from Chapter IX: Literary Bibles of Albert Guérard's Preface to World Literature [1940], one of the few serious critical studies of the kind of canonization projects documented at Greater Books:

The author asks, "if you were to be marooned on a desert island, with a single book, which one would you pick out? In the Anglo-Saxon group of civilization, at any rate, the answer, by an overwhelming majority, would be the same as Stanley's: "The old Bible" It is obvious that, in most cases, our choice would not be dictated by literary reasons. The sacred character of the Bible would be the first consideration. And the second would not be esthetic either, but national and even tribal.

"But the selection of the Bible as our only companion would be justified also on purely literary grounds. With the Bible, no man in solitude would ever suffer spiritual starvation, even as an artist. For there is hardly any mood of man that is not reflected in these pages; and the variety of its themes and forms is infinite. [...] A man whose list of "classics" were limited to the Bible would be cultured, even in the worldly sense. He would escape from the pettiness of daily cares; he would sharpen and deepen his own experiences; he would ponder, with Job, over the most tragic problems of human destiny; he would have at his command an incomparable store of majestic images and vigorous words, wherewith to give color and sinew to the expression of his own thoughts."

"The sheer convenience of an all-sufficient one-volume library has repeatedly tempted men to arrange other writings into Bibles. [...] What do we mean by a Bible? It is not every chance collection of books that deserves the hallowed name; in most cases, the modest term Omnibus would be more adequate. The test of a genuine 'literary Bible' is two-fold: unity and variety. Variety: no essential need of man must be left unsatisfied. Unity: the 'Bible' must offer from cover to cover the same spiritual atmosphere, even the same material tradition, so as to permit cross-references between its various parts; it must constitute a country of the soul.

"The Holy Bible fulfills these two conditions. So does the Pagan Bible, the epitome of Hellenic culture. [...] Bind together the Iliad and the Odyssey; a full dozen plays by the four great dramatists, Aeschylus, Sophocles, Euripides, Aristophanes; three or four of Plato's Dialogues; as a stiffening, the Enchiridion of Epictetus; as an ornament, the delicate poetic blossoms of the Anthology; Lucian, for no Bible is complete without a touch of irony; the historical background, as provided by Herodotus, Xenophon, Thucydides; Demosthenes as the god of eloquence; perhaps Plutarch, for he made definite for us the figure of the ancient Hero; the result would not be unwieldy, and it would be extraordinarily substantial. Just as the Holy Bible stands by itself, and does not need, in order to be appreciated, the enormous Hebraic and Christian literature that it inspired, so the Hellenic Bible is complete without the glorious train of imitations that it engendered: the whole production of Rome, and large elements in the modern world, down to Goethe's Iphigenia in Tauris."

So far, Guérard follows a set-up devised by Richard Moulton—his Pentateuch of Bibles. "As his third Bible, [Moulton] proposes The Divine Comedy and Paradise Lost jointly. This suggestion is very tempting. Between the two poets, there is indeed a double bond of unity: the Christian faith and the Classic tradition. The medieval Florentine and the Englishman of the late Renaissance meet at the foot of the Cross, both with Vergil as their guide. It is this, however, that weakens their claim to form a genuine "Bible": intensely original as individuals, they did not discover a new "country of the soul." And, even if all their minor works were included, we doubt whether all-sufficient variety could be found in their pages." (49-51)

"As a fourth Bible, we are offered Shakespeare, entire and alone. [...] "The unity of this Bible is undeniable; it resides in the personality, mysterious as it may be, of a single author. And there is a Shakespearian "country of the soul," which is not identical with Elizabethan England. Like English travelers in Tibet or Patagonia, the Shakespeare spirit carries its own atmosphere into believable places: a blasted heath, a balmy night in Venice, Prospero's Island, a tavern in Cheapside, the coasts of Bohemia. It is a new land indeed; it borders on Christianity, Antiquity, and Medieval Romance; it borrows from all three, but it stoutly maintains its separate existence. The variety is that of life itself: a life tragic at the core even in its gayest moments, a life that reaches beyond the visible.

"The fifth Bible, in Professor Moulton's scheme, has for its center, not a man, but a theme: the Faust cycle. It is a wrestling with the eternal problem: What shall it profit a man to gain the world if he loses his soul? Faust is one of the three great Romantic myths in whom this conflict is illustrated. The second is Don Juan, and the third Napoleon: for the man of felsh and blood, the realistic administrator and strategist, became a symbol within a decade of his death. All three set out to "gain the world": through knowledge, through love, through power; three forms of conquests, three forms of selfishness, three ultimate failures. For all three "lost their souls": at least it is not through their own merits that they are redeemed." (We can't help but wonder how Guérard would edit this paragraph if he had revised this book after the Second World War, or after Stalin's and Mao's deaths.)

"This would form an admirable nucleus for a Bible. But, as Goethe's Faust might be too slim for the purpose, Professor Moulton padded the collection with Marlowe's Dr. Faustus, Calderón's El Mágico Prodigioso, and Bailey's Festus. The result is highly artificial. Why read the same story four times over? And especially, why read Festus at all?

"We beg leave to offer an amendment: keeping as a kernel the Faust motive, we might build round it a Goethean Bible. It could easily be reduced to a single volume of manageable size [...]. The unity would be the Olympian spirit of Goethe. The variety would not consist, as in Shakespeare, in the intense and multitudinous creation of life: it would be found in the encyclopedic character of the work, and in the truly unique blend of Classicism, the Medieval spirit, the Renaissance, the Enlightenment and Romanticism. [...] The key note of this Bible would be wisdom and culture; and, deepest of all, at the end of the first Faust, the sense that these, sovereign as they may be in the human sphere, will not suffice." (52-3)

Going beyond Moulton's suggestions, Guérard asks, "Can we descry, in the huge and shapeless mass of our Western writings, other Bibles to rank with the more definite of these? In comparison with our own Holy Bible, or the body of Greek classics, or the complete works of Shakespeare, every collection would seem heterogeneous, or vague, or incomplete. The vast body of medieval romance, with the Arthurian cycle as its nucleus, does indeed form "a country of the soul." [...] "Medieval romance gives a new quality to the imagination; it creates, not fantastic shapes only, but a fantastic atmosphere, a whole world of make-believe. In a higher sense, romance means passion. Antiquity had known Phaedra and Dido: but it was reserved for the poets of the Tristan story to give us the theme of fateful love, irresistible, justified by its very intensity, driving man and woman to bliss, madness and death. In the highest sense, romance even touches religion, and seeks alliance with mysticism. It takes us beyond humdrum morality, and the cool intellectual intricacies of theology. It gives faith a richer, but a questionable glow; a mysterious radiance, as in the Grail stories, which is in part an inner light, in part a half conscious trick." This Bible "never was embodied in perfect form"; it includes Chrétien de Troyes, Malory, Edmund Spenser, Tennyson, William Morris, Swinburne, Edwin Arlington Robinson, plus Shakespeare again—and the music of Wagner. "Such a Bible, if it were constituted, would have undoubted unity of theme, spirit, atmosphere. So definite is it in these respects that a few lines, like the opening stanza in [Keats's] La Belle Dame sans Merci, suffice to carry us into the magic land." (53-4).

Unfortunately, this Bible "would lack the substantial variety of a true Bible." The "Bible of Romance could not stand by itself, but would need, as its corrective and complement, the Bible of Ironic Naturalism. [...] By the side of high-flown romance [,] mocking tale and cynical farce. And not seldom did romance, in mid-air, suddenly seek the earth, laughing at its own broken flight." Thus: this half-bible's first entrants: Romance of the Rose, Don Quixote, Pascal, Jonathan Swift, Aldoux Huxley's Eyeless in Gaza, Anatole France.

Soon enough, though, we're into another bible: with Cervantes, "derision had not wholly destroyed sympathy. And in Anatole France, Irony hardly ever lost touch with her sister muse Pity. [...] If Irony recedes, and Pity assumes command, then we have, if not a new "country of the soul," at least a new "climate." Thus, the Bible of Social Pity: La Bruyère, The Man With the Hole; "faint notes" in Goldsmith's The Deserted Village and Blake; "the short early novels of Victor Hugo, The Last Day of a Man Condemned to Death, Claude Gueux; Dickens; Eugène Sue, Mysteries of Paris"; Les Misérables; Dostoevsky and Tolstoy; Zola's "Germinal the first full-grown proletarian epic"; Gerhart Hauptmann's Weavers; Barbusse's Under Fire; In Dubious Battle; The Grapes of Wrath. The problem with this Bible, is practical: an excess of prolific writers creating an excess of work (55-7). This serves as an appropriate bridge to this chapter's conclusion.

"A man who would work his way through Sir John Lubbock's "Best Hundred Books" diligently, retentively, might yet remain a fool. A laborious fool, a plausible fool, an abundantly informed fool: all the more dangerous for the weapons thus placed in the hands of his foolishness. In this famous list, or in any other catalogue of World's Classics, there is no unifying principle that could serve as the indispensable nucleus of culture. Better one good book, if thought-provoking, than a hundred "best books," laden to the gunwale with dead facts.

"On the other hand, when the process of culture is fairly started, when we are able to turn "a stream of fresh and free thought upon our stock notions and habits," then abundant reading becomes a boon. Culture will not result automatically out of a prescribed course of study: it is an inward operation. But the growth in the soil is prepared and aided by assiduous tilling."(59)

Businesses want to lessen the amount of time spent on training. They insist that colleges offer more vocational training so that they don't have to do so themselves. Besides, they don't like the liberal arts, the humanities—whatever—anyway. Many misguided professors, and nearly every member of the increasing administrative class that has come to dominate colleges, join in on the assault on the humanities, because they think, in doing so, they challenge tradition, the canon, dead white men, and so on. Students take on more and more debt because they think college is special, worth the cost. They don't understand that they should be paid to undergo training, not pay for it, and that whatever was special about college is long gone. Meanwhile, businesses wonder why too many of their employees move to other jobs so quickly. But don't they understand that those employees, as students, were duped into thinking that they were learning important skills, that they need to promote themselves based on their skill sets? They move from job to job because they think the next one will be more enjoyable, nevermind that it's a job, so of course it's not enjoyable. Meanwhile, they look for more television shows to watch at night so that they can convince themselves, at least for a little while, that they're enjoying their life more with their latest maybe-enjoyable job. And businesses still bitch and moan about taxes, even as those taxes provide a little bit of funding for the colleges providing training that they should pay for; and they bitch and moan about about how their disloyal employees don't know exactly what some techie idiot savant tells them their employees are supposed to know. College administrators are very eager to hear these complaints, so that they can justify their growing numbers and propose new offices and programs paid for by student debt. They complained about professors when the professors were treated well, and they complain about professors now that the professors are treated poorly. Though their jobs are paid for by students being tricked into corporate slavery, most of these administrators delude themselves into believing that they're progressives, politically speaking. This causes the businesses to bitch and moan some more about taxes. But they figure that they should offer something positive to the conversation. So they talk about colleges offering more vocational training. The process starts over again.

C.D Guy

An ongoing series of reviews featuring scans of informational stickers included on the shrinkwrap or case of the Compact Disc in question.

The Beatles - The Capitol Albums, Vol. 1 sticker directly on packaging

What magazines would you sell at your news-stand? How about the oldest ones? In English...
Economist, 1843
Harper's, 1850
Atlantic Monthly, 1857
Nation, 1865
Popular Science, 1870
Publishers Weekly, 1872
National Geographic, 1888
Billboard, 1894
Field and Stream, 1895
Outdoor Life, 1898
Popular Mechanics, 1902
Maclean's, 1905
Variety, 1905
America, 1909
Progressive, 1909
Art in America, 1913
New Statesman, 1913
Vanity Fair, 1913
Current History, 1914
New Republic, 1914
Time, 1923
Commonweal, 1924
New Yorker, 1925
Advertising Age, 1930
Analog Science Fiction and Fact, 1930
Hollywood Reporter, 1930
Esquire, 1932
Sight and Sound, 1932
Kirkus Reviews, 1933
Newsweek, 1933
Downbeat, 1934

C.D Guy

Music of Morocco Recorded by Paul Bowles 1959 sticker directly on packaging

from the award-winning Macroscopic 2013 blog:

28 December 2013:
The major academic English-language journals on music:
Asian Music
Chamber Music Journal
Computer Music Journal
Early Music
Early Music History
General Music Today
Journal of the American Musicological Society
Journal of Musicology
Journal of Music Theory
Journal of New Music Research
Journal of the Royal Music Association
Leonardo Music Journal
Music Analysis
Musical Quarterly
Musical Times
Music and Letters
Music Perception
Music Theory Online
Music Theory Spectrum
19th Century Music
Perspectives of New Music

from the award-winning Macroscopic 2013 blog: [updated]

18 April 2013
At this point, we only know the numbering of the first-fourth of Neil Young's Official Release Series (the name for a series of new reissues of previously-released items serving as a subset of his Archives—as compared to, so far, the Performance Series and, perhaps in the future, the Special Edition Series). Given the complexity of his discography, I couldn't help but devise my own numbering of his official releases with those first four as a base, plus some wishful thinking on my part: namely, that the soundtrack for Journey Through the Past, despite not being reissued with the first-fourth albums or as part of the first Archives boxed set, will finally get a C.D release. The film was included in the boxed set but it was not released individually, which already suggests my notion of including it in the Official Release tally is doomed to failure, since a separate release of the film could have included the soundtrack as a bonus. [The release of Official Release Series Discs 5-8 boxed set (L.P only) in 2014 confirmed that Young has designated Time Fades Away as no. 5 in the series. Given that the entire Archives project has clearly gone awry, both in being delayed and the release of certain albums in the Performance Series not originally planned for (thus a no. 0 and a no. 2.5) it would seem that a better organization of Young's work will not come until decades after its participants are gone. Though I suppose, by the same logic that allowed for that 2.5, the Journey Through the Past album could become no. 4.5, and video releases could be a separate series, of which the Journey film would be no. 1. Not exactly an ideal solution. The left-hand numbers below indicate that title's place in my imagined Official Release Series, while the numbering to the right indicates its place in various sub-sets described at the end of this post.] [In 2016, the boxed set Official Release Series Discs 8.5-12, with the Long May You Run (by The Stills-Young Band) as 8.5 followed by American Stars 'n Bars, Comes a Time, Rust Never Sleeps, and Live Rust, again suggests some promise in those fractions, but also suggests that future Archive boxes will be available on vinyl and as digital files only, an unfortunate move for an artist who initially, and rightly, praised the Blu-Ray format.]

1) Neil Young (1)

2) Everybody Knows This Is Nowhere (2)

3) After the Gold Rush (3)

4) Harvest (4*)

5) Journey Through the Past: Original Soundtrack Recordings (minor1)
6) Journey Through the Past (movie1)

7) Time Fades Away (*1)

8) On the Beach (5)

9) Tonight's the Night (6*)

10) Zuma (7)

11) American Stars n' Bars (8)

12) Comes a Time (9)

13) Rust Never Sleeps album (*2)
14) and film (livemovie1)
15) Live Rust (live1)

16) Hawks and Doves (10)

17) Re-ac-tor (11)

18) Human Highway (movie2)

19) Live in Berlin (livemovie2)

20) Trans (12)

21) Solo Trans (livemovie3)
22) Everbody's Rockin' (13)

23) Old Ways (14)

24) Landing on Water (15)

25) Life (*3)

26) This Note's for You (16)

27) Eldorado (minor2)
28) Freedom (17*)
29) Freedom: A Live Acoustic Concert film (livemovie4)

30) Ragged Glory (18*)
31) and video comp (movie3)

32) Arc-Weld (live2)
33) Weld film (livemovie5)

34) Harvest Moon (19*)

35) Unplugged album (live3)
36) and film (livemovie6)

37) Sleeps With Angels (20)
38) The Complex Sessions (livemovie7)

39) Mirror Ball (21)

40) Dead Man (22)

41) Broken Arrow (23)

42) Year of the Horse album (live4)
43) and film (livemovie8)

44) Silver and Gold album (24)
45) and film (livemovie9)

46) Road Rock, Vol. 1 (live5)
47) Red Rocks Live(livemovie10)

48) Are You Passionate? (25)

49) Greendale album (26)
50) and film (movie4)
51) and documentary (movie5)
52) and concert film (livemovie11)

53) Prarie Wind (27)
54) Heart of Gold (livemovie12)

55) Living With War (28)
56) Living With War: "In the Beginning" (minor3)

57) Chrome Dreams II (29)
58) Trunk Show (livemovie13)

59) Fork in the Road (30)

60) Le Noise (31)
61) and film (movie6)
62) Journeys (livemovie14)

63) Americana (32)
64) Psychedelic Pill (33)

65) A Letter Home album - both versions + bonus 45 - (34)
66) and film (movie7)

67) Storytone (35)
68) Solo Storytone (minor4)
69) Mixed Pages of Storytone (minor5)

70) The Monsanto Years (36)
71) Earth (live6)

72) Peace Trail (37)

Studio (or, Major) albums (or albums with only one live track, noted with an asterisk after their number): 37

Concert albums that are also major albums, noted with an asterisk before their number: 3 (Time Fades Away, Rust Never Sleeps, and Life)

other Concert albums: 6 (Live Rust, Arc-Weld, Unplugged, Year of the Horse, Road Rock Vol. 1, Earth)

Minor albums: 5 (Journey Through the Past: Original Soundtrack Recordings, Eldorado, Living With War: "In the Beginning", Solo Storytone, Mixed Pages of Storytone)

Films: 7 (Journey Through the Past, Human Highway, Ragged Glory video comp, Greendale, Greendale documentary, Le Noise film, A Letter Home film)

Concert films: 14 (Rust Never Sleeps film, Live in Berlin, Solo Trans, Freedom: A Live Acoustic Concert, Weld film, Unplugged film, The Complex Sessions, Year of the Horse film, Silver and Gold film, Red Rocks Live, Greendale concert film, Heart of Gold, Trunk Show, Journeys)

But what about singles? If they're just added as bonus tracks to the albums, then should Eldorado not count as a minor album? Should The Complex Sessions also merely be an E.P of sorts, obviously attached to Sleeps With Angels?

And promotional videos? If they're also going to be bonus tracks, then should the Ragged Glory video lose its status as a separate release?

from the award-winning Macroscopic 2013 blog:

19 December 2013:

Though Cliff's Notes has long since attained the highest level of name recognition: wherein the brand name is often conflated with the product itself (as with Band-Aid or Kleenex), other producers of study guides, such as Cummings Study Guides, E Notes, and Spark Notes, also provide their own potential lists for inclusion in a project like this one. For now at least, I've little interest in doing the research necessary to list all of the works that have been summarized over the years by these companies quite deserving of their lowly reputation. As noted before, the Magill work included in this project (Masterpieces of World Literature) developed out of his Masterplots series, the progenitor of Cliff and co.


Warning! The sites linked-to in these posts may convince our readers to accept the mistaken notion that the Worldwide Web is not a complete waste of time that has destroyed civilization as we know it, in stark contrast to the sublime glory of The World's Wide Web.

from the award-winning Macroscopic 2013 blog:

18 December 2013:

Terrence Berres's Reading Rat ranks with Ken Knabb's Gateways to the Vast Realms as the longest, but messiest, list of recommended readings created for the web (though apparently its origins date back to 1988, the introduction doesn't tell us what form it took pre-web). The lists are elaborated with links to full-text scans, critical essays, quotations, and more. As with Knabb's Gateways, the project is closer to a directory than a canon or reading plan, so it's not included in our "great books" project. It's a fun resource to peruse.

from the award-winning Macroscopic 2013 blog: [updated]

3 December 2013
I noted earlier this year (14 January) that I wanted to learn more about extant Classical publications, in print and online. Having recently visited one of the best newsstands in the country, Bulldog News, in Seattle's University District (they're also responsible for My Mag Store), I've got at least a few to list--still staying outside academia:

American Record Guide
B B C Music Magazine
Classical Music
Classical Recordings Quarterly
Early Music America
Early Music Today
Musical Opinion
Opera News
Opera Now
La Scena Musicale

several Classical publications have an instrumental focus:
Choir and Organ
Classical Singer
International Piano

--leading us to other instrument-centric publications:
Acoustic Guitar
American Lutherie
Classical Guitar
Fretboard Journal
Guitar Player
Guitar World
Making Music
Modern Drummer
Saxophone Journal

For musical theatre...
Sondheim Review

More from the digital-only realm--not too much here, though as I find more I'll update this post:
Classical Source
La Folia
New Music Box

In addition to Sound on Sound and Tape Op noted previously, other publications about recording music include:
Computer Music
Electronic Musician
Music Tech

And magazines about playback equipment:
Absolute Sound
Audio Ideas Guide (now digital-only)

Finally, publications geared toward those in the music trade:
Complete Music Update
C M J Music Report
Music Connection
Music Row
Music Trades
Music Week
New Music Weekly

from the award-winning Macroscopic 2013 blog:

17 December 2013:
With this blog soon coming to an end, here's a list of sites linked-to at The World's Wide Web that provide either information about books or full-text online versions of books:

About books:
[The rest of these links are now all at Greater Books. But don't forget the Bookshelf (or Book Pickings, because, in Webbyland, we must have multiple titles for everything) section of Brain Pickings]

[These links are now all at Greater Books.]

Academic or trade databases and reference guides requiring subscriptions:
L'Année Philologique
Books in Print
Columbia Granger's World of Poetry
Early English Books Online
Electronic Enlightenment
Literary Encyclopedia
Literature Online
Philosopher's Index
Project Muse
Women Writers Project

What tracks on the second disc of the 2004 two-disc reissue of Fleetwood Mac's Rumours
are also on the third disc of the 2013 reissue (the second disc of that version being a concert album)?

But what about the additional disc of bonus tracks on the five-disc version of the 2013 reissue
(that being the fifth disc, the third being The Rosebud Film D V D, the fourth being the same as the third disc of the three-disc version)?
You're on to something there. The fifth disc is the same as the second disc of the 2004 reissue. Re-mastered?

