I never did properly finish up with the “favourite music reads of the ’00s” did I? (Well, I guess Mr. Wenner waxing lyrical about Mr. Jagger was my sarcastic kissoff to the project.) Truth is, I could have posted another two or three dozen (at least) great pieces, but, as usually happens when I embark on these listy web projects, I lost steam, interest, breath, gumption, etc. before reaching the finish line (not that I ever defined what the finish line was). There’s also the fact that a lot of my favourite writing about pop in the last ten years happened not in articles or essays or reviews or books per se, but in comments boxes and chat boards and e-mails and blog and livejournal and facebook posts — stuff that I didn’t (and probably couldn’t) even begin to properly track. I felt like I was trying to tell a story in those posts that was a bit false. Don’t get me wrong — I really did love the stuff I linked to, but the whole thing started to feel a bit too “official” for me, and counter-intuitive to the way I’ve come to find and enjoy music writing.

Anyway, I do feel a bit guilty about short-shrifting so many critics here, so at least allow me the opportunity to link to some writing by one of my three or four favourite music critics of the decade — someone I didn’t get to in the first 25 entries but who could easily have been represented in half a dozen of his own entries: Marcello Carlin. I first encountered Marcello’s writing on I Love Music and have continued to follow him ever since through various blogs, from the indispensable The Church of Me to The Clothed Maja (which I believe was a follow-up to The Naked Maja, which sadly no longer exists) to his latest ventures, The Blue in the Air to Then Play Long — the latter a rundown of every British #1 LP (did I mention that Carlin is British?).

Click on any of those links and you’ll encounter a wealth of great material, though you’ll have to do the rest of the work yourself (I suggest you start by just randomly clicking through the archives). I am, however, happy to point you to Marcello’s latest (and rather timely) post, “Decade,” which neatly summarizes music blogging in the ’00s; the timeline he posits of the rise and fall makes a lot of sense to me. (Though FWIW, I intensely disagree with Marcello regarding comments boxes. Let commenters through, including all the moronic stuff, I say. I also have a longstanding beef with Andrew Sullivan about the same; let us decide if we want to read what other people think about what you write.)

(Just to be keep the rumour mill at bay: yes, it’s true, I DJ’d and acted as best man at Carlin’s wedding in Toronto a couple years ago. I also read and enjoy the writing of his wife Lena — cf. Music Sounds Better With Two and the now-dormant Carrot Rope. But no, neither of these factors impacted my judgment in naming him one of the music writers of the decade. Promise.)

Final-final thoughts on the decade still to come. Lucky you, it doesn’t involve very many words on a page.

• “In the past, [Jagger] has slipped into personae – the Street Fighting Man, Jumpin’ Jack Flash, the Man of Wealth and Taste – but he lets his guard down to an unprecedented degree on Goddess; the beautiful ballads draw on feelings of loneliness, vulnerability, spiritual yearning and, as always, life with the ladies.”

• “The lyrics portray a guy who’s got it all – fame, fortune and the means to indulge any materialistic and hedonistic impulse he might divine – but is wise enough in his late middle age to know there’s something more out there.”

• “It may seem a truism, but it’s worth noting that he is – along with John Lennon, Van Morrison, Bob Dylan and Bono – one of the great male rock voices of this age. And he is in exceptional form on Goddess in the Doorway. If anything, Jagger’s voice is rounder and warmer than ever…”

• “It is a clear-eyed and inspired Mick Jagger who crafted Goddess in the Doorway, an insuperably strong record that in time may well reveal itself to be a classic. World, meet Mick Jagger, solo artist.”

