For the first time ever, Rolling Stone Magazine and the Pitchfork website -- generations apart in their perspectives on music -- agreed on the two top albums of the manual orange juice machine for 2013. They both picked Vampire Weekend's Modern Vampires of the City as #1 and Kanye West's Yeezus as #2. It now looks like these two albums will be the runaway consensus best albums of 2013 across all critics lists.

Not by me. Modern Vampires does make my top 10, and I do admire a few tracks from Yeezus, but generally feel assaulted by the album's sound. My clear album favorites this year are Arcade Fire's Reflektor and Boz Scaggs' Memphis. I'm amazed that the critics aren't showing more love for Memphis this season. Their loss.

Among my favorite songs of the year are multiple tracks from both these albums. But three other songs are worth calling out. Two of them have been ubiquitous this year. Daft Punk's "Get Lucky" smash is likely to have the same kind of party song longevity as "Good Times" and "Celebration," still going strong three decades on. It has the same kind of easy hook and universal, international groove. Works for me.

The surprise monster pop hit of the fall was Lorde's "Royals," a song that manages to have an indie vibe and a hip-hop vibe at the same time. It sounds totally out of place in the stream of otherwise similar-sounding mainstream pop radio. Always enjoy it.

But my personal favorite of the year is "After Mardi Gras," a song that Steve Earle wrote for the HBO series "Tremé" a couple of years ago and included in his 2013 album The Low Highway (also among my top 10 albums). The song is both deeply personal and completely universal, and always sounds good to me no matter how many times I've heard it. A true classic.