What tracks on the second disc of the 2004 two-disc reissue of Fleetwood Mac's Tusk
are also on the second and third discs of the three-disc 2015 reissue?
Some (in bold below):
Tusk 2004, disc two, track one: One More Time (Over & Over)
Tusk 2004, disc two, track two: Can't Walk Out of Here (The Ledge) = Tusk 2015, disc three, track two: The Ledge (3/13/79)
Tusk 2004, disc two, track three: Think About Me
Tusk 2004, disc two, track four: Sara = Tusk 2015, disc three, track five: Sara (3/10/79)
Tusk 2004, disc two, track five: Lindsey's Song #1 (I Know I'm Not Wrong) = Tusk 2015, disc two, track 12: I Know I'm Not Wrong (Demo - Lindsey's Song #1)
Tusk 2004, disc two, track six: Storms
Tusk 2004, disc two, track seven: Lindsey's Song #2 (That's All for Everyone)
Tusk 2004, disc two, track eight: Sisters of the Moon = Tusk 2015, disc three, track 10: Sisters of the Moon (11/12/78)
Tusk 2004, disc two, track nine: Out on the Road (That's Enough for Me)
Tusk 2004, disc two, track 10: Brown Eyes
Tusk 2004, disc two, track 11: Never Make Me Cry
Tusk 2004, disc two, track 12: Song #1 (I Know I'm Not Wrong)
Tusk 2004, disc two, track 13: Honey Hi = Tusk 2015, disc two, track seven: Honey Hi (10/18/78 Version)
Tusk 2004, disc two, track 14: Beautiful Child
Tusk 2004, disc two, track 15: Song #3 (Walk a Thin Line) = Tusk 2015, disc two, track six: Walk a Thin Line (3/13/79 Song #3)
Tusk 2004, disc two, track 16: Come On Baby (Never Forget)
Tusk 2004, disc two, track 17: Song #1 (I Know I'm Not Wrong) (Alternate)
Tusk 2004, disc two, track 18: Kiss and Run
Tusk 2004, disc two, track 19: Farmer's Daughter
Tusk 2004, disc two, track 20: Think About Me (Single Version) = Tusk 2015, disc two, track one: Think About Me (Single Remix)
Tusk 2004, disc two, track 21: Sisters of the Moon (Single Version) = Tusk 2015, disc two, track three: Sisters of the Moon (Remix)

Meanwhile, the six-disc version of the 2015 reissue of Tusk includes two additional concert discs
and a D V D including both a 5.1 mix and a high-definition re-master of the basic stereo mix.

The gist: You need both the 2004 and 2015 versions of Tusk, but the 2004 version of Rumours has been made redundant.

No further reissue of the 1975 self-titled album has been released after its 2004 version. So you still need that one

Mirage, which did not get a 2004 reissue, was reissued in both two-disc and four-disc versions in 2016,
the second disc in both versions being bonus tracks, the third of the four-disc version being a concert album,
the fourth being a D V D including both a 5.1 mix and a high-definition re-master of the basic stereo mix.

And Tango in the Night, also lacking a 2004 reissue, soon thereafter (2017) got the collector's/ deluxe/ expanded/ legacy treatment, with two-disc and four-disc versions,
the second disc being bonus tracks, the third being more bonus tracks (The 12" Mixes),
and the fourth being a D V D with the five promo videos and a high-definition re-master

Are we annoyed yet?

The Rolling Stones, When the United Kingdom and United States
Versions of Their Records Were Different
Key to U S albums:
1: England’s Newest Hitmakers
2: 12 x 5
3: Now!
4: Out of Our Heads
5: December’s Children (and Everybody’s)
6: Aftermath
7: Between the Buttons
8: Flowers
^: Got Live If You Want It!

Highlighted tracks are featured on Hot Rocks and
More Hot Rocks [expanded version [2002]].

Come On / I Want to Be Loved
Poison Ivy [version 1] / Fortune Teller [this single unreleased except for a small number of copies;
both tracks released on Saturday Club compilation]
I Wanna Be Your Man / Stoned

Not Fade Away [1] / Little by Little [1]
It’s All Over Now [2] / Good Times Bad Times [2, *]
[U.S-only release] Time Is on My Side ("organ intro" version, or version 1;
12 x 5 and Hot Rocks also include this version) [2] / Congratulations [2]
Little Red Rooster [3] / Off the Hook [3]

The Rolling Stones (EP, 1964)
Bye Bye Johnny [Bye Bye Johnnie]
Money (That’s What I Want)
You Better Move On [5]
Poison Ivy [version 2]

5 x 5 (EP, 1964)
If You Need Me [2]
Empty Heart [2]
2120 South Michigan Avenue [2]
Confessin’ the Blues [2]
Around and Around [2]

The Rolling Stones (LP, 1964)
Route 66 [1, 5]
I Just Want to Make Love to You [1; titled I Just Wanna Make Love to You for U.S-only single
that featured Tell Me on the A side]
Mona (I Need You Baby) [1]
Now I’ve Got a Witness [3]
Little by Little [1]
I’m a King Bee [1]
Carol [1]
Tell Me (first pressing had shorter version) [1; retitled
Tell Me (You're Coming Back) for inclusion on the U S version of Big Hits]
Can I Get a Witness [1]
You Can Make It If You Try [1]
Walking the Dog [1]

The Last Time [4] / Play with Fire [4]
(I Can’t Get No) Satisfaction [4] / The Spider and the Fly [4]
Get Off My Cloud [5] / The Singer Not the Song [5]

Got Live If You Want It! (EP, 1965)
We Want the Stones [audience]
Everybody Needs Somebody to Love
Pain in My Heart
Route 66 [5]
I'm Moving On [5]
I'm Alright [4]

The Rolling Stones No. 2 (LP, 1965)
Everybody Needs Somebody to Love [3--alternate (shorter) version;
the 1986 C D version of Now! includes the original,
but not subsequent reissues of that album]
Down-Home Girl [3]
You Can’t Catch Me [3]
Time Is On My Side ["guitar intro" version, or version 2; the U S 7-inch, 12 x 5,
and Hot Rocks all feature "organ intro" version, or version 1]
What a Shame [3]
Grown Up Wrong [2]
Down the Road Apiece[3]
Under the Boardwalk [2]
I Can’t Be Satisfied
Pain in My Heart [3]
Off the Hook [3]
Susie Q [2]

Out of Our Heads (LP, 1965)
She Said Yeah [5]
Mercy Mercy [4]
Hitch-Hike [4]
That’s How Strong My Love Is [4]
Good Times [4]
Gotta Get Away [5]
Talkin' 'Bout You [5]
Cry to Me [4]
Oh Baby [4]
Heart of Stone [3]
The Under Assistant West Coast Promotion Man [4]
I’m Free [5]

19th Nervous Breakdown / As Tears Go By [5] (for U.S version, Sad Day is B-side track)
Paint It Black [6] / Long Long While
Have You Seen You Mother, Baby, Standing in the Shadows [8] / Who’s Driving Your Plane?

Aftermath (LP, 1966)
Mother’s Little Helper [8]
Stupid Girl [6]
Lady Jane [6, 8]
Under My Thumb [6]
Doncha Bother Me [6]
Goin' Home [6]
Flight 505 [6]
High and Dry [6]
Out of Time [8]
I Am Waiting [6]
Take It or Leave It [8]
Think [6]
What to Do

Big Hits (High Tide and Green Grass) (LP, 1966)
Have You Seen Your Mother, Baby, Standing in the Shadow
Paint It Black
It’s All Over Now
The Last Time
Heart of Stone
Not Fade Away
Come On
(I Can’t Get No) Satisfaction
Get Off My Cloud
As Tears Go By
19th Nervous Breakdown
Lady Jane
Time Is on My Side ["guitar intro" version, or version 2]
Little Red Rooster

U S version:
(I Can’t Get No) Satisfaction
The Last Time
As Tears Go By
Time Is on My Side ["organ intro" version, or version 1]
It's All Over Now
Tell Me (You're Coming Back)
19th Nervous Breakdown
Heart of Stone
Get Off My Cloud
Not Fade Away
Good Times, Bad Times
Play With Fire

Let’s Spend the Night Together [7, 8] / Ruby Tuesday [7, 8]
We Love You / Dandelion

Between the Buttons (LP, 1967)
Yesterday’s Papers [7]
My Obsession [7]
Back Street Girl [8]
Connection [7]
She Smiled Sweetly [7]
Cool, Calm, and Collected [7]
All Sold Out [7]
Please Go Home [8]
Who’s Been Sleeping Here [7]
Complicated [7]
Miss Amanda Jones [7]
Something Happened to Me Yesterday [7]

Jumpin’ Jack Flash / Child of the Moon

Through the Past, Darkly (Big Hits Vol. 2) (LP, 1969)
Jumpin' Jack Flash
Mother's Little Helper
2000 Light Years From Home
Let's Spend the Night Together
You Better Move On
We Love You [edited]
Street Fighting Man
She's a Rainbow
Ruby Tuesday
Dandelion [edited]
Sittin' on a Fence
Hony Tonk Women

U S version:
Paint It Black
Ruby Tuesday
She's a Rainbow
Jumpin' Jack Flash
Mother's Little Helper
Let's Spend the Night Together
Honky Tonk Women
Dandelion [edited]
2000 Light Years From Home
Have You Seen Your Mother, Baby, Standing in the Shadow?
Street Fighting Man

Tracks originally on U S albums:
Surprise, Surprise [3]
One More Try [4]
Look What You’ve Done [5]
Blue Turns to Grey [5]
I've Been Loving You Too Long [^; this track and Fortune Teller were included
on the U S, L P version of Got Live If You Want It! (the U K version was only an E P,
as seen above) with overdubbed audience sound; apparently, until the 2002 expanded
More Hot Rocks, the original studio track was not officially released]
It's Not Easy [6]
I Am Waiting [6]
Ride On, Baby [8]
Sittin' on a Fence [8]
My Girl [8]

STREAM - Performance - Date
87 - Home Sweet Home, New York, NY - 2015 May 4
86 - Trans Pecos, New York, NY - 2015 March 20
85 - Death by Audio, New York, NY - 2014 November 7
84 - Europa Club, New York, NY - 2014 August 15
83 - Earwax Records, New York, NY - 2014 August 2
82 - Body Acutalized Center, New York, NY - 2014 June 21
81 - [Lyon, France] - 2014 April 7Th
80 - P M K, Innsbruck, Austria - 2014 April 11
Prague - Café V Lese, Prague, Czech Republic - 2014 April 13
79 - Kantine Berghain, Berlin, Germany - 2014 April 15
78 - Instants Chavires, Paris, France - 2014 April 25
77 - Baby's All Right, New York, NY - 2014 February 24
76 - St. Vitus, New York, NY - 2013 November 15
75 - Body Actualized Center, New York, NY - 2013 November 1
74 - Bowery Ballroom, New York, NY - 2013 October 31

73 - The Smell, Los Angeles, CA - 2012 March 10
72 - The Wreck Room, New York, NY - 2011 July 20

71 - Shea Stadium, New York, NY - 2010 October 27
70 - Silent Barn, New York, NY - 2010 September 11
69 - Viaduct Theater, Chicago, IL - 2010 August 21

68 - Glasslands, New York, NY - 2010 March 20
- - - Glasslands, New York, NY - 2010 February 16 ('Presidence' release party)
67 - Zebulon, New York, NY - 2010 January 23
- - - Monkey Town, New York, NY - 2009 December 31
- - - Student Center, Purchase, NY - 2009 November 17
66 - WCKR 89.3 F M, New York, NY - 2009 October 25
65 - Cameo Gallery, New York, NY - 2009 October 23
64/ 'Maze of Death' - Death by Audio, New York, NY - 2009 October 2
63 - Secret Project Robot, New York, NY - 2009 September 26
62 - High Noon Saloon, Madison, WI - 2009 September 19
61 - Viaduct Theater, Chicago, IL - 2009 September 18
60 - Division Street Gallery, Detroit, MI - 2009 September 17
'OBOH' - Dionysus Club, Oberlin, OH - 2009 September 16
59 - Starr Space, New York, NY - 2009 August 29

'Live at the Bell House' - Bell House, New York, NY - 2009 April 4
Equinox - Glasslands, New York, NY - 2009 March 21
58/ Zion - 92nd Street Y, New York, NY - 2009 February 28
Equinox - Issue Project Room, New York, NY - 2009 January 17
54 - Vanishing Point, New York, NY - 2008 December 13
53 - Bowery Ballroom, New York, NY - 2008 November 19
'The Open Well' - Monkey Town, New York, NY - 2008 November 4 ('Veto Vote')
- - - Le Poisson Rouge, New York, NY - 2008 October 22

- - - La Sala Rossa, Montreal, Quebec - 2008 June 1
57 - Senior House, Cambridge, MA - 2008 May 3
Dublab 'Sprout Session' - [Los Angeles, CA] - 2008 May 1
56 - Echo, Los Angeles, CA - 2008 April 26
55 - Hemlock Tavern, San Francisco, CA - 2008 April 24
49 - [Vacaville, CA] - 2008 April 23
52 - Backspace, Portland, OR - 2008 April 22
51 - Rendezvous Jewel Box Theater, Seattle, WA - 2008 April 21
50 - Glasslands, New York, NY - 2008 March 29 ('Debt Dept.' release party)
47 - Castaways, Ithaca, NY - 2008 March 1
- - - Monkey Town, New York, NY - 2008 February 22 ('Science')
46 - Mug, Poughkeepsie, NY - 2008 February 21
45 - Bar, New Haven, CT - 2008 February 3
44 - Music Hall of Williamsburg, New York, NY - 2008 January 11
43 - Issue Project Room, New York, NY - 2007 December 7
42 - Eisner and Lubin Auditorium, New York, NY - 2007 December 6
- - - Silent Barn, New York, NY - 2007 October 19
41 - Empty Bottle, Chicago, IL - 2007 September 28
Punkcast 1189 - Rocky's (Rock Star Bar), New York, NY - 2007 August 18
'OG', 'The Anti-Noah' - Monkey Town, New York, NY - 2007 July 14 ('A Return From Black Hole')
48 - [Tobago] - 2007 June 16

39 - Morrow Memorial Church, Maplewood, NJ - 2007 March 10
40 - Monkey Town, New York, NY - 2007 February 24 ('40,000 Leagues Under the Sea')
- - - Bowery Ballroom, New York NY - 2007 January 6
- - - Smog, Annandale-on-Hudson, NY - 2006 December 10
38 - Casa del Popolo, Montreal, Quebec - 2006 December 9
- - - Asterisk Art Project, New York, NY - 2006 November 4
37 - Hiro Ballroom, New York, NY - 2006 November 3
- - - [Big Out of Doors Show II], New York, NY - 2006 September 9
36 - East River Ampitheater, New York, NY - 2006 August 19
- - - Daydream Library, New York, NY - 2006 July 29
Steps - La Salla Rosa, Montreal, Quebec - 2006 June 23
- - - Tonic, New York, NY - 2006 June 15


Genius of Modern Music [1952 10-L P]
'Round About Midnight
Off Minor
Ruby My Dear
I Mean You [--> Milt Jackson, Wizard of the Vibes]
[1956 L P] April in Paris
[1956 L P] In Walked Bud
Epistrophy [--> Milt Jackson, Wizard of the Vibes]
Well You Needn't
Misterioso [--> Milt Jackson, Wizard of the Vibes]
[1956 L P] Introspection
[1956 L P] Humph

[1989 C D]
Evonce (Alternate Take)
Suburban Eyes
Suburban Eyes (Alternate Take)
Nice Work If You Can Get It (Alternate Take)
Nice Work If You Can Get It
Ruby My Dear (Alternate Take)
Ruby My Dear
Well You Needn't
Well You Needn't (Alternate Take)
April in Paris (Alternate Take)
April in Paris
Off Minor
In Walked Bud
Monk's Mood
Who Knows?
'Round Midnight
Who Knows? (Alternate Take)

[2001 C D]
Suburban Eyes
Evonce (Alternate Take)
Suburban Eyes (Alternate Take)
Nice Work If You Can Get It
Ruby My Dear
Well You Needn't
April In Paris
Off Minor
Nice Work If You Can Get It (Alternate Take)
Ruby My Dear (alternate Take)
Well You Needn't (Alternate Take)
April In Paris (Alternate Take)
In Walked Bud
Monk's Mood
Who Knows?
'Round Midnight
Who Knows? (Alternate Take)

Genius of Modern Music Vol. 2 [1952 10-L P]
Four in One
Who Knows
Nice Work
In Walked Bud [--> 1956 Vol. 1 L P]
Humph [--> 1956 Vol. 1 L P]
Straight No Chaser
Suburban Eyes
Ask Me Now

[1956 L P]
Carolina Moon
Hornin' In
Let's Cool One
Suburban Eyes
Straight No Chaser
Four in One
Nice Work
Monk's Mood
Who Knows
Ask Me Now

[1989 C D]
Four in One
Four in One (Alternate Take)
Criss Cross
Criss Cross (Alternate Take)
Straight No Chaser
Ask Me Now (Alternate Take)
Ask Me Now
Willow Weep for Me
Skippy (Alternate Take)
Hornin' In (Alternate Take)
Hornin' In
Sixteen (First Take)
Sixteen (Second Take)
Carolina Moon
Let's Cool One
I'll Follow You

[2001 C D]
Four in One
Criss Cross
Straight No Chaser
Ask Me Now
Willow Weep for Me
Four in One (Alternate Take)
Criss Cross (Alternate Take)
Ask Me Now (Alternate Take)
Hornin' In
Carolina Moon
Let's Cool One
I'll Follow You
Skippy (Alternate Take)
Hornin' In (Alternate Take)
Sixteen (First Take)

Milt Jackson, Wizard of the Vibes [1952 10-L P]
Criss Cross
Willow Weep for Me
What's New
Bags' Groove
On the Scene

Milt Jackson and the Thelonious Monk Quintet [1956 L P]
What's New?
Bags' Groove
On the Scene
Willow, Weep for Me
Criss Cross
Misterioso (Alternate Take)
Lillie (Alternate Take)
Four in One (Alternate Take)

Milt Jackson and the Thelonious Monk Quintet [1989 C D]
Lillie (Alternate Take)
Bags' Groove
What's New
What's New (Alternate Take)
Don't Get Around Much Anymore
Don't Get Around Much Anymore (Alternate Take)
On the Scene
Misterioso (Alternate Take)
I Mean You
All the Things You Are
I Should Care
I Should Care (Alternate Take)

Wizard of the Vibes [2001 C D]
Bags' Groove
What's New
Don't Get Around Much Anymore
On the Scene
Lillie (Alternate Take)
What's New (Alternate Take)
Don't Get Around Much Anymore (Alternate Take)
I Mean You
Misterioso (Alternate Take)
All the Things You Are
I Should Care
I Should Care (Alternate Take)

The Jazz Messengers!

w/ Wayne Shorter, Lee Morgan, Curtis Fuller, Cedar Walton, Reggie Workman, Art Blakey:
Buhaina's Delight - 1961; 1963
Caravan - 1962; 1963
Ugetsu [concert] - 1963
Free for All - 1964; 1965
Kyoto - 1964; 1966
Indestructible - 1964; 1966
Golden Boy - 1964

John Coltrane

Africa/ Brass: Africa; Greensleeves; Blues Minor
recorded and released 1961
The Africa/Brass Sessions Vol. 2 [1974]: Songs of the Underground Railroad; alternate version of Greensleeves; alternate version of Africa
1991 (Japan, entitled Complete Africa/ Brass) and 1995 (entitled The Complete Africa/ Brass Sessions) reissues: both albums + The Damned Don't Cry [originally released on Trane's Modes]; Africa [second alternate version, originally released on Trane's Modes]

Coltrane: Out of the This World; Soul Eyes; The Inch Worm; Tunji (Toon-Gee); Miles' Mode
recorded and released 1962
1997 reissue: + Big Nick [originally released on the compilation, The Definitive Jazz Scene, Volume One]; Up 'Gainst the Wall [originally released on Impressions]
2002 reissue: + Not Yet; alternate version of Miles' Mode; four alternate takes of Tunji; two versions of Impressions, the second of which was originally released on The Very Best of John Coltrane
all tracks from original and 1997 reissue included in The Classic Quartet boxed set

Ballads: Say It (Over and Over Again); You Don't Know What Love Is; Too Young to Go Steady; All or Nothing at All; I Wish I Knew; What's New; It's Easy to Remember; Nancy (With the Laughing Face)
recorded 1961-2, released 1963
2002 reissue: + All or Nothing at All; five takes of Greensleeves, including the 7-inch; and seven alternate takes of It's Easy to Remember
all tracks from original, All or Nothing at All, and the 7-inch version of Greensleeves included in The Classic Quartet

Crescent: Crescent; Wise One; Bessie's Blues; Lonnie's Lament; The Drum Thing
recorded and released 1964
all tracks included in The Classic Quartet

A Love Supreme: Acknowledgement; Resolution; Pursuance/ Psalm
recorded 1964, released 1965
2002 reissue: + four-track concert version of the album; alternate version and breakdown of Resolution; and two alternate takes of Acknowledgement
2015 reissue: + two vocal overdubs from Acknowledgement; undubbed version of Psalm; two additional alternate takes of Acknowledgement; and a breakdown and false start of Acknowledgement
all tracks from original and alternate version of Resolution included in The Classic Quartet

The John Coltrane Quartet Plays: Chim Chim Cheree; Brazilia; Nature Boy; Song of Praise
recorded and released 1965
1991 (Japanese) and 1997 reissue: + Feelin' Good
all tracks included in The Classic Quartet

Ascension: Ascension
recorded and released 1965

Meditations: The Father and the Son and the Holy Ghost; Compassion; Love; Consequences; Serenity
recorded 1965, released 1966

Kulu Sé Mama: Kulu Sé Mama; Vigil; Welcome
recorded 1965, released 1966

Om: Om
recorded 1965, released 1967

Expression: Ogunde; To Be; Offering; Expression
recorded and released 1967

Sun Ship: Sun Ship; Dearly Beloved; Amen; Attaining; Ascent
recorded 1965, released 1971
2013 reissue: + breakdown, false start, and alternate version of Dearly Beloved; alternate version, breakdown, and insert of Attaining; breakdown, alternate version, and insert of Sun Ship; two incomplete versions and three inserts of Ascent; and one alternate version of Amen
all tracks of original included in The Classic Quartet

Interstellar Space: Mars; Venus; Jupiter; Saturn
recorded 1967, released 1974

First Meditations (For Quartet): Love; Compassion; Joy; Consequences; Serenity
recorded 1965, released 1977
all C D versions include alternate version of Joy
all tracks included in The Classic Quartet

Stellar Regions: Seraphic Light; Sun Star; Stellar Regions; Iris; Offering [originally released on Expression]; Configuration; Jimmy's Mode; Tranesonic + alternate takes of 3, 2, and 8
recorded 1967, released 1995

studio and concert:
Impressions: India; Up 'Gainst the Wall; Impressions; After the Rain
1 and 3 recorded in concert 1961; 2 recorded 1962; 4, 1963; released 1963
two studio tracks included in The Classic Quartet

Live at Birdland: Afro Blue; I Want to Talk About You; The Promise; Alabama; Your Lady
1996 reissue: + Villa
1-3 recorded in concert 1963; 4, 5, and Villa recorded 1963; released 1964
three studio tracks included in The Classic Quartet

Are these the greatest? The American People have spoken.
Through 1988 (no comment). Compilations omitted. Album titles highlighted.
The Recording Industry Association of America (R I A A)'s tallies of U_S sales in millions provided,
the totals of certain double (or more) albums adjusted downward to account for
the R I A A's bizarre choice to total some, but not all, of such titles by number of discs.