- Excerpts from Jann S. Wenner’s 5-Star review of Mick Jagger’s Goddess in the Doorway, Rolling Stone (2001)

Stylus Magazine’s Top 50 Basslines of All-Time (2005)

There’s some so-so writing in this, and some highly questionable choices (particularly in light of some of the classic basslines overlooked), but the great stuff makes up for the lesser bits — surely anyone who approaches any list anywhere expecting “definitive” is in for a disappointment — and the concept alone is precisely what made Stylus the most essential online music ‘zine of the ’00s (sorry Pitchfork — you’re great at what you do but “what you do” has never meant a whole lot to me).  In other words, there are probably a dozen other Stylus lists I could point to as well (and in fact, I may yet direct you to one or two others), but for some reason, this particular one just stuck with me.

cf. this ILM thread: Top 281 Basslines Shamefully Omitted in Stylus List

glenn mcdonald’s pazz & jop critical alignment ratings (2000-2008)

Number-crunching and data analysis par excellence.  Not to mention visually delightful — I’ve subtitled the 2006 edition “Bill James’s Baseball Abstract as Reimagined by Georges Seurat Though With a Somewhat Lesser Palette.”

“Good try, Jon Voight, John Turturro, and Dennis Miller, but the closest thing we’ve got to Howard Cosell right now is Alanis. Much like even non-football fans used to be mesmerized by Cosell’s genius for never using two words when 23 would do, you don’t have to be a love-damaged 17-year-old girl to find Under Rug Swept‘s dense verbiage a trip. Words tumble forth and arrange themselves kaleidoscopically into all sorts of unusual categories. Multi-Syllable We-Can’t-Even-Think-of-a-Word-That-Rhymes Words: ‘communicative,’ ‘connectedness,’ ‘reciprocity,’ ‘vacillated.’ D-Verbs That Nobody Ever Really Uses: ‘derive,’ ‘divulge,’ ‘dispel,’ ‘disarm,’ ‘discern’ (what, no ‘delineate’?). Support-Group Thanks-for-Sharing Words: ‘engage in dialogue,’ ‘provide forums,’ ‘conflict resolution,’ ‘playing the victim,’ ‘survival mode,’ ‘midlife crisis.’ Ambivalence-Is-Maybe-Possibly-a-Sign-of-Wisdom Words: ‘not necessarily,’ ‘supposed,’ ‘so-called,’ ‘essentially,’ ‘conditional.’ Alanis-Must’ve-Made-These-Up Words: ‘ungood,’ ‘arms-lengthing.’ Perfectly useful, a lot of them, and the point definitely isn’t that dumb is better or purer than smart. I’m just not sure that pop music should come out of a thesaurus. ‘(I Can’t Derive No) Satisfaction,’ ‘Thank You for Engaging in Dialogue With Me Africa,’ ‘A Person I’ve Been Spending Time With in a Romantic Way’s Back’ — the world’s a better place without them.”
- Phil Dellio, Thesaurus in My Pocket, Village Voice (2002)

“Four albums in and she’d rather hurt you honestly than mislead you with a lie, ask her if she loves you and you’ll choke on her reply, but better her yodel than Shania’s yawn. Still torturing vowels like a helmetless goaltender from Chicoutimi, and as for sensitivity, James Hetfield should just go back to the firing range. (We can’t do that up here in Canada — they took away all our guns.) Romance and all its strategy leaves her battling with her pride, but through the insecurity some tenderness survives. Just another writer, trapped within her truths — a hesitant prizefighter, still trapped within her youth? This national institution would like to remind you that we’re having a national election north of the border, too, and while it might not be as significant as yours, it’s kind of cooler because of how amateurish the candidates are; they never face the cameras directly, and they stutter and forget their lines a lot while declaiming on issues like generating electricity from beaver treadmills.”
- Dave Queen, review of Alanis Morrissette’s So-Called Chaos, Seattle Weekly (2004)

“One story has it that after avant-garde tenor player Archie Shepp came off stage following a performance full of honks, squeals, and bleats, he told pained auditor Johnny Griffin that he was expressing what it felt like to be a black man in America. ‘I know it’s hard,’ said Griffin, a black saxophonist who was no enemy of the modernist vanguard, having played with Thelonious Monk, ‘but why do you have to take it out on the music?’ For others, there was great beauty in the ostensible ugliness. Amiri Baraka in particular heard in the music a new paradigm of aesthetic value that required new modes of listening and engagement.”
- John Gennari, Blowin’ Hot and Cool: Jazz and its Critics, 2006