last post if I had made one and if I were sure listening to misery could be defined as pleasure) and 808s and Heartbreak, which are all pathetic and miserable and beautiful and amazing to me. My Life is even slow. I just think it is good where Elliott Smith isn't. I would have to listen to him more to explain why, but I don't feel like listening to him more. So I have to end my analysis at "Iris Dement is good, and Elliott Smith isn't," which really is not at all good analysis. Not being able to really listen to things I don't at all enjoy is a reason I could never be a good rock critic.
the captivating "Needle in the Hay", stained by Wes Anderson (who pilfered it for the Serious Moment in his first clueless movie)
See, that to me is the perfect use of a Smith song. Oops.
Dec 15, 2011 6:55PM
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Not at all, Bradley. I think you've nailed the key component we've been talking around.

 

And I always thought that that famous Nirvana/Robert Johnson -- Beatles/George Clinton dichotomy in the Stories From the City, Stories From the Sea review hinged on exactly that.

Dec 15, 2011 6:50PM
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Am I alone here? 
Not at all, Bradley. I think you've nailed the key component we've been talking around. I don't think Bill Evans is much more of a sobersides than, say, John Coltrane. But our host has always preferred Sonny Rollins and T. Monk to 'Trane, and one thing those two former jazz performers had was wit.
Dec 15, 2011 6:42PM
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I'll try to come up with a precise definition for "some combination of wit and cleverness" when I come back from tutoring (if anyone cares). I'm out.
Dec 15, 2011 6:39PM
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an explicit emphasis on personal sadness is bad for art.

I don't think it's sadness that's a problem in art. Plenty of excellent music is sad. But sometimes sad music, or genteel music, lacks wit and cleverness, and if I can single out any consistent thing that Bob seems to treasure above all else in art, it's some combination of wit and cleverness. Elliott Smith writes beautiful melodies, and pessimistic but competent lyrics. But he's not at all clever, neither lyrically nor musically. I've heard a lot of Bill Evans; he plays beautifully, but hasn't a trace of wit. Nick Drake--none at all. And I don't mean lyrics and jokes, etc. Musical wit is a very real thing, and lyrics both simple and complex, personal and fictitious, can be clever. I can't think of a single Christgau pick that isn't in some way clever. These qualities are very difficult to talk about, but Bob does a pretty solid job of it. Am I alone here?

Dec 15, 2011 6:20PM
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 I don't know if anyone's mentioned this yet but Bobbie Jo Spears- "Ode to Billie Joe"- died yesterday at 74 of cancer.  Not getting much press for some reason.
Dec 15, 2011 5:46PM
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Motorcade: Re your first paragraph -- Gram Parsons, "In My Hour Of Darkness".
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about the blogger

Robert Christgau

Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.

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