Michael Jackson - Thriller - 32
Led Zeppelin [IV] - 23
A.C/ D.C - Back in Black - 22
Fleetwood Mac - Rumours - 20
Guns N' Roses Appetite for Destruction - 18
Boston - Boston - 17
The Eagles - Hotel California - 16
Pink Floyd - The Dark Side of the Moon - 15
Bruce Springsteen - Born in the U S A - 15
Meat Loaf - Bat Out of Hell - 14
Prince - Purple Rain - 13
Whitney Houston - Whitney Houston - 13
Pink Floyd - The Wall - 13
The Beatles - Abbey Road - 12
Phil Collins - No Jacket Required - 12
Def Leppard - Hysteria - 12
Bon Jovi - Slippery When Wet - 12
Led Zeppelin II - 12
The Beatles - Sgt. Pepper's Lonely Hearts Club Band - 11
Led Zeppelin - Houses of the Holy - 11
The Beastie Boys - Licensed to Ill - 10
The Beatles - The Beatles - 10
Def Leppard - Pyromania - 10
Billy Joel - The Stranger - 10
Madonna - Like a Virgin - 10
George Michael - Faith - 10
Carole King - Tapestry - 10
Lionel Richie - Can't Slow Down - 10
U.2 - The Joshua Tree - 10
Van Halen - Van Halen - 10
Van Halen - 1984 (MCMLXXXIV) - 10
Z.Z Top - Eliminator - 10
Dire Straits - Brothers in Arms - 9
Whitney Houston - Whitney - 9
Michael Jackson - Bad - 9
Journey - Escape - 9
R.E.O Speedwagon Hi Infidelity - 9
Aerosmith Toys in the Attic - 8
Peter Frampton - Frampton Comes Alive! - 8
Michael Jackson Off the Wall - 8
Elton John - Goodbye Yellow Brick Road - 8
Led Zeppelin [I] - 8
Led Zeppelin - Physical Graffiti - 8
Metallica - ...and Justice for All - 8
The Police - Synchronicity - 8
Simon and Garfunkel - Bridge Over Troubled Water - 8
Whitesnake - 8

from the award-winning Macroscopic 2013 blog:

28 October 2013
Seeing the band, Cave, in concert Saturday, reminded yet again of the Chicago record label, Drag City, and its extraordinary role in Indie music, or whatever you might want to call most contemporary song-composing music. A lesson to learn: the label heads listened to Neil Hagerty of Royal Trux when he told them to sign up Will Oldham; they listened again when Oldham told them about Joanna Newsom. The artist as talent scout.

Instead of a chronological list of the label's releases like you can get at Discogs or Rate Your Music, I've come up with this list of most of the artists with a long-standing working relationship with Drag City, arranged chronologically by the year the artist first released an L.P on the label. If their debut L.P came out on another label, the year that debut was released is noted in brackets.

Royal Trux [1988]


King Kong [1991]
The Palace Brothers/ Will Oldham/ Bonnie 'Prince' Billy

Gastr del Sol
Ghost [1990]
The Red Krayola [1967]
The Silver Jews

Flying Saucer Attack [1994]

Neil Hamburger [1992]

Edith Frost
Jim O'Rourke [1989]
Mick Turner

David Grubbs [1997]

Brother J T [1991]
Papa M
U S Maple [1995]

The Fucking Champs [1994]

Alasdair Roberts [2001]

Faun Fables
Joanna Newsom

Six Organs of Admittance [1998]

White Magic

Sir Richard Bishop [1998]
Major Stars [1998]
P G Six [2001]

Magik Markers [2002]
Om [2005]
Sic Alps [2006]

Scout Niblett [2001]

Cave [2007]
Ty Segall [2008]

The Conclusion of the first, 1908 edition of The Symbolist Movement in Literature by Arthur Symons, from the Fyfield Books/ Carcanet Press (2014) edition edited by Matthew Creasy:

"Our only chance, in this world, of a complete happiness, lies in the measure of our success in shutting the eyes of the mind, and deadening its sense of hearing, and dulling the keenness of its apprehension of the unknown. Knowing so much less than nothing, for we are entrapped in smiling and many-coloured appearances, our life may seem to be but a little space of leisure, in which it will be the necessary business of each of us to speculate on what is so rapidly becoming the past and so rapidly becoming the future, that scarcely existing present which is after all our only possession. Yet, as the present passes from us, hardly to be enjoyed except as a memory or as hope, and only with an at best partial recognition of the uncertainty or inutility of both, it is with a kind of terror that we wake up, every now and then, to the whole knowledge of our ignorance, and to some perception of where it is leading us. To live through a single day with that overpowering consciousness of our real position, which, in the moments in which alone it mercifully comes, is like blinding light or the thrust of a flaming sword, would drive any man out of his senses. It is our hesitations, the excuses of our hearts, the compromises of our intelligence, which save us. We can forget so much, we can bear suspense with so fortunate an evasion of its real issues; we are so admirably finite.

"And so there is a great, silent conspiracy between us to forget death; all our lives are spent in busily forgetting death. That is why we are active about so many things which we know to be unimportant; why we are so afraid of solitude, and so thankful for the company of our fellow-creatures. Allowing ourselves, for the most part, to be but vaguely conscious of that great suspense in which we live, we find our escape from its sterile, annihilating reality in many dreams, in religion, passion, art; each a forgetfulness, each a symbol of creation; religion being the creation of a new heaven, passion the creation of a new earth, and art, in its mingling of heaven and earth, the creation of heaven out of earth. Each is a kind of sublime selfishness, the saint, the lover, and the artist having each an incommunicable ecstasy which he esteems as his ultimate attainment, however, in his lower moments, he may serve God in action, or do the will of his mistress, or minister to men by showing them a little beauty. But it is, before all things, an escape; and the prophets who have redeemed the world, and the artists who have made the world beautiful, and the lovers who have quickened the pulses of the world, have really, whether they know it or not, been fleeing from the certainty of one thought: that we have, all of us, only our one day; and from the dread of that other thought: that the day, however used, must after all be wasted.

"The fear of death is not cowardice; it is, rather, an intellectual dissatisfaction with an enigma which has been presented to us, and which can be solved only when its solution is of no further use. All we have to ask of death is the meaning of life and we are waiting all through life to ask that question. That life should be happy or unhappy, as those words are used, means so very little; and the heightening or lessening of the general felicity of the world means so little to any individual. There is something almost vulgar in happiness which does not become joy, and joy is an ecstasy which can rarely be maintained in the soul for more than the moment during which we recognise that it is not sorrow. Only very young people want to be happy. What we all want is to be quite sure that there is something which makes it worth while to go on living, in what seems to us our best way, at our finest intensity; something beyond the mere fact that we are satisfying a sort of inner logic (which may be quite faulty) and that we get our best makeshift for happiness on that so hazardous assumption.

"Well, the doctrine of Mysticism, with which all this symbolical literature has so much to do, of which it is all so much the expression, presents us, not with a guide for conduct, not with a plan for our happiness, not with an explanation of any mystery, but with a theory of life which makes us familiar with mystery, and which seems to harmonise those instincts which make for religion, passion, and art, freeing us at once of a great bondage. The final uncertainty remains, but we seem to knock less helplessly at closed doors, coming so much closer to the once terrifying eternity of things about us, as we come to look upon those things as shadows, through which we have our shadowy passage. 'For in particular acts of human life,' Plotinus tell us, 'it is not the interior soul and the true man, but the exterior shadow of a man alone, which laments and weeps, performing his part on the earth as in a more ample and extended scene, in which many shadows of souls and phantom scenes appear.' And as we realise the identiy of a poem, a prayer, or a kiss, in that spiritual universe which we are weaving for ourselves, each out of a thread of the great fabric; as we realise the infinite insignificance of action, its immense distance from the current of life; as we realise the delight of feeling ourselves carried onward by forces which it is our wisdom to obey; it is at least with a certain relief that we turn to ancient doctrine, so much the more likely to be true because it has so much the air of a dream. On this theory alone does all life become worth living, all art worth making, all worship worth offering. And because it might slay as well as save, because the freedom of its sweet captivity might so easily become deadly to the fool, because that is the hardest path to walk in where you are told only, walk well; it is perhaps the only counsel of perfection which can ever really mean much to the artist."

from the award-winning Macroscopic 2013 blog: [updated]

24 October 2013
The master list for the "great books" project, however much it is expanded to include other lists already extant, would not serve in any way as a good introductory guide to history books. A list I constructed a few years back of history professors associated with the University of Wisconsin—Madison, which in the second half of the Twentieth Century was arguably the source of more innovative historical scholarship than any other U S university, suggests a way of constructing mini-canons within the larger canon: lists defined by a certain place, profession (or instead subject matter), genre, era, and context.

Paul Boyer:
Purity in Print: Book Censorship in America From the Gilded Age to the Computer Age [1968]

(with Stephen Nissenbaum) Salem Possessed: The Social Origins of Witchcraft [1974]

Urban Masses and Moral Order in America, 1820-1920 [1978]

By the Bomb's Early Light: American Thought and Culture at the Dawn of the Atomic Age [1985]

When Time Shall Be No More: Prophecy Belief in Modern American Culture [1992]

Fallout: A Historian Reflects on America's Half-Century Encounter With Nuclear Weapons [1998]

William Cronon:
Changes in the Land: Indians, Colonists, and the Ecology of New England [1983]

Nature's Metropolis: Chicago and the Great West [1991]

Merle Curti:
The American Peace Crusade 1815-1960 [1929]

Bryan and World Peace [1931]

The Social Ideas of American Educators [1932]

Peace or War: The American Struggle 1636-1936 [1936]

The Growth of American Thought [1943]

The Roots of American Loyalty [1946]

The Making of an American Community: A Case Study of Democracy in a Frontier County [1959]

Human Nature in American Thought [1980]

Fred Harrington:
God, Mammon, and the Japanese: Dr. Horace N Allen and Korean-American Relations, 1884-1905 [1944]

Fighting Politician: Major General N P Banks [1948]

[Harrington is largely remembered as a long-time head of the University's History department and, later, the University itself; arguably, he is the single individual most responsible for U W--Madison's standing in the History field, most of all for hiring leftist academics (Williams, Goldberg) and defending academic freedom.]

Gerda Lerner:
The Grimke Sisters From South Carolina: Rebels Against Slavery [1967]

The Majority Finds Its Past: Placing Women in History [1979]

The Creation of Patriarchy [1986]

The Creation of Feminist Consciousness: From the Middle Ages to Eighteen-Seventy [1993]

Why History Matters [1997]

Fireweed: A Political Autobiography [2002]

Alfred McCoy:
The Politics of Heroin in Southeast Asia: C I A Complicity in the Global Drug Trade [1972]

Drug Traffic: Narcotics and Organized Crime in Australia [1980]

Priests on Trial [1984]

Closer Than Brothers: Manhood at the Philippine Military Academy [1999]

A Question of Torture: C I A Interrogation, From the Cold War to the War on Terror [2006]

Policing America's Empire: The United States, the Philippines, and the Rise of the Surveillance State [2009]

George Mosse:
The Crisis of German Ideology: Intellectual Origins of the Third Reich [1964]

Germans and Jews: The Right, the Left, and the Search for a 'Third Force' in Pre-Nazi Germany [1970]

The Nationalization of the Masses: Political Symbolism and Mass Movements in Germany From the Napoleonic Wars Through the Third Reich [1975]

Nazism: A Historical and Comparative Analysis of National Socialism [1978]

Toward the Final Solution: A History of European Racism [1978]

Masses and Man: Nationalist and Fascist Perceptions of Reality [1980]

German Jews Beyond Judaism [1985]

Nationalism and Sexuality: Middle-Class Morality and Sexual Norms in Modern Europe [1985]

Fallen Soldiers: Reshaping the Memory of the World Wars [1990]

Confronting the Nation: Jewish and Western Nationalism [1993]

The Image of Man: The Creation of Modern Masculinity [1996]

Confronting History [2002]

Stanley Payne:
A History of Spain and Portugal [1973]

Basque Nationalism [1975]

Fascism: Comparison and Definition [1980]

Spanish Catholicism: An Historical Overview [1984]

Spain's First Democracy: The Second Republic, 1931-1936 [1993]

A History of Fascism 1914-1945 [1996]

Fascism in Spain 1923-1977 [2000]

The Spanish Civil War, the Soviet Union, and Communism [2004]

The Collapse of the Spanish Republic, 1933-1936 [2006]

Franco and Hitler: Spain, Germany, and World War II [2008]

Spain: A Unique History [2011]

The Spanish Civil War [2012]

doctoral students and professors:
Harvey Goldberg:
American Radicals: Some Problems and Personalities [1957]

French Colonialism: Progress or Poverty? [1959]

The Life of Jean Jaurès [1962]

[Goldberg achieved his renown primarily as a lecturer; visit the Harvey Goldberg Center for the Study of Contemporary History]

William Appleman Williams:
American-Russian Relations, 1781-1947 [1952]

The Tragedy of American Diplomacy [1959]

The Contours of American History [1961]

The United States, Cuba, and Castro: An Essay on the Dynamics of Revolution and the Dissolution of Empire [1962]

The Great Evasion: An Essay on the Contemporary Relevance of Karl Marx and on the Wisdom of Admitting the Heretic Into the Dialogue About America’s Future [1965]

The Roots of the Modern American Empire: A Study of the Growth and Shaping of Social Consciousness in a Marketplace Society [1969]

Some Presidents: Wilson to Nixon [1972]

America Confronts a Revolutionary World: 1776-1976 [1976]

Americans in a Changing World: A History of the United States in the Twentieth Century [1978]

Empire as a Way of Life: An Essay on the Causes and Character of America’s Present Predicament, Along with a Few Thoughts About an Alternative [1980]

doctoral students:
Carl Becker [before Harrington's time]
Allen Freeman Davis
Lloyd Gardner
John Higham
Richard Hofstadter
Walter LaFeber
Roderick Nash

from the award-winning Macroscopic 2013 blog: [updated]

25 October 2013
A mini-canon broader in scope than the list of books by Wisconsin historians: the "long Sixties" beginning in 1955, the year following McCarthy's fall and which witnessed Rock-and-Roll's rise and James Dean's death, ending in 1972 with the failure of McGovern's presidential campaign and the Vietnam war finally, excruciatingly wrapping up. These are the books—some obvious omissions undoubtedly are still outstanding—one would need to study, alongside many music albums, films, art books, and retrospective historical accounts, to understand what happened just in the U S (a few non-American books are included because of their transnational significance). Some helpful Wikipedia links are provided for broader subjects pertaining to the work in question.

Robert Conquest, ed. - Poets of the 1950s [The Movement]
Herbert Marcuse - Eros and Civilization: A Philosophical Inquiry Into Freud
Vladimir Nabakov - Lolita

Eugene Burdick - The Ninth Wave
Robert Conquest, ed. - New Lines
Allen Ginsburg - Howl and Other Poems [Six Gallery reading]
C Wright Mills - The Power Elite
John Osborne - Look Back in Anger [The Angry Young Men]
William H Whyte - The Organization Man
Colin Wilson - The Outsider

Lawrence Durrell - Justine [The Alexandria Quartet]
Jack Kerouac - On the Road
Tom Maschler, ed. - Declaration
John Osborne - The Entertainer
Harold Pinter - The Birthday Party
Nevil Shute - On the Beach

Peter Bryant [Peter George] - Two Hours to Doom [U S title: Red Alert]
Eugene Burdick and William Lederer - The Ugly American
Shelagh Delaney - A Taste of Honey
Lawrence Durrell - Balthazar [The Alexandria Quartet]
Lawrence Durrell - Mountolive [The Alexandria Quartet]
John Kenneth Galbraith - The Affluent Society
Lawrence Ferlinghetti - A Coney Island of the Mind
Robert Frank - The Americans
Jack Kerouac - The Dharma Bums
Martin Mayer - Madison Avenue, U S A
Linus Pauling - No More War!
Alan Sillitoe - Saturday Night and Sunday Morning

Kenneth Anger - Hollywood Babylon
John Arden - Serjeant Musgrave's Dance, An Un-historical Parable
Norman O Brown - Life Against Death: The Psychoanalytical Meaning of History
William S Burroughs - Naked Lunch
Norman Mailer - Advertisements for Myself
C P Snow - The Two Cultures and the Scientific Revolution
Terry Southern/ Mason Hoffenberg - Candy
Keith Waterhouse - Billy Liar
William Appleman Williams - The Tragedy of American Diplomacy

Donald Allen, ed. - The New American Poetry 1945-1960
Ansel Adams/ Nancy Newhall - This Is the American Earth
Lawrence Durrell - Clea [The Alexandria Quartet]
Paul Goodman - Growing Up Absurd: Problems of Youth in the Organized Society
C Wright Mills - Listen, Yankee: The Revolution in Cuba
Harold Pinter - A Night Out
William L Shirer - The Rise and Fall of the Third Reich: A History of Nazi Germany
Terry Southern - The Magic Christian
Glendon Swarthout - Where the Boys Are
Sheldon Wolin - Politics and Vision: Continuity and Innovation in Western Political Thought

John Cage - Silence: Lectures and Writings
Frantz Fanon - The Wretched of the Earth
Joseph Heller - Catch-22
Jane Jacobs - The Death and Life of Great American Cities
Colin Wilson - Adrift in Soho

Edward Albee - Who's Afraid of Virginia Woolf?
Daniel Boorstin - The Image: A Guide to Pseudo-Events in America
Helen Gurley Brown - Sex and the Single Girl
Eugene Burdick and Harvey Wheeler - Fail-Safe
Anthony Burgess - A Clockwork Orange
Rachel Carson - Silent Spring
Michael Harrington - The Other America
Ken Kesey - One Flew Over the Cuckoo's Nest

Hannah Arendt - Eichmann in Jerusalem: A Report on the Banality of Evil
Leonard Cohen - The Favourite Game
Betty Friedan - The Feminine Mystique
Dag Hammarskjold - Vagmarken
Mary McCarthy - The Group
Sylvia Plath - The Bell Jar

Eric Berne - Games People Play: The Psychology of Human Relationships
Edward Bond - Saved
J P Clark - America, Their America
Leonard Cohen - Flowers for Hitler
Dick Gregory/ Richard Lipsyte - Nigger: An Autobiography
Stuart Hall/ Paddy Whannel - The Popular Arts
John Lennon - In His Own Write
Ken Kesey - Sometimes a Great Notion
Timothy Leary/ Ralph Metzner - The Psychedelic Experience: A Manuel Based on the Tibetan Book of the Dead
Herbert Marcuse - One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society
Michael McClure - The Beard
Marshall McLuhan - Understanding Media: The Extensions of Man
Harold Pinter - The Homecoming
Idries Shah - The Sufis

Gypsy Boots/ Jerry Hopkins - Barefeet and Good Things to Eat
Lenny Bruce - How to Talk Dirty and Influence People
Eugene Burdick - The 480
Frank Herbert - Dune
Pauline Kael - I Lost It at the Movies
John Lennon - A Spaniard in the Works
John McPhee - A Sense of Where You Are
Ralph Nader - Unsafe at Any Speed: The Designed-In Dangers of the American Automobile
Gary Snyder - Six Sections From Mountains and Rivers Without End
Tom Wolfe - The Kandy-Kolored Tangerine-Flake Streamline Baby
Malcolm X/ Alex Haley - The Autobiography of Malcolm X

Kenneth Burke - Language as Symbolic Action
Truman Capote - In Cold Blood: A True Account of a Multiple Murder and Its Consequences
Leonard Cohen - Beautiful Losers
Tom Hayden/ Staughton Lynd - The Other Side
Daniel Keyes - Flowers for Algernon
William H Masters/ Virginia E Johnson - Human Sexual Response
Carl Sagan/ I S Shklovski - Intelligent Life in the Universe
Susan Sontag - Against Interpretation and Other Essays
Jacqueline Susann - Valley of the Dolls
Robert Venturi - Complexity and Contradiction in Architecture

Richard Brautigan - Trout Fishing in America
J William Fulbright - The Arrogance of Power
Tom Hayden - Rebellion in Newark: Official Violence and Ghetto Response
Marshall McLuhan/ Quentin Fiore - The Medium Is the Massage
Jonathan Schell - The Village of Ben Suc
Valerie Solanas - The SCUM Manifesto
Hunter S Thompson - Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs
Howard Zinn - Vietnam: The Logic of Withdrawl

Carlos Castaneda - The Teachings of Don Juan: A Yaqui Way of Knowledge
Eldridge Cleaver - Soul on Ice
Joan Didion - Slouching Towards Bethlehem
Ed Dorn - Gunslinger
Paul Ehrlich - The Population Bomb
Free [Abbie Hoffman] - Revolution for the Hell of It
Paulo Freire - Pedagogia do Oprimido
Saint Geraud [Bill Knott] - The Naomi Poems: Book One: Corpse and Beans
Staughton Lynd - The Intellectual Origins of American Radicalism
Norman Mailer - The Armies of the Night: History as a Novel/The Novel as History
N Scott Momaday - House Made of Dawn [Native American Renaissance]
Andrew Sarris - The American Cinema: Directors and Directions 1929-1968
Jonathan Schell - The Military Half
Gore Vidal - Myra Breckinridge
Erich Von Däniken - Chariots of the Gods? Unsolved Mysteries of the Past
Andy Warhol - a, A Novel
Leonard and Deborah Wolf - Voices From the Love Generation
Tom Wolfe - The Pump House Gang
Tom Wolfe - The Electric Kool-Aid Acid Test

Penelope Ashe - Naked Came the Stranger
H Rap Brown - Die Nigger Die!
James H Cone - Black Theology and Black Power
Brion Gysin - The Process
Thomas Anthony Harris - I'm O K, You're O K
Abbie Hoffman - Woodstock Nation: A Talk-Rock Album
J [Terry Garrity] - The Sensuous Woman
Ursula K Le Guin - The Left Hand of Darkness
Carlos Marighella - Minimanual do Guerrilheiro Urbano
Joe McGinnis - The Selling of the President 1968
Kate Millett - Sexual Politics
N Scott Momaday - The Way to Rainy Mountain
Gary Snyder - Four Changes
Kurt Vonnegut - Slaughterhouse-Five

James H Cone - A Black Theology of Liberation
Shulamith Firestone - The Dialectic of Sex: The Case for Feminist Revolution
Dario Fo - Accidental Death of an Anarchist
Stephen Gaskin - Monday Night Class
Lois Goul - Such Good Friends
Albert Hirschman - Exit, Voice, and Loyalty: Responses to Decline in Firms, Organizations, and States
Hal Lindsey and C C Carlson - The Late, Great Planet Earth
William H Masters/ Virginia E Johnson - Human Sexual Inadequacy
Don McNeill - Moving Through Here
Jerry Rubin - DO IT!: Scenarios of the Revolution
Lynn Schroeder/ Sheila Ostrander - Psychic Discoveries Behind the Iron Curtain
Eric Weber - How to Pick Up Girls!

Anonymous [Beatrice Sparks] - Go Ask Alice
Bob Dylan - Tarantula
Gustavo Gutiérrez - A Theology of Liberation: History, Politics, and Salvation
J [Terry Garrity, John Garrity, and Len Forman] - The Sensuous Man
Abbie Hoffman - Steal This Book
Ivan Illich - Deschooling Society
John McPhee - Encounters With the Archdruid
Michael Murphy - Golf in the Kingdom
William Powell - The Anarchist Cookbook
Colin Wilson - The Occult: A History

John Berger - Ways of Seeing
Alex Comfort - The Joy of Sex
David Halberstam - The Best and the Brightest
Ira Levin - The Stepford Wives
Donnella H Matthews, Dennis L Meadows, Jørgen Randers, and William W Behrens III - The Limits to Growth
Alix Kates Shulman - Memoirs of an Ex-Prom Queen
Hunter S Thompson - Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream

from the award-winning Macroscopic 2013 blog:

26 October 2013
Anthony Braxton's discography is one of the most complex of all modern music, even compared to similarly-prolific artists like Steve Lacy and John Zorn. A great deal of that complexity derives from his quasi-formalized approach to naming albums. Over the years, a tendency to name albums via the following format: ensemble defined by the number of musicians (city where the recording took place) year of recording, has become most prevalent, but certainly not the only approach. For those who want a broad overview of his output, applying this formula to all of his albums could be helpful. For now, here are the numerous solo and quartet albums, the proposed standardized title listed under the actual title.

album title
proposed title

For Alto
Solo (Chicago) 1969
[see Restructures for current consensus about the recording date of this album]

Recital Paris 1971
Solo (Paris) 1971

Saxophone Improvisations Series F
Solo (Paris) 1972

Solo: Live at Moers Festival
Solo (Moers) 1974

Solo (Köln) 1978
Solo (Cologne) 1978

Solo (Milano) 1979 Vol. 1
Solo (Milano) 1979 Vol. 2
Solo (Milan) 1979

Alto Saxophone Improvisations 1979
Solo (New York) 1978-1979

Solo (Pisa) 1982
Solo (Pisa) 1982

Composition 113
Solo (Stuttgart) 1983

Solo (London) 1988
Solo (London) 1988

19 (Solo) Compositions
Solo (Cambridge and San Francisco) 1988

Solo (Allentown) 1991 - Set 1
Solo (Allentown) 1991 - Set 2
Solo (Allentown) 1991

Wesleyan (12 Alto Solos) 1992
Solo (Middletown) 1992

Solo (NYC) 2002
Solo (New York) 2002

Willisau Solo
Solo (Willisau) 2003

Solo Live at Gasthof Heidelberg Loppem 2005
Solo (Loppem) 2005

Anthony Braxton [sometimes this album's title is presented as the title of one of the album's featured compositions; that composition's title actually being a work of visual art, like all of Braxton's titles, some being simple diagrams, others incorporating photographs, with a host of variations in-between; as such, this unfortunate de facto album title actually derives from an incompete rendering of the title of the work in question (Composition No. 6 G, as it should be inscribed as text), and a simple eponymous album title is preferable—ignoring for now the fact that this particular ensemble was collectivist in nature, later using the name, the Creative Construction Company, for a 1970 performance documented on two L P's released under that name, and that the other two tracks on the album, 'The Light on the Delta' and 'Simple Like' are compositions by Leo Smith and Leroy Jenkins, respectively]
Quartet (Paris) 1969

This Time...
Quartet (Paris) 1970

Dona Lee
Quartet (Paris) 1972

Four Compositions (1973)
Quartet (Tokyo) 1973

Live at the Moers Festival
Quartet (Moers) 1974

In the Tradition, Volume 1
In the Tradition, Volume 2
Quartet (Copenhagen) 1974

Five Pieces 1975
Quartet (New York) 1975

Dortmund (Quartet) 1976
Quartet (Dortmund) 1976

Peformance 9/1/79
Quartet (Willisau) 1979

Seven Compositions 1978
Quartet (Paris) 1979

Six Compositions: Quartet
Quartet (New York) 1981

Four Compositions (Quartet) 1983
Quaret (Milan) 1983

Six Compositions (Quartet) 1984
Quartet (New York) 1984

Prag 1984 Quartet Performance
Quartet (Prague) 1984

Quartet (London) 1985
Quartet (London) 1985

Quartet (Birmingham) 1985
Quartet (Birmingham) 1985

Quartet (Coventry) 1985
Quartet (Coventry) 1985

Five Compositions (Quartet) 1986
Quartet (Milan) 1986

Six Monk's Compositions (1987)
Quartet (Milan) 1987

Willisau (Quartet) 1991
Quartet (Willisau) 1991

Quartet (Victoriasville) 1992
Quartet (Victoriaville) 1992

9 Standards (Quartet) 1993
Quartet (Middletown) 1993

Twelve Compositions: Live at Yoshi’s, July 1993
Quartet (Oakland) 1993

Santa Cruz (Quartet) 1993
Quartet (Santa Cruz) 1993

Piano Quartet – Yoshi's 1994
Quartet (Oakland) 1994

Knitting Factory (Piano/ Quartet) 1994, Vol. 1
Knitting Factory (Piano/ Quartet) 1994, Vol. 2
Quartet (New York) 1994

Four Compositions (Quartet) 1995
Quartet (Middletown) 1995

Four Compositions (G T M) 2000
Quartet (Middletown) 2000

23 Standards (Quartet) 2003
20 Standards (Quartet) 2003
19 Standards (Quartet) 2003
Quartet (Antwerp, Bergamo, Brussels, Seville, Paris, Nevers, Ghent, Amsterdam, Verona, Rome, Lisbon, and Giumaraes) 2003

Quartet (G T M) 2006
Quartet (Middletown) 2005

Quartet (Moscow) 2008
Quartet (Moscow) 2008

Quartet (Mestre) 2008
Quartet (Mestre) 2008

from the award-winning Macroscopic 2013 blog: [updated]

29 October
Amid all the talk of a current golden age of television, which, if we're to date it by the premieres of shows, reached a peak in the years, 2005-10 (Mad Men, Breaking Bad, The Walking Dead; The Colbert Report; It's Always Sunny in Philadelphia, Louie, Eastbound and Down), another golden age, roughly spanning the years 1986-93, gets short shrift. Of course, given that such a large number of Americans have grown obsessed with televisual entertainment—internet, cable, what-have-you—if those same individuals granted past classics (say, The Fugitive, The Monkees, The Bob Newhart Show, Hill Street Blues) the same kind of obsessive watching granted the crappy shows of this recent era (Dexter, Modern Family) they'd decide television is one giant golden specter rightly taking its place as the godhead of our computer age. Perhaps they won't. So let's review the programs that truly paved the way for the current post-Big Three era.

[It's Garry Shandling's Show, 1986-90, Showtime, Fox]
Pee-Wee's Playhouse, 1986-91, C B S
Star Trek: The Next Gernation, 1987-94, syndicated
Kids in the Hall, 1988-95, C B C, H B O, and C B S
China Beach, 1988-91, A B C
Roseanne, 1988-97, A B C
The Adventures of Pete and Pete, 1989-96, Nickelodeon
Cops, 1989-present, Fox, Spike
The Simpsons, 1989- present, Fox
Seinfeld, 1990-98, N B C [The pilot for Seinfeld, actually called The Seinfeld Chronicles, aired in 1989 and tends to be counted as a Seinfeld episode, annoyingly ignoring several continuity issues.]
Twin Peaks, 1990-91, A B C
The Larry Sanders Show, 1992-98, H B O
Homicide: Life on the Street, 1993-99, N B C
The X-Files, 1993-2002, Fox
Politically Incorrect, 1993-2002, Comedy Central, A B C

[It's Garry Shandling's Show, which I inexplicably left off the original post despite loving it when I was a kid [on second thought, I suppose that I considered it to be an "Eighties" show, but given that some of these programs left the air in 1991, we can include both of Shandling's programs], is, as far as I'm concerned, still ahead of its time, our time, your time—whenever. The lead character breaks the fourth wall, yes, but so much more is going on than that. To some extent, the mysterious nature of this show's fictional world is due to what the creators of the show did not explain.]

So what makes these shows so significant? We can obviously say that Curb Your Enthusiasm would've never existed if not for Seinfeld. Moreover, Seinfeld's influence on Arrested Development, It's Always Sunny in Philadelphia, and Louie is not only obvious, but, more tellingly, manifests itself in many ways.

Politically Incorrect's serious but humorous take on topical and political issues paved the way for the Daily Show's take on Saturday Night Live's 'Weekend Update' skits: not just the most obvious of jokes (and Jon Stewart, with his excessive reliance on facial gestures and yelling, is more predictable than most admit), but also pointed commentary and at least signs pointing viewers to where they could get insightful analysis.

The Simpsons obviously led to Family Guy (hardly something to be proud of) but its anti-realist, awkward, over-loaded use of references, obscure or not, in the the characters' dialogue was directly copied by 30 Rock and a host of other shows.

Cops is a pioneering "reality" show—and, to date, the only relevant one.

Since all of the late-night talk shows, besides The Daily Show and The Colbert Report, follow the Tonight Show Starring Johnny Carson set-up, The Larry Sanders Show warrants more serious consideration. David Letterman, Conan O'Brien, and Jimmy Kimmel already offer quite a "meta" approach to the genre, so why not go all the way? (The Colbert Report in its host being a quasi-fictional character, expands upon the 'Weekend Update' template in a way more impressive aesthetically and certainly more significant to the history of comedy than The Daily Show).

As for television drama series being more cinematic in scope and technique, China Beach, Twin Peaks, The X-Files, and Homicide, despite difficulties experienced in maintaining a consistent level of quality amid commercial pressures, clearly gave young filmmakers a sign that television was no longer merely crowded with the second-rate. And of course there's the Homicide-Wire connection.

Network television, with the exception of P B S, went into a tailspin decline in the later half of the '90's and the early Aughts. H B O (Mr. Show, The Sopranos, The Wire), Comedy Central (South Park, Strangers With Candy), and others (Ricky Gervais, Adult Swim) picked up the slack. Of shows premiering in the years, 1994-2004, three of them (South Park, The Wire, and Arrested Development) have arguably had a greater influence than the current "golden age" programs, so historically what's really happening here? A lot of talented, but not brilliant, copycats?

----a list of Collectivist music ensembles,
the term defined by yours truly in the essay 'The A A C M and the (Aural) Arts After Jazz',
specifically the fifth section, 'A History of Musical Collectivism'----

Alarm Will Sound
Art Ensemble of Chicago

Bang on a Can
Bow Gamelan Ensemble
Burning Star Core


Dead C
Double Leopards

Either/ Orchestra
Ethnic Heritage Ensemble
Experimental Audio Research

Gentle Fire
Group Ongaku
Gruppo di Improvvisazione Nuova Consonanza

Hafler Trio
Human Arts Ensemble

Iskra 1903

Jackie-O Motherfucker
Just Music

Kemialliset Ystävät

League of Automatic Music Composers

Marginal Consort
Musica Elettronica Viva
Music Improvisation Company
My Cat Is an Alien

New Phonic Art
Nihilist Spasm Band
Noise-Maker's Fifes
No-Neck Blues Band
No Noise Reduction
Nurse With Wound
Michael Nyman Group


People Band

Revolutionary Ensemble
ROVA Saxophone Quartet

Scratch Orchestra
Shalabi Effect
Son of Earth-Flesh on Bone Trio
Sonic Arts Union
Space Between
Spontaneous Music Ensemble
Karlheinz Stockhausen Group

Taj Mahal Travellers
Third Ear Band
T V Pow

Vibracathedral Orchestra
Voice Crack

Wired [Karl-Heinz Bóttner; Mike Lewis; Michael Ranta]
Free Improvisation - 1974 - split triple L P with New Phonic Art and Iskra 1903; Wired's eponymous, and only, L P is the third of three
Wolf Eyes
World Saxophone Quartet

Zoviet France


Warning! The sites linked-to in these posts may convince our readers to accept the mistaken notion that the Worldwide Web is not a complete waste of time that has destroyed civilization as we know it, in stark contrast to the sublime glory of The World's Wide Web.

from the award-winning Macroscopic 2013 blog:

16 October
Another long-standing bastion of the "Web 1.0" era that I'd forgotten about until just now: The Victorian Web. I sometimes work grading writing assessments given to students throughout Georgia; recently a student misspelled valedictorian as valid victorian. Perhaps this site could be used as a standard for interconnectivity within a web site (as they put it in their explanation of why the site's different from search engines as well as archives like Project Gutenberg: "images and documents, including entire books, as nodes in a network of complex connections") so that in the future we'll call a similarly-impressive site a "valid victorian."


Warning! The sites linked-to in these posts may convince our readers to accept the mistaken notion that the Worldwide Web is not a complete waste of time that has destroyed civilization as we know it, in stark contrast to the sublime glory of The World's Wide Web.

from the award-winning Macroscopic 2013 blog:

14 October
D V D Beaver, besides links to the Amazon pages for many Blu-Ray and D V D releases, offers short reviews of each disc's digital transfer, often comparing different releases. Those comparisons include side-by-side screenshots and technical specs. Truly a remarkable resource.

from the award-winning Macroscopic 2013 blog:

7 October
Playlists, a former phrase actually warranting its new non-hyphenated status, in this age of D J's and the M P 3 likely shape our listening experiences and our understanding of music to a greater extent than sequences of album tracks as determined by artists, producers, etc. The tendency with playlists has been toward personalized lists: tracks reflecting a theme, a state of mind, or a set of experiences.

I want nothing to do with this. Granted, especially when I'm listening to music requiring closer, focused listening (Free Jazz, modern Classical, experimental, what have you), a compilation of tracks sometimes helps me stay more interested than when listening to whole albums. But, for popular music, I listen to whole albums. In other words, I never listened to much radio--even when I D J'ed at a college radio station! I prefer thinking of albums, not tracks, as the entities constituting a listening experience. Undoubtedly, though, compilations can be useful (or essential, in the case of artists who never made much in the way of albums), and even fun. For example, the Streetsounds comps of the 1980's, thankfully digitized by a certain Omar Hash, whose site unfortunately seems to be on hiatus, if not defunct.

Also, occasionally, when pondering the deficiencies of most "greatest hits" compilations, I can't help but think of my own versions. The problem with those comps is that often only offer hits, or album tracks that could've been singles. Superior album tracks that the casual listener might find weird or annoying are ignored. I developed my own "greatest hits" for The Doors, divided into four L P sides, when listening to all of their albums last year--namely, the 2007 remasters that in some cases featured new mixes of the tracks. Whether the tracks were released as singles does not factor. That said, I want the playlist to cover their entire recording output, serving as a sort of musical history of the band. I've also been tweaking a longer Neil Young playlist that I'll post later this week.

Break on Through
People Are Strange
Love Me Two Times
Light My Fire
The Crystal Ship
Alabama Song
Spanish Caravan
Unknown Soldier
Five to One
L A Women
Roadhouse Blues
Waiting for the Sun
Touch Me
Hello, I Love You
Strange Days
Riders on the Storm
My Wild Love
The End

from the award-winning Macroscopic 2013 blog:

10 October
Neil Young's "Greatest Hits (Through 1980)"--indeed, the exclusion of 'Mr. Soul', 'Expecting to Fly', 'The Old Laughing Lady', 'Down by the River', 'Cowgirl in the Sand', 'Southern Man', 'Heart of Gold', 'Cortez the Killer', 'Long May You Run', 'Will to Love', and 'Look Out for My Love' is no accident. I just wanted to limit this to a double album. I like the idea of bonus seven-inch's with the versions of 'A Man Needs a Maid' and 'Don't Let It Get You Down' from the Live at Massey album on one, and the original recordings of two songs, 'White Line' and 'Hold Back the Tears' (from the legendary lost albums Homegrown and Chrome Dreams, respectively, both re-recorded in significantly-different versions for the albums Ragged Glory and American Stars 'n' Bars, respectively), on the other; and maybe, hidden C D tracks of the Rolling Stones's 'Lady Jane' and Carole King's 'He's a Bad Boy' just for a laugh.

Old Man
I Believe in You
World on a String
Only Love Can Break Your Heart
Borrowed Tune
Walk On
After the Gold Rush
Don't Be Denied
Tonight's the Night
Like a Hurricane
Hey Hey, My My (Out of the Blue)
Pardon My Heart
Don't Cry No Tears
Out on the Weekend
Cinnamon Girl
See the Sky About to Rain
On the Beach

from the award-winning Macroscopic 2013 blog:

29 December
Morrissey's oeuvre, including that with The Smiths, has been poorly presented in reissues at least since his second singles compilation, World of Morrissey [1995]. Things started alright: the first solo-Morrissey compilation, Bona Drag [1990], includes most of the tracks only available on singles released prior to its release, excluding 'I Know Very Well How I Got My Name', 'Oh Well I'll Never Learn', 'Sister I'm a Poet'; 'Michael's Bones', 'East West', 'Girl Least Likely To', 'Get Off the Stage', and 'At Amber'; four of these tracks ('Poet', 'Bones', 'Girl', and Amber') were included on the third singles compilation, My Early Burglary Years [1998]. Morrissey's discography soon enough got more complicated; the jumbled World and Burglary compilations reflect that sad state of affairs, as do the re-sequenced versions of Kill Uncle, Southpaw Grammar, and Maladjusted released in recent years. We only hope that a sequel to The H M V/ Parlophone Singles '88-'95, covering his recent years more thoroughly than the fourth singles compilation, Swords [2009] (which, granted, is at least comparable to Bona Drag in focusing on a particular period: namely, the Sanctuary comeback), surfaces at some point. However, that three-disc Singles box should not only expand to include the Maladjusted singles of 1997. It also ideally would have the few U S-exclusive singles that unfortunately were excluded, so that 'Let the Right One Slip In', the alternate U S versions of 'My Love Life', 'I've Changed My Plea to Guilty', and 'Tomorrow', and two of the three At KROQ tracks find their rightful place. The discography at the exemplary fan site, Morrissey-Solo, can clarify all these matters.

As for the Smiths, the Complete boxed set, which should be called Nearly Complete, finally gave us proper, but not great, digital remasters (in other words, it should've come out around 1995, and by this point we should've had even-better remasters; while you can hear the details of Johnny Marr's many overdubbed guitars more than before, they could definitely be coming in clearer). The greatest problem with the Complete set, though, is that other B B C recordings were not included. Ideally, we would've had a deluxe version of Hatful of Hollow, featuring the rest of the Peel-session tracks from 1983 and the other non-album tracks from the years, 1983-4 (namely, the live version of 'Handsome Devil' that served as 'Hand in Glove''s B side; 'Jeane'; and 'Wonderful Woman'; also, the 'This Charmless Man' remixes and 7-inch edits of several of the singles could be dumped in as bonus tracks). Since Morrissey seems to enjoy re-sequencing albums, perhaps he could re-order Hatful into these two halves. And of course, The World Won't Listen/ Louder Than Bombs needs its own reshuffling: more 7-inch edits, the Strangeways singles, and a few other stray tracks.

The Complete set annoys for another reason: while keeping the original, British nine-track sequence of Meat Is Murder (not the U S version with 'How Soon Is Now?' added), it uses the U S sequence of the debut album, with 'This Charming Man' added to the original ten tracks [it has since been pointed out to me that, on cassette, the U K edition of the album did include 'This Charming Man']. This choice was made, of course, because without that 'Charming' bonus, the set would not have one of the band's legendary songs; the version of 'Charming' on Hatful is a B B C recording. In short, because the compilers didn't include the tracks from singles not on Hatful, The World Won't Listen, or Louder Than Bombs, they had to take an inconsistent approach to the studio albums as well. These are all minor matters, of course, but they attest to the importance of definitive compilation and archival releases, sequenced and presented clearly--a task that even labels dedicated to reissues (Rhino, Rhino, Rhino) have difficulty with.

Here's my own (longish) single L P of Morrissey essential tracks from the first phase of his solo career (that is, through 1997). No Southpaw Grammar or Maladjusted tracks make the cut, though 'Reader Meet Author' from the former came close ('Southpaw' is a great song, but the extended instrumental passage that ends the track is a bore—tastes like meatloaf leftovers of U 2 demos). The live version of 'Jack the Ripper' from Beethoven Was Deaf (also included on both World of Morrissey and My Early Burglary Years) is included, not the inferior studio original.

Glamorous Glue
Certain People I Know
The More You Ignore Me, the Closer I Get
Interesting Drug
The Last of the Famous International Playboys
Sing Your Life
Everyday Is Like Sunday
Jack the Ripper
Late Night, Maudlin Street
Such a Little Thing Makes a Big Difference
I Know Very Well How I Got My Name
Billy Budd
The National Front Disco

from the award-winning Macroscopic 2013 blog:

30 December:
Several of the Lou Reed "greatest hits" albums over the years have included Velvet Underground tracks; several more, though confined to the solo years, include later live versions of V U songs. In either case, they do not successfully blend the Velvet tracks with the solo-Reed material. The difference in recording fidelity between the two is quite stark. And given how legendary the V U have become, Reed's solo work inevitably seems ordinary. It isn't of course--but, placed next to the experimentation and sonic extremes of the V U recordings, Reed's extraordinary literary contributions to the art of song are overshadowed. Moreover, the entirety of Berlin and Metal Machine Music are essential, the latter obviously distinct and not suited for a compilation anyway; much of Transformer is essential as well. And, in the last decade or so of his career, Reed stopped making Rock albums. After Ecstasy [2000], only The Raven and Lulu, both conceived as singular works, featured Lou's vocals. Instead, he returned to the noise/ experimentation of Metal Machine Music and some of the V U recordings (participating in Zeitkratzer's version of Machine, forming and recording a live album with the Metal Machine Trio, and recording a live album with Laurie Anderson and John Zorn) and did an ambient album. Thus, my compilation of Lou Reed tracks, 1975-2000, his years as a Rock singer-songwriter, sequenced like a double L P (no tracks from The Bells, a disaster that should've been great--Don Cherry's on there, for Christ's sake--Street Hassle is too for the most part, the titular track placed here because omitting it would mean this imaginary compilation fails to convey what awaits the listener upon exploring those two albums; New Sensations and Set the Twilight Reeling, fine albums but with no essential tracks; and Rock and Roll Heart and Mistrial, both universally considered subpar):

My House, from The Blue Mask [1982]
Power and Glory, from Magic and Loss [1992]
Legendary Hearts, from Legendary Hearts [1983]
Think It Over, from Growing Up in Public [1980]
She's My Best Friend, from Coney Island Baby [1975]
Dirty Blvd., from New York [1989]
Halloween Parade, from New York [1989]
The Gun, from The Blue Mask [1982]
Rock Minuet, from Ecstasy [2000]
Coney Island Baby, from Coney Island Baby [1975]
Street Hassle, from Street Hassle [1978]
The Blue Mask, from The Blue Mask [1982]
Magic and Loss, from Magic and Loss [1992]
Ecstasy, from Ecstasy [2000]
Waves of Fear, from The Blue Mask [1982]
Home of the Brave, from Legendary Hearts [1983]

So, what if this double L P were matched with a compilation of V U and early Reed-solo material? I see no reason for anyone not to listen to the entirety of both The Velvet Underground and Nico and Berlin, but here's what I'd include for a double album to cover the rest of the V U (no tracks from Lou Reed [1972] or Sally Can't Dance [1974]):

Rock and Roll
What Goes On
Perfect Day
Candy Says
Sweet Jane [full version, first released on Peel Slowly and See boxed set]
I Can't Stand It
White Light/ White Heat
Sister Ray
Some Kinda Love
Satellite of Love [Transformer version]
Walk on the Wild Side
Pale Blue Eyes
Ocean [1970 version, from Peel Slowly and See]
Lisa Says
I Heard Her Call My Name
Here She Comes Now
Beginning to See the Light
The Gift (mono version, to avoid the annoying split with John Cale's vocal alone in the left channel)--or, if you're more inclined toward the band's rocking side, replace The Gift with Head Held High and New Age, but only the "full-length" version of the latter.

from the award-winning Macroscopic 2013 blog:

8 October
Earth's Angels of Darkness, Demons of Light, with both parts I [2011] and II [2012] considered together, is one of several double or triple L P epics that define the last few years of popular music, including:

The Flaming Lips - Embryonic. Developed and sequenced as both a double C D and L P, but more widely made available as a single C D, since the two halves fit on a single disc.

Oneida - Rated O. Both a triple C D and L P, so no surprises if listening to the L P version.

Excepter - Presidence. Two C D's, no L P version. If there had been, two of the tracks, 'Presidence' and 'Og', would have been split into two sides, as they're both around a half-hour long; in general, the album's a mess by their standards; the tracks collectively titled 'Teleportation', also totaling around a half hour, would've made for an excellent single L P; another L P could've consisted of 'The Open Well' on one side with 'Leng' and 'The Anti-Noah' on another.

Joanna Newsom - Have One on Me. Triple C D and L P, same set-up as Rated O--the C D's aren't long enough to cause sequencing problems for the L P's.

Kate Bush - 50 Words for Snow. Single C D, double L P; side A's too long and B's too short, but overall it's sequence of tracks works well in both formats.

Lou Reed/ Metallica - Lulu. Double C D and double L P; sequence works fine for both formats.

Swans - The Seer. Different sequence of tracks for the triple L P and the double C D. The Discogs entries give you the lowdown.

Scott Walker - Bish Bosch. Single C D and double L P. Sequence fits L P version perfectly.

Neil Young - Psychedelic Pill. Double C D and five-sided "sesquialbum" [see below], same sequence.

The Invisible Hands - The Invisible Hands. Double L P, the same songs by Alan Bishop, formerly of Sun City Girls, recorded twice with a Cairo-based band, once in English, once in Arabic. C D version only contains English-language versions.

The Knife - Shaking the Habitual. Double C D and triple L P, same sequence; the L P sides are awfully short--a good example of not ruining the sound quality of the L P with narrow grooves [see below].

Since the C D supplanted the cassette and L P around 1990, albums have generally been too long. A positive side effect, though, is that those artists who give more thought to issues of sequencing, and have understood the need to avoid unnecessarily-long albums, challenge themselves by making more double and triple L P's. Then again, artists realizing they have on their hands an album that works best being 50-60 minutes long can accept an impractical, but audiophile, solution: refuse to stretch the length of L P sides, instead putting out a short double L P or a 3-sided L P.

Some double L P's you may not have known were doubles, or certainly are not commonly referred to as doubles (in some cases with short sides or bonus tracks to make the sides not so short):
Sonic Youth - Dirty
Frank Black - Teenager of the Year
The Verve - A Northern Soul
Radiohead - O K Computer
The Flaming Lips - The Soft Bulletin
Bob Dylan - "Love and Theft"
The Knife - Silent Shout
Panda Bear - Person Pitch
Animal Collective - Feels; Strawberry Jam; Merriweather Post Pavilion

Taking a broader historical perspective now, some 3-sided L P's (besides both of the Angels of Darkness, Demons of Light albums)--and no, this category doesn't include L P's with a bonus seven-inch, such as Pavement's Crooked Rain, Crooked Rain, or double L P's with such, like Stevie Wonder's Songs in the Key of Life):
Johnny Winter - Second Winter
Keith Jarrett - Eye of the Heart
Joe Jackson - Big World
Julian Cope - Jehovahkill
Thurston Moore - Psychic Hearts
Pavement - Wowee Zowee
Built to Spill - Perfect From Now On
Of Montreal - The Sunlandic Twins (third side referred to as an E P, but it is not: an E P would have the five tracks spread across two 45-R P M sides, instead of all five on a single 33-and-1/3-R P M side)

The Wikipedia section on sesquialbums notes the Norwegian band Motorpsycho, the true stars in this realm with two three-sided L P's and one five-sided. Besides Neil Young (noted above), The Mars Volta also have a five-sided album, Frances the Mute.

from the award-winning Macroscopic 2013 blog:

28 May
The method I've developed of splitting an artist's lists of albums into smaller lists, thus offering a clearer representation of the artist's work, takes the following form:

Major albums
Concert albums
Minor albums

Major albums consist almost entirely of previously-unreleased material, not recorded in a concert. "Live album," as a descriptive term, simply does not work; plenty of albums, especially in Jazz music, are essentially recorded live in the studio; audiophile "direct-to-disc" recordings assure the consumer of such recording conditions. A studio album might even be recorded live in front of audience, e.g. Tom Waits' Nighthawks of the Diner, which Wikipedia for one claims is a live album. Performance is a word even vaguer than live; certain philosophers would have us say that, every time we press play or lower a stylus, we're performing the music. Either way, "concert album" works better to indicate what most of us think of as live albums: recordings made at a concert--simple, right?

Minor albums are the kind of albums often erroneously referred to as compilations: say, a collection of B B C recordings, or studio out-takes. They are certainly not major releases backed by significant promotional effort. One could argue that they're compilations in that they compile recordings made over the course of several years, often for varying reasons. However, I'd argue that overall compilation, as a term in the music trade, has referred to collections of previously-released material.

30 May
An example of an artist's albums divided among major, concert, minor, and compilation: the "Progressive" Rock band Yes. Their discography presents plenty of challenges. Keys to Ascension and Keys to Ascension 2 both feature a mix of concert and studio recordings, a common-enough phenomenon, but with no easy solution in this categorization scheme. Since more of the tracks on both albums are "live" (with studio overdubs) than studio, I place them into the concert-album category. Another solution would have them put in the minor-albums category.

Those albums also bring us to the oft-confusing realm of video releases; commercially-successful artists tend to have numerous, in some cases semi-legitimate, video products (as seen with the Neil Young post of 18 April). Ideally, they are part of a larger project (that is, the tracks overlap in the case of live recordings or promotional clips) as with the Keys to Ascension video; Yessongs, released two years after the album of the same name; House of Yes; Live at Montreux 2003; and Union Live. However, some of these releases completely overlap; in other words, the C D release is more or less the audio portion of the video. Of course, often in such cases the C D is edited slightly, to make for a better listening experience (for example, Unplugged releases available in both formats). Nonetheless, the separate audio disc seems redundant.

For now, I've omitted the official documentary, Yesspeak, and its companion Director's Cut disc that features additional live footage, although the latter would count as a concert album. As an official release, should Yesspeak just go into the major-albums category? Or does it suggest the need to keep video releases separate? That way, other documentaries, especially semi-legit releases, could find a place.

Also, not all compilations have been listed.

major albums:
Time and a Word
The Yes Album
Close to the Edge
Tales From Topographic Oceans
Going for the One
Big Generator
[Anderson Bruford Wakeman Howe] Anderson Bruford Wakeman Howe
Open Your Eyes
The Ladder
Fly From Here

minor albums:
[Steve Howe/ Bill Brufrod/ Jon Anderson/ The London Philharmonic Orchestra/ The English Chamber Orchestra/ The London Community Gospel Choir] Symphonic Music of Yes
Something's Coming: The B B C Recordings 1969-1970

concert albums:
Yessongs [video]
9012Live: The Solos
Yes: Live - 1975 at Q P R
Live in Philadelphia
Keys to Ascension
Keys to Ascension [video]
Keys to Ascension 2
House of Yes: Live From the House of Blues
House of Yes: Live From the House of Blues [video]
Symphonic Live [video]
Symphonic Live
Yes Acoustic: Guaranteed No Hiss
Songs From Tsongas
The Word Is Live
Live at Montreux 2003
Union Live
Union Live [video; released in Japan, 1991]
Union Live [bonus disc]
In the Present: Live From Lyon

Classic Yes
Yesyears [video]
Greatest Video Hits
In a Word: Yes (1969 - )
The Ultimate Yes: 35th Anniversary Collection

Presented here are selections of Twentieth-Century verity works by authors not found (so far, at least) in the 47 lists compiled and collated at Greater Books, as well as additional works by authors included in the Greater Books master list, but for whom those included works arguably are unrepresentative.

Nearly all "great books" lists, canons, reading plans, etc., emphasize fiction—thus the many non-fiction works of the century past that one might expect to find in such lists, but don’t.

The Twentieth-Century verity found in the Greater Books master list, unfortunately quite random, is included here too, to allow for easier comparison; they are the italicized items. Of these works, those that I would include in this list if they weren’t already listed (that is, those that seem to be more significant) are not crossed out.

For those works not written in English, the original title may not be available (most likely, rather, a transliterated version of the title that corresponds to other transliteration systems used at Greater Books is not available); on the other hand, if the work has not been translated, only the original title is provided. Bibliographical notes are not always provided.

David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World, 1996

M H Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition, 1953

Henry Adams, Mont-Saint-Michel and Chartres, 1913; The Education of Henry Adams, 1918

Mortimer J Adler, The Great Ideas: A Syntopicon of Great Books of the Western World, volumes 2 and 3 of The Great Books of the Western World, 1952, revised 1990 as volume 1 of the revised Great Books of the Western World, retitled Syntopicon: An Index to the Great Ideas

Theodor Adorno, Minima Moralia: Reflexionen aus dem Beschädigten Leben (Minima Moralia: Reflections From Damaged Life), 1951; Asthetische Theoriem (Aesthetic Theory), 1970; Adorno and Max Horkheimer, Dialektik der Aufklärung (Dialectic of Enlightenment), 1944, revised 1947; Adorno, Else Frenkel-Brunswik, Daniel Levinson, and Nevitt Sandford, The Authoritarian Personality, 1950

James Agee, Let Us Now Praise Famous Men, 1941

Christopher Alexander, Sara Ishikama, Murray Silverstein, Max Jacobson, Ingrid Fiksdahl-King, and Shlomo Angel, A Pattern Language: Towns, Buildings, Construction, 1977

Frederick Lewis Allen, Only Yesterday: An Informal History of the 1920s, 1931

Walter Alvarez, T.rex and the Crater of Doom, 1997

Margot Anand, The Art of Sexual Ecstasy, 1989

Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, 1983

Perry Anderson, Passages From Antiquity to Feudalism, 1974; Lineages of the Absolutist State, 1974; The Origins of Postmodernity, 1998

Maya Angelou, I Know Why the Caged Bird Sings, 1969; All God’s Children Need Traveling Shoes, 1986

Gloria Anzaldua, Borderlands/ La Frontera: The New Mestiza, 1987

Hannah Arendt, The Origins of Totalitarianism, originally entitled The Burden of Our Times, published 1951; The Human Condition, 1958; Eichmann in Jerusalem: A Report on the Banality of Evil, originally published in the New Yorker, 1963, expanded 1965; 'Personal Responsibility Under Dictatorship'—edited 1964 lecture originally published in the Listener, Aug. 1964, included in Responsibility and Judgment

Karen Armstrong, A History of God: The 4,000-Year Quest of Judaism, Christianity and Islam, 1993

Giovanni Arrighi, The Long Twentieth Century: Money, Power, and the Origins of Our Times, 1994

Jacques Attali, Bruits: Essai sur l'Économie Politique de la Musique (Noise: The Political Economy of Music), 1977

W H Auden, The Enchafèd Flood: or, The Romantic Iconography of the Sea, 1950—edited 1949 lectures; The Dyer’s Hand and Other Essays, 1962

Erich Auerbach, Mimesis: Dargestellte Wirklichkeit in der Abendländischen Literatur (Mimesis: The Representation of Reality in Western Literature), 1946, expanded 1959; Literatursprache und Publikum in der Lateinischen Spätantike und im Mittelalte (Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages), 1958

Sri Aurobindo, The Life Divine, originally published serially in Arya, Aug. 1914-Jan. 1919—revised for publication in book form in two volumes, 1939 and 1940; Savitri: A Legend and a Symbol, published in part serially in the Sri Aurobindo Mandir Annual, Advent, and the Sri Aurobindo Circle Annual, and as fascicles—in its entirety in two volumes, 1950 and 1951

Mikhail Bakhtin, Rabelais and His World, 1965, written 1930’s-40’s; The Dialogic Imagination, 1975—essays previously published, 1934–41

James Baldwin, The Fire Next Time, originally published as 'Letter From a Region in My Mind', in the Progressive, Dec. 1962, and 'Down at the Cross', in the New Yorker, Nov. 1963; No Name in the Street, 1972; The Devil Finds Work, 1972

Harry Elmer Barnes, A History of Historical Writing, 1938

Karl Barth, Das Word Gottes und Die Theologie (The Word of God and The Word of Man), 1928

Georges Bataille, La Part Maudite (The Accursed Share), 1949, revised 1967; L’Erotisme (Erotism), 1957

Jean Baudrillard, Simulacres et Simulation, 1981; The Gulf War Did Not Take Place, originally published serially Jan.-Mar. 1991 in Libération

André Bazin, Qu’est-ce que le Cinéma?, essays originally published 1958–62

Charles and Mary Beard, The Rise of American Civilization, 1927

Simone de Beauvoir, Le Deuxième Sexe (The Second Sex), published in part serially in Les Temps Modernes, in its entirety in two volumes, 1949

Charlotte Joko Beck, Everyday Zen: Love and Work, 1989

Carl L Becker, The Heavenly City of the Eighteenth-Century Philosophers, 1932; 'Everyman His Own Historian', originally published in the American Historical Review, 1935—edited 1931 lecture

Daniel Bell, The End of Ideology: On the Exhaustion of Political Ideas in the Fifties, 1960; The Coming of Post-Industrial Society: A Venture in Social Forecasting, 1973; The Cultural Contradictions of Capitalism, 1976

Walter Benjamin, 'Das Kunstwerk im Zeitalter Seiner Technischen Reproduzierbarkeit' ('The Work of Art in the Age of Mechanical Reproduction')—French translation published in Zeitschrift für Sozialforschung, 1936—German original published in Schriften, 1955

Bernard Berenson, The Italian Painters of the Renaissance, 1930, published in part as The Venetian Painters of the Renaissance (co-written with Mary Berenson), 1894, The Florentine Painters of the Renaissance, 1896, The Central Italian Painters of the Renaissance, 1897, and North Italian Painters of the Renaissance, 1907

John Berger, Ways of Seeing, 1972

Isaiah Berlin, The Hedgehog and the Fox: An Essay on Tolstoy’s View of History, 1953; Two Concepts of Liberty, 1958—edited lecture

Marshall Berman, All That Is Solid Melts Into Air, 1982

Henri Bergson, Essai sur les Données Immédiates de la Conscience (Time and Free Will: An Essay on the Immediate Data of Consciousness), 1889; Matière et Mémoire (Matter and Memory), 1896; Introduction à la Métaphysique (Introduction to Metaphysics), originally published in Revue de Métaphysique et de Morale, 1903; L'Evolution Créatrice (Creative Evolution), 1907; Les Deux Sources de la Morale et de la Religion (The Two Sources of Morality and Religion), 1932

Robin Blackburn, The Overthrow of Colonial Slavery, 1776–1848, 1988; The Making of New World Slavery: From the Baroque to the Modern, 1492–1800, 1997; American Crucible: Slavery, Emancipation and Human Rights, 2011

Ernst Bloch, Das Prinzip Hoffnung (The Principle of Hope), originally published in three volumes, 1954, 1955, and 1959

Marc Bloch, La Société Féodale (Feudal Society), originally published in two volumes, 1939 and 1940; Apologie pour l’Histoire ou Métier d’Historien (The Historian’s Craft), 1949

Hans Blumenberg, Die Legitimität der Neuzeit, 1966

Franz Boas, The Mind of Primitive Man, 1911, revised 1938; Primitive Art, 1927

Gustav le Bon, Psychologie des Foules (The Crowd: A Study of the Popular Mind), 1895

Paul Boyer and Stephen Nissenbaum, Salem Possessed: The Social Origins of Witchcraft, 1974

Pierre Bourdieu, La Distinction (Distinction: A Social Critique of the Judgement of Taste), 1979

Maurice Bowra, Primitive Song, 1962

Fernand Braudel, La Méditerranée et le Monde Méditerranéen á l'Epoque de Philippe II (The Mediterranean and the Mediterranean World in the Age of Philip II), 1949

James Henry Breasted, The Conquest of Civilization, 1926

Marie Brenner, 'The Man Who Knew Too Much', originally published May 1996 in Vanity Fair

Percy Williams Bridgman, The Logic of Modern Physics, 1927

John Brockman, The Third Culture: Beyond the Scientific Revolution, 1995

Dee Brown, Bury My Heart at Wounded Knee: An Indian History of the American West, 1970

Peter Brown, The World of Late Antiquity: A D 150–750, 1971, revised 1989

Bill Bryson, Made in America: An Informal History of the English Language in the United States, 1994; Notes From a Small Island, 1995

Martin Buber, Ich und Du (I and Thou), 1923

Kenneth Burke, Counter-Statement, 1931; A Grammar of Motives, 1945; A Rhetoric of Motives, 1950; Language as Symbolic Action, 1966—essays previously published

J B Bury, A History of Greece to the Death of Alexander the Great, 1900; The Idea of Progress, 1920

Vannevar Bush, 'As We May Think', originally published in the Atlantic Monthly, Jul. 1945

Ferruccio Busoni, Abbozzo di una Nuova Estetica Della Musica (Sketch of a New Aesthetic of Music), 1907

John Cage, Silence: Lectures and Writings, 1961

Roger Caillois, Les Jeux et les Hommes (Man, Play and Games), 1961

Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity, 1992

Joseph Campbell, The Hero With a Thousand Faces, 1949, revised 1968

Fritjof Capra, The Tao of Physics: An Exploration of the Parallels Between Modern Physics and Eastern Mysticism ;The Web of Life: A New Scientific Understanding of Living Systems, 1996

Rudolph Carnap, Scheinprobleme in der Philosophie (Pseudoproblems of Philosophy), 1928; Logische Syntax der Sprache (The Logical Syntax of Language), 1934

E H Carr, The Twenty Years' Crisis, 1939, revised 1945; What Is History?, 1961

Noël Carroll, The Philosophy of Horror, or Paradoxes of the Heart, 1990

Rachel Carson, The Sea Around Us, 1951; Silent Spring, originally published serially Jun. 1962 in the New Yorker

C W Ceram, Götter, Gräber und Gelehrte (Gods, Graves, and Scholars), 1949

H Munro Chadwick and N Kershaw Chadwick, The Growth of Literature, originally published in three volumes: The Ancient Literatures of Europe, 1932, Russian Oral Literature, Yugoslav Oral Poetry, Early Indian Literature, Early Hebrew Literature, 1936, The Oral Literature of the Tartars, Polynesia, etc., 1940

Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism, 1994; Repeated Takes: A Short History of Recording and its Effects on Music, 1995

Alfred D Chandler, Jr., The Visible Hand: The Managerial Revolution in American Business, 1977

Samuel Charters, The Country Blues, 1959

Bruce Chatwin, The Songlines, 1987

Ron Chernow, The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance, 1990

Noam Chomsky, Syntactic Structures, 1957; Chomsky and Edward Herman, Manufacturing Consent: The Political Economy of the Mass Media, 1988

Winston Churchill, A History of the English-Speaking Peoples, originally published in four volumes, 1956–58

Alan Clark, Diaries, 1993; Diaries: Into Politics 1972–1982, 2000; Diaries: The Last Diaries 1993–1999, 2002

Kenneth Clark, The Nude: A Study in Ideal Form, 1956—edited 1953 lectures

Logan Clendening, The Human Body, 1927, revised 1930, 1937, and 1945

Thomas Cochran, The Age of Enterprise: A Social History of Industrial America, 1961

Robert Coles, Children of Crisis, originally published in five volumes: A Study in Courage and Fear, 1967, Migrants, Sharecroppers, Mountaineers, 1971, The South Goes North, 1973, Eskimos, Indians, Chicanos, 1977 , The Privileged Ones: The Well-Off and the Rich in America, 1977

Charles Colson, Born Again, 1976

Jill Conway, The Road From Coorain, 1976

Aaron Copland, What to Listen For in Music, 1939—edited lectures

Le Corbusier, Vers une Architecture (Towards an Architecture)—seven essays, six of which originally published in L’Espirit Nouveau, 1921–23

Benedetto Croce, Estetica Come Scienza Dell' Espressione e Linguistica Generale (Aesthetics), 1902; Logica Come Scienza del Concetto Puro (Logic), 1908; Filosofia Della Practica: Economia ed Etica (Philosophy of the Practical), 1908

William Cronon, Changes in the Land: Indians, Colonists, and the Ecology of New England, 1983

Aleister Crowley, The Book of Lies. Which is also Falsely Called BREAKS. The Wanderings or Falsifications of the One Thought of Frater Perdurabo, Which Thought Is Itself Untrue. Liber CCCXXXIII [Book 333], 1912

Salvador Dalí, The Secret Life of Salvador Dalí, 1942

Mary Daly, Gyn/Ecology: The Metaethics of Radical Feminism, 1978

George Dangerfeld, The Strange Death of Liberal England, 193

Arthur Danto, 'The Artworld', originally published in the Journal of Philosophy, 1964; The Transfiguration of the Commonplace: A Philosophy of Art, 1981

Robert Dawkins, The Selfish Gene, 1976

Daniel Dennett, Consciousness Explained, 1991

Guy Debord, La Société du Spectacle, 1967

Gilles Deleuze, Différence et Répétition, 1968; Deleuze and Felix Guattari, Capitalisme et Schizophrénie 1. L'Anti-Oedipe, 1972; Capitalisme et Schizophrénie 2. Mille Plateaux, 1980

John Dewey, School and Society: Being Three Lectures by John Dewey, Supplemented by a Statement of the University Elementary School, 1899; How We Think, 1910, revised and retitled, How We Think, A Restatement of the Relation of Reflective Thinking to the Educative Process, 1933; Democracy and Education: An Introduction to the Philosophy of Education, 1916; Experience and Nature, 1925; Logic, the Theory of Inquiry, 1938; Experience and Education, 1938

Jared Diamond, Guns, Germs, and Steel: The Fates of Human Societies, 1999

Annie Dillard, Pilgrim at Tinker Creek, 1974

Ellen Dissanayake, Homo Aestheticus: Where Art Comes From and Why, 1992

Theodosius Dobzhansky, Genetics and the Origin of Species, 1937

W E B Du Bois, The Souls of Black Folk, published in part in the Atlantic Monthly—in its entirety, 1903; Black Reconstruction, 1935

Eleanor Duckett, Gateway to the Middle Ages, 1938

Isadora Duncan, My Life, 1928

Terry Eagleton, Literary Theory: An Introduction, 1983

Umberto Eco, Opera Aperta (The Open Work), 1962; La Struttura Assente (The Absent Structure), 1968; Trattato di Semiotica Generale (A Theory of Semiotics), 1975

Arthur Eddington, The Expanding Universe: Astronomy’s 'Great Debate', 1900–1931, 1933

Albert Einstein, Die Grundlage der Allgemeinen Relativitätstheorie (Foundations of the General Theory of Relativity), 1916; Über die Spezielle und die Allgemeine Relativitätstheorie, Gemeinverständlich (On the Special and General Theory of Relativity (A Popular Account)), 1917, revised through fourteenth edition, 1922; The Meaning of Relativity: Four Lectures Delivered at Princeton University, 1921, expanded, 1945; On the Method of Theoretical Physics, 1933—edited Jun. 1933 lecture; Einstein and Leopold Infeld, The Evolution of Physics: The Growth of Earlys From Early Concepts to Relativity and Quanta, 1938

Evan Eisenberg, The Recording Angel: Explorations in Phonography, 1986; revised 2005 retitled The Recording Angel: Music, Records and Culture From Aristotle to Zappa

Riane Eisler, The Chalice and the Blade: Our History, Our Future, 1987

Mircea Eliade, The Myth of the Eternal Return, 1949

Havelock Ellis, Studies in the Psychology of Sex, originally published in seven volumes, 1897–1928; The Dance of Life, 1923

Daniel Ellsberg, Secrets: A Memoir of Vietnam and the Pentagon Papers, 2002

Jacques Ellul, La Technique ou l'Enjeu du Siècle (The Technological Society), 1954; Propagandes, 1962

William Empson, Seven Types of Ambiguity, 1930

Martin Esslin, The Theatre of the Absurd, 1961

Frantz Fanon, Les Damnés de la Terre (The Wretched of the Earth), 1961

Élie Faure, Histoire de l’Art, originally published in five volumes, 1919–21

Luc Ferry, Homo Aestheticus: L’Invention du Goût à l’Âge Démocratique, 1990

Richard Feynman, Q E D: The Strange Theory of Light and Matter, 1985—edited 1983 lectures

Orlando Figes, A People's Tragedy: The Russian Revolution 1891–1924, 1997

Moses I Finley, The World of Odysseus, 1954, revised 1978; The Ancient Economy, 1973

Steven Roger Fischer, A History of Language, 1999; A History of Writing, 2001; A History of Reading, 2003

Stanley Fish, Self-Consuming Artifacts: The Experience of Seventeenth-Century Literature, 1972; Is There a Text in This Class? The Authority of Interpretive Communities, 1980

Robert Fisk, The Great War for Civilization: The Conquest of the Middle East, 2005—essays previously published

Michel Foucault, Les Mots et les Choses: Une Archéologie des Sciences Humaines (The Order of Things: An Archaeology of the Human Sciences), 1966; Surveiller et Punir: Naissance de la Prison (Discipline and Punish: The Birth of the Prison), 1975

Henry Watson Fowler, A Dictionary of Modern English Usage, 1926—later editions considered distinct works

Anne Frank, Het Achterhuis. Dagboekbrieven 14 Juni 1942–1 Augustus 1944 (The Diary of a Young Girl), 1947

Ronald Fraser, Blood of Spain: An Oral History of the Spanish Civil War, 1979

James George Frazer, The Golden Bough: A Study in Magic and Religion, originally entitled The Golden Bough: A Study in Comparative Religion, published in two volumes, 1890, expanded and retitled 1900, in three volumes, expanded 1906–15, in 12 volumes, with supplemental volume added for 1937 edition—distinct abridged versions published in 1922, 1959, and 1994

Paulo Freire and Myles Horton, We Make the Road by Walking: Conversations on Education and Social Change, 1990

Sigmund Freud, Die Traumdeutung (The Interpretation of Dreams), 1899; Zur Psychopathologie des Alltagslebens (The Psychopathology of Everyday Life), 1904; Drei Abhandlungen zur Sexualtheorie (Three Essays on the Theory of Sexuality), 1905, revised through sixth edition, 1925; Über Infantile Sexualtheorien (On the Sexual Theories of Children), 1908; Die Zukunftigen Chancen der Psychoanalytischen Therapie (The Future Prospects of Psycho-analytic Therapy), 1910; Über "Wilde" Psychoanalyse (“Wild” Psycho-Analysis), 1910; Zur Einführung des Narzißmus (On Narcissism), 1914; Zur Geschichte der Psychoanalytischen Bewegung (The History of the Psychoanalytic Movement), 1914; Triebe und Triebschicksale (Instincts and their Vicissitudes), 1915; Zeitgemäßes Über Krieg und Tod (Thoughts for the Times on War and Death), 1915; Die Verdrängung (Repression), 1915; Das Unbewusste (The Unconscious), 1915; Vorlesungen zur Einführung in die Psychoanalyse (Introductory Lectures on Psycho-Analysis), 1917; Jenseits des Lustprinzips (Beyond the Pleasure Principle), 1920; Massenpsychologie und Ich-Analyse (Group Psychology and the Analysis of the Ego), 1921; Das Ich und das Es (The Ego and the Id), 1923; Hemmung, Symptom und Angst (Inhibitions, Symptoms and Anxiety), 1926; Das Unbehagen in der Kultur (Civilization and Its Discontents), 1930; Neue Folge der Vorlesungen zur Einführung in die Psychoanalyse (New Introductory Lectures on Psychoanalysis), 1933; Abriss der Psychoanalyse (An Outline of Psycho-Analysis), 1940

Betty Friedan, The Feminine Mystique, 1963

Milton Friedman and Anna J Schwartz, A Monetary History of the United States, 1867–1960, 1963; Barry Eichengreen, Golden Fetters: The Gold Standard and the Great Depression, 1919–1939, 1992

Northrup Frye, Anatomy of Criticism, 1957

Francis Fukuyuma, The End of History and the Last Man, 1992

Hans-Georg Gadamer, Wahrheit unde Methode (Truth and Method), 1960

John Kenneth Galbraith, The Great Crash, 1929

Eduardo Galeano, Las Venas Abiertas de América Latina (Open Veins of Latin America: Five Centuries of the Pillage of a Continent), 1971; Memoria del Fuego (Memory of Fire), 1976

George Gamov, Thirty Years That Shook Physics: The Story of Quantum Theory, 1966

Mohandas K Gandhi, The Story of My Experiments With the Truth, originally published serially 1925–29 in Navijan

Peter Gay, The Enlightenment: An Interpretation: The Rise of Modern Paganism, originally published in three volumes, 1966, 1969, and 1973—revised 1995, entitled The Enlightenment and the Rise of Modern Paganism; The Enlightenment: An Interpretation: The Science of Freedom, 1969

Clifford Geertz, The Interpretation of Cultures, 1973—essays previously published

Eugene Genovese, Roll, Jordan, Roll: The World the Slaves Made, 1974

Sigfried Giedion, Space, Time and Architecture: The Growth of a New Tradition, 1941; Mechanization Takes Command: A Contribution to Anonymous History, 1948

Paul Gilroy, The Black Atlantic: Modernity and Double-Consciousness, 1993

Étienne Gilson, Introduction aux Arts du Beau, 1963

Malcolm Gladwell, The Tipping Point: How Little Things Can Make a Big Difference, 2000

James Gleick, Chaos: Making a New Science, 1987

Ernst Gombrich, The Story of Art, 1950

Glenn Gould, 'The Prospects of Recording', originally published Apr. 1966 in High Fidelity

Stephen Jay Gould, The Mismeasure of Man, 1981

Paul Goodman, Growing Up Absurd: Problems of Youth in the Organized Society, 1960

Antonio Gramsci, Quaderni del Carcere (The Prison Notebooks), written 1929–35

Cecil Gray, The History of Music, 1928

Clement Greenberg, 'Avant-Garde and Kitsch', originally published 1939 in the Partisan Review

Brian Greene, The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory, 1999; The Fabric of the Cosmos: Space, Time, and the Texture of Reality, 2005; The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos, 2011

Jerzy Grotowski, Swieto (Holiday: The Day That is Holy), 1970; Grotowski and Eugenio Barba, Towards a Poor Theatre, 1968—revised and expanded Polish version, 2007

Susan Griffin, Woman and Nature: The Roaring Inside Her, 1978

John Gunther, Death Be Not Proud, 1949

Jürgen Habermas, Strukturwandel der Öffentlichkeit. Untersuchungen zu Einer Kategorie der Bürgerlichen Gesellschaft (The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society), 1962; Zur Logik der Sozialwissenschaften (On the Logic of the Social Sciences), 1967; Theorie des Kommunikativen Handelns (The Theory of Communicative Action), 1981

Ian Hacking, The Taming of Chance, 1990

David Halberstam, The Best and the Brightest, 1972

Alex Haley and Malcolm X, The Autobiography of Malcolm X, 1965

Manly Palmer Hall, The Secret Teaching of All Ages, 1928

Edith Hamilton, The Greek Way, 1930; Mythology, 1942

Dag Hammarskjold, Vagmarken (Markings), 1963

G H Hardy, A Mathematician’s Apology, 1940

Michael Harrington, The Other America, 1962

Paul Hawken, The Ecology of Commerce: A Declaration of Sustainability, 1993

Stephen Hawking, A Brief History of Time: From the Big Bang to Black Holes, 1988, expanded 1996—abridged and edited version, co-authored with Leonard Mlodinow, entitled A Briefer History of Time, published 2005

Friedrich von Hayek, The Road to Serfdom, 1944

Werner Heisenberg, Physics and Philosophy: The Revolution in Modern Science, 1958—edited 1955–56 lectures

Martin Heidegger, Sein und Zeit, 1927; Was Ist Metaphysik?, edited 1929 lecture

Robert Hendricks, Fluxus Codex, 1988

Eugen Herrigel, Zen in the Art of Archery, 1948

Seymour Hersh, My Lai 4: A Report on the Massacre and Its Aftermath, 1970; The Price of Power: Kissinger in the Nixon White House, 1983

James Hillman and Michael Ventura, We've Had a Hundred Years of Psychotherapy—And the World's Getting Worse, 1992

Adolf Hitler, Mein Kampf, originally published in two volumes, 1925 and 1926

David Hirst, The Gun and the Olive Branch: The Roots of Violence in the Middle East, 1977

Louis Hjelmslev, Omkring Sprogteoriens Grundlæggelse (Prolegomena to a Theory of Language), 1943

Eric Hobsbawm, The Age of Revolution: Europe 1789–1848, 1962; The Age of Capital: 1848–1875, 1975; The Age of Empire: 1875–1914, 1987; The Age of Extremes: The Short Twentieth Century, 1914–1991, 1994

John A Hobson, Imperialism: A Study, 1902

Douglas Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid, 1979

Lynn Hunt, Inventing Human Rights, 2007

Edmund Husserl, Erfahrung und Urteil. Untersuchungen zur Genealogie der Logik (Experience and Judgment), 1939

Johann Huizinga, Herfsttij der Middeleeuwen (The Autumn of the Middle Ages), 1919; Homo Ludens. Versuch Einer Bestimmung des Spielelements der Kultur (Homo Ludens: A Study of the Play Element in Culture), 1955

Julian Huxley, Evolution: The Modern Synthesis, 1941

Ivan Illich, Deschooling Society, 1971 ;Tools for Conviviality, 1973

Jane Jacobs, The Death and Life of Great American Cities, 1961

C L R James, The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution, 1938

William James, The Principles of Psychology, 1890; The Varieties of Religious Experience: A Study in Human Nature, Being the Gifford Lectures on Natural Religion Delivered at Edinburgh in 1901–1902, 1902—edited lectures; Pragmatism: A New Name for Some Old Ways of Thinking, 1907; Some Problems of Philosophy: A Beginning of an Introduction to Philosophy, 1911

James Jeans, Mysterious Universe, 1930

Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, originally published in the New Left Review, 1984, expanded 1991; The Cultural Turn, 1998

Karl Jaspers, Philosophie, originally published in three volumes, 1932

Carl Jung, Psychologische Typen (Psychological Types), 1921; Die Beziehungen Zwischen dem Ich und dem Unbewußten (The Relations Between the Ego and the Unconscious), 1928; Über die Psychologie des Unbewußten (On the Psychology of the Unconscious), 1943

Ernest Jünger, In Stahlgewittern (Storm of Steel), 1920, revised through 1978 edition

Pauline Kael, I Lost It at the Movies, 1965—essays previously published; Kiss Kiss Bang Bang, 1968—essays previously published; Going Steady, 1969—essays previously published; Deeper Into Movies, 1973—essays previously published

Wassily Kandinsky, Über das Geistige in der Kunst: Insbesondere in der Malerei (Concerning the Spiritual in Art, Especially Painting), 1912; Kandinsky and Franz Marc, eds., Der Blaue Reiter Almanach (The Blue Rider Almanac), 1912

Ryszard Kapuácínski, Podróze z Herodotem (Travels With Herodotus), 2007

John Keegan, The Face of Battle, 1976

John Keene, Travelers of a Hundred Ages, originally published serially in Asahi Shimbun, in Japanese; English version, in book form, 1989; expanded 1999

Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction, 1967—edited 1965 lectures entitled The Long Perspectives

John Maynard Keynes, The Economic Consequences of the Peace, 1919; The General Theory of Employment, Interest, and Money, 1936

Tracy Kidder, Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, the Man Who Would Cure the World, 2003

Martin Luther King, Jr., 'Letter From Birmingham Jail', published in part May 1963 in the New York Post Sunday Magazine; in its entirety, Jun. 1963, in Liberation, the Christian Century, and the New Leader; included in Why We Can’t Wait, 1964

Paul Klee, Schriften zur Form und Gestaltungslehre, originally published in two volumes: Das Bildnerische Denken, 1956, Unendliche Naturgeschichte, 1964

Alexander Kluge and Oskar Negt, Öffentlichkeit und Erfahrung. Zur Organisationsanalyse von Bürgerlicher und Proletarischer Öffentlichkeit (Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere), 1972

George Wilson Knight, The Wheel of Fire: Interpretations of Shakespearian Tragedy, 1930

Leszek Kolakowski, Glówne Nurty Marksizmu. Powstanie, Rozwój, Rozklad (Main Currents of Marxism: Its Growth, Origin and Dissolution), originally published in three volumes, 1976

Karl Korsch, Marxismus und Philosophie (Marxism and Philosophy), 1923

Alfred Korzybski, Science and Sanity, 1933

Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality, 1960

Paul de Kruif, Microbe Hunters, 1926

Thomas S Kuhn, The Structure of Scientific Revolutions, 1962, expanded 1970

Hans Küng, Infallible? An Inquiry, 1971

Viana La Place, Verdura: Vegetables Italian Style, 1991

Christopher Lasch, The Culture of Narcissism: American Life in an Age of Diminishing Expectations, 1979; The True and Only Heaven: Progress and Its Critics, 1991

T E Lawrence, Seven Pillars of Wisdom, 1922

Timothy Leary and Ralph Metzner, The Psychedelic Experience: A Manuel Based on the Tibetan Book of the Dead, 1964

F R Leavis, The Great Tradition, 1948

Georges Lefebvre, Quatre-Vingt-Neuf (The Coming of the French Revolution), 1939

Henri Lefebvre, La Production de l'Espace, 1974

Vladimir Lenin,Cto Delat'? (What Is to Be Done? Burning Questions of Our Movement), 1902; Gosudarstvo i Revolûciâ (The State and Revolution), 1917

Gerda Lerner, The Creation of Patriarchy, 1986; The Creation of Feminist Consciousness: From the Middle Ages to Eighteen-Seventy, 1993

Jonathan Lethem , 'The Ecstasy of Influence: A Plagiarism', originally published Feb. 2007 in Harper’s

Primo Levi, Se Questo è un Uomo (Survival in Auschwitz), 1947; Il Sistema Periodico, 1975

Claude Lévi-Strauss, Tristes Tropiques, 1955; Le Cru et la Cuit (The Raw and the Cooked), 1964; first of four volumes of Mythologiques

C S Lewis, Surprised by Joy: The Shape of My Early Life, 1955

Mark Lewisohn, The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970, 1988; Geoff Emerick, Here, There and Everywhere: My Life Recording the Music of the Beatles, 2006; Kevin L Ryan and Brian Kehew, Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums, 2006

David Lewis-Williams, The Mind in the Cave: Consciousness and the Origin of Art, 2002

A J Liebling, The Sweet Science, 1956

Walter Lippmann, Public Opinion, 1922; The Cold War, 1947

Albert Lord, The Singer of Tales, 1960

James Lovelock, Gaia: A New Look at Life on Earth, 1979

Gyorgy Lukacs, Geschichte und Klassenbewußtsein: Studien Über Marxistische Dialektik (History and Class Consciousness: Studies in Marxist Dialectics), 1923

Emil Ludwig, Napoleon, 1925

Rosa Luxemburg, Die Akkumulation des Kapitals (The Accumulation of Capital), 1913

Robert Staughton Lynd and Helen Merrell Lynd, Middletown: A Study in Modern American Culture, 1929; Middletown in Transition: A Study in Cultural Conflicts, 1937

Norbert Lynton, The Story of Modern Art, 1980

Jean-François Lyotard, Economie Libidinale, 1974; La Condition Postmoderne: Rapport sur le Savoir, 1979

Nathaniel Mackey, Bedouin Hornbook, 1986; Djbot Baghostus's Run, 1993

Paul de Man, The Resistance to Theory, 1986—essays previously published

Ernest Mandel, Der Spätkapitalismus: Versuch Einer Marxistischen Erklärung (Late Capitalism), 1972

Alberto Manguel, A History of Reading, 1996; Manguel and Gianni Guadalupi, The Dictionary of Imaginary Places, 1980, revised 1987 and 1999

F O Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman, 1941

Máo Zédong, Máo Zhuxí Yulù (Quotations From Chairman Mao Tse-tung), 1966

Lynn Margulis and Dorion Sagan, What Is Life?, 1995

Herbert Marcuse, One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society, 1964

Jacques Maritain, Art et Scolastique, 1920; Distinguer pour Unir ou Les Degrés du Savoir, 1932; Humanisme Intégral: Problemes Temporels et Spirituals d'une Nouvelle Chrétienté, 1936; Les Droits de l'Homme et la Loi Naturelle, 1942

Marcel Mausss, Essai sur le Don. Forme et Raison de l'Échange dans les Sociétés Archaïques (The Gift), originally published in L'Année Sociologique, 1925

Arno J Mayer, The Persistence of the Old Regime: Europe to the Great War, 1981

David McCullough, The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge, 1972; The Path Between the Seas: The Creation of the Panama Canal, 1870–1944, 1977

Margaret Mead, Coming of Age in Samoa: A Psychological Study of Primitive Youth for Western Civilization, 1928; Sex and Temperament in Three Primitive Societies, 1935

Peter Medawar, The Future of Man: The B B C Reith Lectures 1959, 1960

H L Mencken, The American Language: An Inquiry Into the Development of English in the United States, 1919

Robert K Merton, Social Theory and Social Structure, 1949, revised 1957 and 1968

Thomas Merton, The Seven Storey Mountain, 1948

Terence and Dennis McKenna, Psilocybin: Magic Mushroom Grower’s Guide, 1976, originally published under the pseudonyms, O T Oss and O N Oeric

Marshall McLuhan, Understanding Media: The Extensions of Man, 1964

William McNeill, The Rise of the West: A History of the Human Community, 1963

John McPhee, A Sense of Where You Are, 1965

James M McPherson, Battle Cry of Freedom: The Civil War Era, 1988

Maurice Merleau-Ponty , Phénoménologie de la Perception (Phenomenology of Perception), 1945

Stanley Milgram, 'The Small World Problem', originally published in Psychology Today, May 1967, alternate version published in Sociometry, 1969

Alice Miller, Das Drama des Begabten Kinde, 1979

Perry Miller, The New England Mind: The Seventeenth Century, 1939

Kate Millett, Sexual Politics, 1969

C Wright Mills, The Sociological Imagination, 1959

Hyman Minsky, John Maynard Keynes, 1975; Stabilizing an Unstable Economy, 1986

Ludwig von Mises, Human Action: A Treatise on Economics, 1949, revised 1963, 1966, and 1996; based in part on the author’s earlier Nationalökonomie: Theorie des Handelns und Wirtschaftens, 1940

Barrington Moore, Jr., The Social Origins of Dictatorship and Democracy, 1966

G E Moore, Principia Ethica, 1903

Franco Moretti, ed., Il Romanzo, 2001–3

Desmond Morris, The Naked Ape: A Zoologist's Study of the Human Animal, 1967

Lewis Mumford, The City in History: Its Origins, Its Transformations, and Its Prospects, 1961

Gunnar Myrdal, An American Dilemma: The Negro Problem and Modern Democracy, 1944

Arne Naess, Økologi, Samfunn og Livsstil (Ecology, Community and Lifestyle: Outline of an Ecosophy), 1974

Scott Nearing, Living the Good Life: How to Live Sanely and Simply in a Troubled World, 1954

John G Neihardt, Black Elk Speaks, 1932

Ted Nelson, 'Complex Information Processing: A File Structure for the Complex, the Changing and the Indeterminate', edited 1965 lecture published in A C M '65: Proceedings of the 1965 20th National Conference

Reinhold Niebuhr, The Nature and Destiny of Man: A Christian Interpretation, 1943

Anaïs Nin, The Diaries of Anaïs Nin, originally published in seven volumes, 1966–80

Charles W Morris, Signs, Language and Behavior, 1946

C K Ogden and I A Richards, The Meaning of Meaning: A Study of the Influence of Language Upon Thought and of the Science of Symbolism, 1923

José Ortega y Gasset, Meditaciondes del Quijote, 1914; Espa&ntild;a Invertebrada, 1921; La Rebelión de las Masas, 1929

George Orwell, Burmese Days, 1934; The Road to Wigan Pier, 1937; Homage to Catalonia, 1938

Jürgen Osterhammel, Die Verwandlung der Welt. Eine Geschichte des 19. Jahrhunderts (The Transformation of the World: A Global History of the Nineteenth Century), 2009

Elaine Pagels, The Gnostic Gospels, 1979

Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance, 1939

Vilfredo Pareto, Trattato di Sociologia Generale (The Mind and Society), 1916

Milman Parry, The Making of Homeric Verse: The Collected Papers of Milman Parry, 1971

Konstantin Paustovsky, Povest' o &Zcirc;izni (Story of My Life), originally published in six volumes, 1946–1963

Ivan Pavlov, Conditioned Reflexes: An Investigation of the Physiological Activity of the Cerebral Cortex, 1927

David Pelzer, A Child Called ‘It’, 1995

Max Planck, Acht Vorlesungen Über Theoretische Physik, Gehalten an der Columbia University in the City of New York im Frühjahr 1909, von Dr. Max Planck (Eight Lectures on Theoretical Physics Delivered at Columbia University in 1909), 1910—edited 1909 lectures; Die Entstehung und Bisherige Entwicklung der Quantentheorie (Origin and Development of the Quantum Theory: Being the Nobel Prize Address Delivered Before the Royal Swedish Academy of Sciences at Stockholm, 2 June, 1920), 1922; Wege zur Physikalischen Erkenntnis: Reden und Vortrage (Where Is Science Going?), 1932; Wissenschaftliche Selbstbiogarphie. Mit Einem Bildnis und der von Max von Laue Gehaltenen Traueransprache (Scientific Autobiography and Other Papers), 1948

Renato Poggioli, Teoria Dell'arte d'Avanguardia (The Theory of the Avant-Garde), 1962

Henri Poincaré, La Science et l’Hypothèse, 1902; La Valeur de la Science, 1905; La Science et Méthode, 1908

Georges Polti, Les 36 Situations Dramatiques, 1895

Karl Polanyi, The Great Transformation, 1944

Karl Popper, Logik der Forschung (The Logic of Scientific Discovery), 1934; The Open Society and Its Enemies, 1945

Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business, 1985

Vladimir Propp, Morphology of the Folktale, 1928

John Rawls, A Theory of Justice, 1971, revised 1975 and 1999

John Reed, Ten Days That Shook the World, 1919

Wilhelm Reich, Charakteranalyse (Character Analysis), 1933; Die Massenpsychologie des Faschismus (The Mass Psychology of Fascism), 1933; Die Sexualität im Kulturkampf (The Sexual Revolution), 1936

Marc Reisner, Cadillac Desert: The American West and its Disappearing Water, 1986, revised and expanded 1993

Richard Rhodes, The Making of the Atomic Bomb, 1986

Philip Rieff, The Triumph of the Therapeutic, 1966

Sogyal Rinpoche, The Tibetan Book of Living and Dying, 1992

James Harvey Robinson, The Ordeal of Civilization, 1926

Richard Rodriguez, Hunger of Memory: The Education of Richard Rodriguez

David Roediger, The Wages of Whiteness: Race and the Making of the American Working Class, 1991

Richard Rorty, Philosophy and the Mirror of Nature, 1979; Contingency, Irony, and Solidarity, 1989—edited lectures

Walt Rostow, The Stages of Economic Growth: A Non-Communist Manifesto, 1960

Steven Runciman, A History of the Crusades, 1951

Bertrand Russell, 'On Denoting', originally published 1905 in Mind; The Problems of Philosophy, 1912; The Analysis of Mind, 1921; An Inquiry Into Meaning and Truth, 1940; A History of Western Philosophy, 1945; Human Knowledge: Its Scope and Limits, 1948

Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, 1985

Carl Sagan, The Cosmic Connection: An Extraterrestrial Perspective, 1973

Marshall D Sahlins and Elmer R Service, eds., Evolution and Culture, 1960

Edward Said, Orientalism, 1978; The Question of Palestine, 1979; Culture and Imperialism, 1993

G E M de Ste. Croix, The Class Struggle in the Ancient Greek World From the Archaic Age to the Arab Conquests, 1982

George Santayana, The Life of Reason: The Phases of Human Progress, originally published in five volumes, 1905–6; Scepticism and Animal Faith, 1923; Persons and Places, 1944

Andrew Sarris, The American Cinema: Directors and Directions 1929–1968, 1968

Jean-Paul Sartre, L’Être et le Néant : Essai d'Ontologie Phénoménologique, 1943; Critique de la Raison Dialectique, originally published in two volumes: 1960 and 1985; introduction originally published 1957 as 'Questions de Méthode' ('Search for a Method') in Twórczosc (Polish translation) and Les Temps Modernes; Saint Genet, Comédien et Martyr, 1952; Les Mots, 1964; L’Idiot de la Famille: Gustave Flaubert de 1821 à 1857, 1871–2

George Sarton, Introduction to the History of Science, originally published in five volumes, 1927–48

Ferdinand de Saussure, Cours de Linguistique Générale (Course in General Linguistics)—lectures edited by Charles Bally and Albert Sechehaye, 1916

Pierre Schaeffer, A la Recherche d’une Musique Concrète (In Search of a Concrete Music), 1952

R Murray Schafer, The Tuning of the World, 1977

Simon Schama, Citizens: A Chronicle of the French Revolution, 1989

Jonathan Schell, 'Too Late for Empire', originally published Aug. 2006 in the Nation

Erich Schiffmann, Yoga: The Spirit and Practice of Moving Into Stillness, 1996

Arnold Schoenberg, Harmonielehre, 1911

Ben Schott, Schott’s Original Miscellany, 2002

Edwin Schrodinger, What Is Life?, 1944—edited 1943 lectures

E F Schumacher, Small Is Beautiful: A Study of Economics As If People Mattered, 1973

Joseph Schumpeter, Capitalism, Socialism and Democracy, 1942

Alfred Schütz, Der Sinnhafte Aufbau der Sozialen Welt (The Phenomenology of the Social World), 1932

Albert Schweitzer, Geschichte der Leben-Jesu-Forschung (The Quest of the Historical Jesus), 1906; Zwischen Wasser und Urwald (On the Edge of the Primeval Forest), 1920; Aus Meiner Kindheit und Jugendzeit (Memoirs of Childhood and Youth), 1924; Aus Meinem Leben und Denken (Out of My Life and Thought), 1931; Das Urwaldspital zu Lambaréné (More From the Primeval Forest, 1931)

Wilfrid Sellars, Empiricism and the Philosophy of the Mind, 1956

Hans Selye, The Stress of Life, 1956

Idries Shah, The Sufis, 1964

Neil Sheehan, A Bright Shining Lie: John Paul Vann and America in Vietnam, 1988

Rupert Sheldrake, Seven Experiments That Could Change the World: A Do-It-Yourself Guide to Revolutionary Science, 1995

Georg Simmel, Philosophie des Geldes (The Philosophy of Money), 1900, revised 1907

Charles Singer, A Short History of Science to the Nineteenth Century, 1941

B F Skinner, Beyond Freedom and Dignity, 1971

Anna Deavere Smith, Twilight: Los Angeles, 1992, 1994

Delia Smith, Delia’s How to Cook Book One, 1998; Delia’s How to Cook Book Two, 1999; Delia’s How to Cook Book Three, 2001

Margaret Smith, Rabi'a the Mystic and Her Fellow-Saints in Islam. Being the Life and Teachings of Rabi'a al-'Adawiyya al-Qaysiyya of Basra, Sufi Saint, ca. A H 99–185, A D 717–801, 1928

Preserved Smith, The Age of Reformation, 1920

C P Snow, The Two Cultures and the Scientific Revolution, 1959—edited 1959 lecture based in part on 'The Two Cultures', published Oct. 1956 in the New Statesman—expanded 1963, entitled The Two Cultures: And a Second Look: An Expanded Version of The Two Cultures and the Scientific Revolution

Robert Solow, 'A Contribution to the Theory of Economic Growth', originally published Feb. 1956 in the Quarterly Journal of Economics; Trevor Swan, 'Economic Growth and Capital Accumulation', originally published Dec. 1956 in the Economic Record

Alexander Solzhenitsyn, Archipelag GULAG, 1974-8

Susan Sontag, 'Notes on "Camp"', originally published Fall 1964 in the Partisan Review; 'Against Interpretation', originally published Dec. 1964 in the Evergreen Review; 'On Style', originally published Fall 1965 in the Partisan Review; On Photography, essays originally published 1973–7 in the New York Review of Books; Illness as Metaphor, originally published serially 1978 in the New York Review of Books

Jonathan Spence, The Death of Woman Wang, 1978; The Memory Palace of Matteo Ricci, 1984

Oswald Spengler, Der Untergang des Abendlandes (The Decline of the West), originally published in two volumes, 1918 and 1923—first volume revised 1922

Julian Stallabrass, Gargantua: Manufactured Mass Culture, 1996

Gertrude Stein, The Autobiography of Alice B Toklas, 1933

George Steiner, In Bluebeard’s Castle: Some Notes Towards the Redefinition of Culture, 1971; After Babel, 1975

Rudolf Steiner, Die Philosophie der Freiheit (The Philosopy of Freedom), 1894

Lytton Strachey, Eminent Victorians, 1918; Queen Victoria, 1921

William Strunk, Jr., The Elements of Style, 1919, revised 1935, as The Elements and Practice of Composition, revised and expanded 1959 by E B White

William Graham Sumner, Folkways: A Study of the Sociological Importance of Usages, Manners, Customs, Mores, and Morals, 1907

John Sutherland, Is Heathcliff a Murderer? Puzzles in Nineteenth-Century Fiction, 1996; Can Jane Eyre Be Happy? More Puzzles in Classic Fiction, 1997; Who Betrays Elizabeth Bennett? Further Puzzles in Classic Fiction, 1999

D T Suzuki, An Introduction to Zen Buddhism, 1934

A J A Symons, The Quest for Corvo, 1944

R H Tawney, The Acquisitive Society, 1920; Religion and the Rise of Capitalism, 1926

A J P Taylor, The Origins of the Second World War, 1961

Frederick Winslow Taylor, The Principles of Scientific Management, 1911

Studs Terkel, Hard Times: An Oral History of the Great Depression, 1970; Working: People Talk About What They Do All Day and How They Feel About What They Do, 1974

Lewis Thomas, The Lives of a Cell: Notes of a Biology Watcher, originally published serially in the New England Journal of Medicine, 1971–3

D'Arcy Wentworth Thompson, On Growth and Form, 1917

E P Thompson, The Making of the English Working Class, 1963, revised 1968

Hunter S Thompson, Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs, 1966—based in part on 'The Motorcycle Gangs: Losers and Outsiders', published May 1965 in the Nation; Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream, originally published serially Nov. 1971 in Rolling Stone

Stith Thompson, The Folktale, 1946

William Irwin Thompson, The Time Falling Bodies Take to Light: Mythology, Sexuality and the Origins of Culture, 1981

John Arthur Thomson, The Outline of Science, 1922

James Thurber, My Life and Hard Times, 1933; Thurber and E B White, Is Sex Necessary? Or, Why You Feel the Way You Do, 1929

Lionel Tiger, Men in Groups, 1969

Arnold Toynbee, A Study of History, originally published in twelve volumes, 1934–61; Civilization on Trial, 1948

Lionel Trilling, The Liberal Imagination, 1950—essays previously published; Sincerity and Authenticity, 1972—edited 1970 lectures

George W S Trow, Within the Context of No Context, originally published Nov. 1980 in the New Yorker

Lynne Truss, Eats, Shoots and Leaves: The Zero Tolerance Approach to Punctuation, 2003

Barbara W Tuchman, The Guns of August, 1962; A Distant Mirror: The Calamitous 14th Century, 1978

Alan Turing, 'Computing Machinery and Intelligence', originally published 1950 in Mind

Brenda Ueland, If You Want to Write: A Book About Art, Independence and Spirit, 1938

Laurel Thatcher Ulrich, A Midwife's Tale: The Life of Martha Ballard, Based on Her Diary, 1785-1812

Thorstein Veblen, The Theory of the Leisure Class: An Economic Study of Institutions, 1899

Robert Venturi, Complexity and Contradiction in Architecture, 1966; Venturi, Steven Izenour, and Denise Scott Brown, A Significance for A and P Parking Lots, or Learning from Las Vegas, 1972, revised 1977, retitled Learning from Las Vegas: The Forgotten Symbolism of Architectural Form

Claudio and Orlando Villas-Bôas, Xingu; os Índios, Seus Mitos, 1970

Helen Waddell, The Wandering Scholars, 1927

Conrad Hal Waddington, The Nature of Life, 1961

Immanuel Wallerstein, The Modern World-System, published in four volumes, 1974, 1980, 1989, and 2011—future volumes in progress

James D Watson, The Double Helix: A Personal Account of the Discovery of the Structure of D N A, 1968

John B Watson, 'Psychology as the Behaviorist Views It', originally published in Psychological Review, 1913—edited lecture

Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding, 1957

Max Weber, Die Protestantische Ethik und der Geist des Kapitalismus (The Protestant Ethic and the Spirit of Capitalism), 1905

Alfred Wegener, Die Entstehung der Kontinente und Ozeane (The Origin of Continents and Oceans), 1915, revised 1920, 1922, and 1929

Simone Weil, L'Enracinement, Prélude à une Déclaration des Devoirs Envers l’Être Humain (The Need for Roots: Prelude to a Declaration of Duties Towards Mankind), 1949

Steven Weinberg, The First Three Minutes: A Modern View of the Origin of the Universe, 1977, expanded 1993

Eyal Weizman, Hollow Land: Israel’s Architecture of Occupation, 2007

Cornel West, Race Matters, 1994

Rebecca West, Black Lamb and Grey Falcon: A Journey Through Yugoslavia, 1941

Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe, 1973

Alfred North Whitehead, Introduction to Mathematics, 1911; Science and the Modern World, 1925; Adventures of Ideas, 1933; Whitehead and Bertrand Russell, Principia Mathematica, 1910-3; revised 1927

Norbert Wiener, Cybernetics: Or Control and Communication in the Animal and Machine, 1948, revised 1961

Elie Wiesel, Un di Velt Hot Geshvign, 1954—abridged French translation, entitled La Nuit, 1958—alternate abridged version, in English, entitled Night, 1960 ; Tous les Fleuves Vont à la Mer, 1994

Henry Smith Williams, A History of Science, originally published in ten volumes, 1904–10

Linda Williams, Hard Core: Power, Pleasure and the Frenzy of the Visible, 1989; Screening Sex, 2008

Raymond Williams, Culture and Society, 1963; The Long Revolution, 1965; Keywords: A Vocabulary of Culture and Society, 1976

Colin Wilson, The Outsider, 1956

Edmund Wilson, Axel's Castle: A Study in the Imaginative Literature of 1870-1930, 1931; To the Finland Station: A Study in the Writing and Acting of History, 1940, revised 1972; The Shores of Light: A Literary Chronicle of the Twenties and Thirties, 1952—essays previously published; Patriotic Gore: Studies in the Literature of the American Civil War, 1962

E O Wilson, On Human Nature, 1978

Robert Anton Wilson, Prometheus Rising, 1983

Trevor Wishart, On Sonic Art, 1985, revised 1996; Audible Design: A Plain and Easy Introduction to Practical Sound Composition, 1994

Ludwig Wittgenstein, Logisch-Philosophische Abhandlung (Tractatus Logico-Philosophicus), originally published 1921 in Annalen der Naturphilosophie; Philosophische Untersuchungen (Philosophical Investigations), 1953

Naomi Wolf, The Beauty Myth: How Images of Beauty Are Used Against Women, 1991, expanded 2002

Tom Wolfe, The Kandy-Kolored Tangerine-Flake Streamline Baby; 1965—essays previously published; The Electric Kool-Aid Acid Test, 1968; The Right Stuff, 1979

Sheldon Wolin, Politics and Vision: Continuity and Innovation in Western Political Thought, 1960, expanded 2004

Peter Wollen, Raiding the Icebox: Reflections on Twentieth-Century Culture, 1993; Signs and Meaning in Cinema, 1969

Bob Woodward and Carl Bernstein, All the President's Men

C Vann Woodward, The Strange Career of Jim Crow, 1955—edited 1954 lectures

Frances A Yates, The Art of Memory, 1966

Daniel Yergin, The Prize: The Epic Quest for Oil, Money, and Power, 1990

Howard Zinn, A People’s History of the United States, 1492-Present, 1980, expanded and revised through fifth edition, 2005

Stefan Zweig, Die Welt von Gestern (The World of Yesterday), 1942

List of albums by English Punk/ Industrial/ Ska Revival/ Goth/ Reggae groups arranged by year, and within the years arranged by geographical location, though I don't bother to tell you which locales. This approach to listing albums by geographically-defined scenes in this case shows the extraordinary growth in the number of Rock artists in England during these years. It's incomplete, of course (especially needing more of the Goth-bandwagoneers, non-Adrian Sherwood Reggae, and Oi Punk) so some additions are added below the image.

1978: Cock Sparrer [titled True Grit for 1987 reissue and Diamonds and Pearls for 2000 reissue]
Sham 69 - Tell Us the Truth
Sham 69 - That's Life
Slaughter and the Dogs - Do It Dog Style

1979: Angelic Upstarts - Teenage Warning
Sham 69 - The Adventures of the Hersham Boys

1980: Angelic Upstarts - We Gotta Get Out of This Place
Cockney Rejects - Greatest Hits Vol. 1
Cockney Rejects - Greatest Hits Vol. 2
Sham 69 - The Game
Slaughter - Bite Back

1981: Angelic Upstarts - 2,000,000 Voices
Cockney Rejects - The Power and the Glory
The Exploited - Punks Not Dead
Zounds - The Curse of Zounds

1982: Angelic Upstarts - Still From the Heart
Blitz - Voice of a Generation
Cockney Rejects - The Wild Ones
The 4-Skins - The Good, the Bad and the 4-Skins
Infa Riot - Still Out of Order
Splodge - In Search of the Seven Golden Gussets

1983: Angelic Upstarts - Reason Why?
Blitz - Second Empire Justice
The Blood - False Gestures for a Devious Public
The Business - Suburban Rebels
Cock Sparrer - Shock Troops
The Ejected - A Touch of Class
The 4-Skins - A Fistfull of... 4-Skins
The Mob - Let the Tribe Increase
Red Alert - We've Got the Power
The Toy Dolls - Dig That Groove Baby

1984: Angelic Upstarts - Last Tango in Moscow
Cockney Rejects - Quiet Storm
Cock Sparrer - Running Riot in '84
Combat 84 - Send in the Marines
The Ejected - The Spirit of Rebellion
Infa Riot - Sound and Fury
The March Violets - Natural History
Red London - This Is England
Skeletal Family - Burning Oil
The Toy Dolls - A Far Out Disc

1985: The Blood - Se Parare Nex
The Business - Saturday's Heroes
The March Violets - Electric Shades
Red Lorry Yellow Lorry - Talk About the Weather
Skeletal Family - Futile Combat
The Sisters of Mercy - First and Last and Always

1986: Angelic Upstarts - Power of the Press
Blyth Power - Wicked Women, Wicked Men and Wicket Keepers
Red Lorry Yellow Lorry - Paint Your Wagon
The Toy Dolls - Idle Gossip

1987: Angelic Upstarts - Blood on the Terraces
Combat 84 - Death or Glory
The Sisters of Mercy - Floodland
The Toy Dolls - Bare Faced Cheek

1988: Blyth Power - The Barman and Other Stories
The Business - Welcome to the Real World
Red Lorry Yellow Lorry - Nothing Wrong
Sham 69 - Volunteer

1989: Blitz - The Killing Dream
Ghost Dance - Stop the World
Red London - Outlaws
Red Lorry Yellow Lorry - Blow
The Toy Dolls - Wakey Wakey

1990: Blyth Power - Ainwick and Tyne
Cockney Rejects - Lethal
Red London - Tumbling Dice
The Sisters of Mercy - Vision Thing

1991: Blyth Power - The Guns of Castle Cary
Red Lorry Yellow Lorry - Blasting Off
Sham 69 - Information Libre
Slaughter and the Dogs - Shocking
Splodgenessabounds - Nightmare on Rude Street
The Toy Dolls - Fat Bob's Feet

1992: Angelic Upstarts - Bombed Out
Blyth Power - Karpov Crosses the Border
Red Alert - Blood, Sweat 'n' Beers

1993: Blyth Power - Pastor Skull
The March Violets - Botanic Verses
Red Alert - Beyond the Cut
Red London - Last Orders Please
The Toy Dolls - Absurd-Ditties

1994: The Business - Keep the Faith
Cock Sparrer - Guilty as Charged

1995: The Blood - Smell Yourself
Blyth Power - Paradise Razed
Sham 69 - Soapy Water and Mister Marmalade
The Toy Dolls - Orcastrated

1996: Blyth Power - Out From Under the King
Red Alert - Breakin' All the Rules

1997: The Business - The Truth, the Whole Truth and Nothing but the Truth
Cock Sparrer - Two Monkeys
Red London - Days Like These
Sham 69 - The A Files
The Toy Dolls - One More Megabyte

1998: The Blood - Spillage

1999: Red Alert - Wearside
Red London - Once Upon a Generation

2000: Splodgenessabounds - I Don't Know
The Toy Dolls - Anniversary Anthems

2001: The Business - No Mercy for You
Sham 69 - Direct Action: Day 21
Slaughter and the Dogs - Beware of...
Splodgenessabounds - The Artful Splodger

2002: Angelic Upstarts - Sons of Spartacus
Blyth Power - On the Viking Station
Cockney Rejects - Out of the Gutter
The Exploited - Fuck the System
Red London - The Soundtrack of Our Lives

2004: The Toy Dolls - Our Last Album?

2005: Skeletal Family - Sakura
Red Alert - Excess All Areas

2006: Blyth Power - Fall of Iron

2007: Cockney Rejects - Unforgiven
Cock Sparer - Here We Stand
Sham 69 - Western Culture [U S edition: Hollywood Hero]

2008: The Blood - punk@theopera

2009: Blyth Power - Land of Sea and Sky
Skeletal Family - Songs of Love, Hope and Despair

2010: The Blood - @thebodysnatchersball
The Business - Doing the Business
The 4-Skins - The Return
Sham 69 - Who Killed Joe Public

2012: Cockney Rejects - East End Babylon
The Toy Dolls - The Album After the Last One

2013: The March Violets - Made Glorious
Sham 69 - Their Finest Hour

2014: Blyth Power - Women and Horses and Power and War

2015: Angelic Upstarts - Bullingdon Bastards
The March Violets - Mortality
Sham 69 - It'll End in Tears

2016: The Ejected - Back From the Dead!
Slaughter and the Dogs - Vicious

----whats I been reading; asterisks indicate that I had read the book before----
1) Tony Fletcher, A Light That Never Goes Out: The Enduring Saga of the Smiths
2) Kate Chopin, The Awakening
3) Maxim Gorky, My Recollections of Tolstoy
4) James Hogg, The Private Memoirs and Confessions of a Justified Sinner: Written by Himself: With a Detail of Curious Traditionary Facts and Other Evidence by the Editor
5) Anthony Kenny, Philosophy in the Modern World: A New History of Western Philosophy Volume 4
6) Eudora Welty, The Optimist's Daughter
7) Ivan Turgenever, Fathers and Children
8) Homer, The Iliad
9) Eugène Ionesco, Rhinoceros
10) James Walcott, Lucking Out: My Life Getting Down and Semi-Dirty in Seventies New York
11) Andrée Malruax, Man's Fate
12) Dave Tompkins, How to Wreck a Nice Beach: The Vocoder From World War II to Hip-Hop: The Machine Speaks
13) Shelagh Delaney, A Taste of Honey
14) Yevgeny Zamyatin, We
15) C P Snow, The Two Cultures and the Scientific Revolution
16) Billy James, Necessity Is—The Early Years of Frank Zappa and the Mothers of Invention
17) George Eliot, Middlemarch
18) Mark Richardson, Zaireeka
19) Michael Murphy, Golf in the Kingdom
20) Willa Cather, Death Comes for the Archbishop
21) Oscar Wilde, The Importance of Being Earnest*
22) Gunnar Ekelöf, Guide to the Underworld
23) Fyodor Dostoevsky, Crime and Punishment
24) Aldous Huxley, Brave New World
25) Aldous Huxley, Brave New World Revisited
26) Alain Robbe-Grillet, In the Labyrinth
27) Sherwood Anderson, Winesburg, Ohio
28) Ray Bradbury, Fahrenheit 451
29) Michael Murphy, The Kingdom of Shivas Irons
30) E M Forster, Maurice
31) E M Forster, Aspects of the Novel
32) Jean-Paul Sartre, Existentialism Is a Humanism
33) Italo Calvino, The Castle of Crossed Destinies
34) Bob Dylan, Chronicles Volume One
35) Mikhail Bulgakov, The Master and Margarita
36) Pierre Schaeffer, In Search of a Concrete Music
37) S Alexander Reed, Assimilate
38) James Salter, A Sport and a Pastime
39) Milan Kundera, Immortality
40) H P Lovecraft, The Case of Charles Dexter Ward
41) William Irwin Thompson, Passages About Earth: An Exploration of the New Planetary Culture
42) Henry Fielding, Tom Jones
43) Milan Kundera, The Curtain: An Essay in Seven Parts*
44) David Grubbs, Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording
45) Arthur Miller, The Crucible
46) Doris Lessing, Ben in the World
47) Yukio Mishima, The Temple of the Golden Pavilion
48) L Frank Baum, The Wonderful Wizard of Oz
49) H G Wells, War of the Worlds
50) H G Wells, The Invisible Man
51) William Faulkner, As I Lay Dying
52) Oscar Wilde, The Ballad of Reading Gaol
53) Oscar Wilde, The Picture of Dorian Grey

1) Natsume Soseski, I Am a Cat
2) Michael Chanan, Musica Practica: The Social Practice of Western Music From Gregorian Chant to Postmodernism
3) Davis Grubb, The Night of the Hunter
4) Lewis Carroll, Alice's Adventures in Wonderland
5) George W S Trow, Within the Context of No Context*
6) Georges Bataille, Theory of Religion
7) D H Lawrence, Women in Love
8) Graham Greene, The Power and the Glory
9) John Knowles, A Separate Peace*
10) Graham Greene, The Lawless Roads
11) Thomas Pynchon, The Crying of Lot 49
12) Henrik Ibsen, Peer Gynt
13) Nathanael West, The Day of the Locust
14) Henry David Thoreau, Walden; or, Life in the Woods
15) Milan Kundera, The Book of Laughter and Forgetting*
16) Milan Kundera, The Art of the Novel
17) Nathanael West, Miss Lonelyhearts
18) Craig Harrison, The Quiet Earth
19) Matsuo Basho, The Narrow Road to the North
20) Charles Jackson, The Long Weekend
21) Neal Postman, Amusing Ourselves to Death
22) Longus, Daphne and Chloe
23) Yukio Mishima, The Sound of Waves
24) Virginia Woolf, Flush
25) Eleanor Duckett, Death and Life in the Tenth Century
26) J B Ballard, Empire of the Sun
27) Richard Adams, Watership Down
28) Jaron Lanier, You Are Not a Gadget
29) Stephen Witt, How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy
30) Hannah Arendt, Eichmann in Jerusalem: A Report on the Banality of Evil
31) Milan Kundera, Encounter
32) Alberto Moravia, The Conformist
33) Bret Easton Ellis, American Psycho*
34) Philip K Dick, Galatic Pot-Healer
35) Philip K Dick, The Three Stigmata of Palmer Eldritch
36) Jean-Jacques Rousseau, Confessions
37) Isis Aquarian, The Source: The Untold Story of Father Yod, Ya Ho Wa 13 and the Source Family
38) Jack Kerouac, On the Road
39) Jack Kerouac, Big Sur
40) Perry Anderson, The Origin of Postmodernity*
41) Charles Jencks, What Is Post-Modernism?
42) Fyodor Dostoevsky, The Brothers Karamazov
43) Milan Kundera, Identity
44) Ian Svevonious, Supernatural Strategies for Making a Rock 'n' Roll Group
45) Renato Poggioli, The Theory of the Avant-Garde
46) Graham Greene, The Quiet American
47) Geoffrey Chaucer, The Canterbury Tales
48) Jaron Lanier, Who Owns the Future?
49) Charles Baudelaire, A Season in Hell
50) E M Forster, The Longest Journey
51) Jan Morris, Last Letters From Hav
52) Jan Morris, Hav of the Myrmidons
53) Ronald Wright, A Short History of Progress
54) Scott Faragher, Music City Babylon: Inside the World of Country Music
55) Oscar Wilde, De Profundis
56) Henrik Ibsen, A Doll's House
57) Kyle Gann, No Such Thing as Silence: John Cage's 4'33''

1) Philip K Dick, The Game-Players of Titan
2) Joseph Heller, Catch-22
3) William Shakespeare, King Lear
4) Arthur Symons, The Symbolish Movement in Literature
5) Yukio Mishima, Spring Snow
6) James S Shapiro, The Year of Lear: Shakespeare in 1606
7) Fyodor Dostoevsky, Notes From Underground
8) Milan Kundera, Testament Betrayed: An Essay in Nine Parts
9) Robertson Davies, The Deptford Trilogy: Fifth Business
10) Robertson Davies, The Deptford Trilogy: The Manticore
11) Jed Rasula, Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century
12) Gore Vidal, Messiah*
13) Lawrence Durrell, Justine
14) Edgar Wallace, Four Just Men
15) Robertson Davies, The Deptford Trilogy: World of Wonders
16) Hans Richter, Dada: Art and Anti-Art
17) Bob Gluck, The Miles Davis Lost Quintet and Other Revolutionary Ensembles
18) Peter Richardson, No Simple Highway: A Cultural History of the Grateful Dead
19) Eric Hobsbawm, The Age of Extremes: A History of the World, 1914-1991
20) Yukio Mishima, Runaway Horses
21) Philip K Dick, We Can Build You
22) Robert Palmer, Rock and Roll: An Unruly History
23) Malcolm Lowry, Under the Volcano
24) Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia
25) Italo Calvino, The Cloven Viscount
26) Italo Calvino, The Non-Existant Knight
27) Lawrence Durrell, Balthazar
28) Henry James, The Turn of the Screw
29) James Joyce, Ulysses
30) Stuart Gilbert, James Joyce's Ulysses: A Study
31) Yukio Mishima, The Temple of Dawn
32) Al Dixon, The Real Pleasure in Life
33) David J Haskins, Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction
34) William Irwin Thompson, The Time Falling Bodies Take to Light: Mythology, Sexuality, and the Origins of Culture
35) David Stubbs, Future Days: Krautrock and the Building of Modern Germany
36) Lawrence Durrell, Mountolive
37) Nikolai Gogol, Dead Souls
38) Yukio Mishima, The Decay of the Angel
39) Ovid, Metamorphoses
40) Doris Lessing, Martha Quest
41) Voltaire, Candide
42) Thomas Hardy, The Return of the Native
43) David Keenan, England's Hidden Reverse
44) Milan Kundera, The Farewell Party
45) Norman Mailer, The Naked and the Dead
46) Henry Adams, The Education of Henry Adams
47) Shirley Jackson, The Haunting of Hill House
48) Lawrence Durrell, Clea
49) Jacob Silverman, Terms of Service: Social Media and the Price of Constant Connection
50) Stephen King, The Dead Zone
51) Mark Frost, The Secret History of Twin Peaks
52) Beowulf
53) Plato, The Republic
54) Owen Hatherley, Uncommon: An Essay on Pulp

----artists (in reverse-alphabetical order) whose C D's I have copies of in my permanent collection (as compared to the purgatorical collection—don't ask!) 553 in total [+ 35 artists classed under a related artist], bearing in mind that others may classify collaborative works differently (e.g. the Mike Bloomfield/ Al Kooper/ Stephen Stills album Super Session could count as the work as three distinct artists, all classed in this case under Blood, Sweat and Tears, instead of the one)----

Z Z Top
John Zorn
Frank Zappa

Richard Youngs
Neil Young
Lester Young
Larry Young
La Monte Young
Y Pants

Iannis Xenakis

Robert Wyatt
Frank Wright
World Saxophone Quartet
Tony Williams
Lucinda Williams
White Noise
Wedding Present
Weather Report
Johnnny Guitar Watson
Patty Waters
Charles Waters
David S Ware
Fats Waller
Yoshi Wada

Voice Crack
Virgin Prunes
Velvet Underground [incl. Lou Reed]
Sarah Vaughan
Edgard Varèse
Ken Vandermark
Van der Graaf Generator

Uncle Tupelo

McCoy Tyner
Charles Tyler
David Tudor
T Rex
Peter Tosh
Rafael Toral
To Live and Shave in L A
Cal Tjader
Richard Thompson
13th Floor Elevators [incl. Roky Erickson]
Thirteenth Assembly
Third Ear Band
Thimble Circus
Henry Threadgill
Theoretical Girls
Clark Terry
Cecil Taylor
Horace Tapscott
Tall Dwarfs
Talking Heads [incl. David Byrne]
Taj Mahal Travellers

Swell Maps
Swans [incl. Angels of Light]
Supreme Dicks
Sun Ra
Sun City Girls [incl. Alvarius B, Charles Gocher, Sir Richard Bishop, Uncle Jim, Invisible Hands]
Donna Summer
Morton Subotnick
Barbara Streisand
Status Quo
Squirrel Bait
Laurie Spiegel
Bruce Springsteen
Dusty Springfield
Spontaneous Music Ensemble
Alexander Skip Spence
Joseph Spence
Spacemen 3
Sonic Youth [incl. Thurston Moore; Text of Light]
Soft Machine
Michael Snow and Thollem McDonas
Smog [incl. Bill Callahan]
Wadada Leo Smith
Patti Smith
Jimmy Smith
Jack Smith
Bessie Smith
Small Faces
Sly and the Family Stone
Blaise Siwula [incl. Ambibat]
Siouxsie and the Banshees
Frank Sinatra
Nina Simone
Simon and Garfunkel [incl. Paul Simon]
Horace Silver
Silver Apples [incl. Amphibian Lark]
Matthew Shipp
Archie Shepp
Woody Shaw
Ravi Shankar
S F Jazz Collective
Raymond Scott
Sea Ensemble [incl. Zusaan Kali Fasteau and Donald Rafael Garrett]
Gunther Schuller
Alex von Schlippenbach
Savage Republic
Erik Satie
Kaija Saariaho

Arthur Russell
Royal Trux [incl. Neil Michael Hagerty; The Howling Hex]
ROVA Saxophone Quartet
Diana Ross
Sonny Rollins
Rolling Stones
Rocket From the Tombs
Gino Robair
Max Roach
Johnny Rivers
Terry Riley
Buddy Rich
Revolutionary Ensemble
Django Reinhardt
Hans Reichel
Steve Reich
Red Krayola
Otis Redding
Geoff Reacher
Hal Rammel
Rail Band
Eliane Radigue

Quiet Hooves

Flora Purim
Public Image Ltd.
Procol Harum
Prince Rama
Primal Scream
Pretty Things
Elvis Presley
Bud Powell
Pop Group
Plastic People of the Universe
Kike Pinto
Oscar Peterson
Lee Scratch Perry
Linda Perhacs
Pere Ubu [incl. David Thomas]
Art Pepper
Pearls Before Swine
Billy Paul
Jaco Pastorius
Partridge Family
Harry Partch
Gram Parsons
Alan Parsons Project
William Parker
Evan Parker
Charlie Parker
Augustus Pablo

Tony Oxley
Shuggie Otis
John Oswald
Ozzy Osbourne
Roy Orbison
Orange Juice
Yoko Ono
Olivia Tremor Control [incl. Circulatory System; John Kiran Fernandes; W Cullen Hart; Pipes You See, Pipes You Don't]
Pauline Oliveros
Will Oldham

Laura Nyro
Gary Numan
Ted Nugent
Noise-Maker's Fifes
No-Neck Blues Band
Harry Nilsson
New York Art Quartet
Joanna Newsom
New Riders of the Purple Sage
New Age Steppers
New Order
Steve Nelson-Raney
Willie Nelson
Oliver Nelson
Pandit Pran Nath
Ian Nagoski

My Cat Is an Alien
My Bloody Valentine
M V and E E
Musica Elettronica Viva
Music Tapes
Sunny Murray
David Murray
Gerry Mulligan
Paul Motian
Jelly Roll Morton
Van Morrison
Lee Morgan
West Montgomery
Thelonious Monk
Meredith Monk
Modern Jazz Quartet
Hank Mobley
Willie Mitchell
Roscoe Mitchell
Nicole Mitchell
Mission of Burma
Charles Mingus
Method Actors
Olivier Messiaen
Men at Work
Meat Puppets
Meat Loaf
Joe McPhee
Jackie McLean
Maurice McIntyre
Chris McGregor
Barbara Manning
Shelly Manne
Gerald Malanga
Mahavishnu Orchestra [incl. John McLaughlin]
Angus MacLise

Jimmie Lunceford
Frank Lowe
Lovin' Spoonful
Annea Lockwood
Little Feat
Liquid Liquid
Rune Lindblad
Abbey Lincoln
K Leimar
John Lennon
Led Zeppelin
League of Automatic Music Composers
Cyndi Lauper
Last Poets
Pete La Roca
David Lang
Lambert, Hendricks and Ross
Jonathan LaMaster
Steve Lacy
Joan La Barbara

Christina Kubisch
Peter Kowald
Takehisa Kosugi
Roland Kirk
Basil Kirchin
King Crimson
Carole King
Killing Joke

Joy Division
Janis Joplin
Elton John
Robert Johnson
James P Johnson
Blind Willie Johnson
Jesus and Mary Chain
Jefferson Airplane
Keith Jarrett
Joseph Jarman
Rick James
Bob James
Ken Jacobs
Milt Jackson
Michael Jackson
Jackie-O Motherfucker

Teiji Ito
Iron Butterfly
Abdullah Ibrahim

Bobby Hutcherson
Carl Ludwig Hübsch
Hubcap City (From Belgium)
Hot Fudge
Lena Horne
Paul Horn
Hugh Hopper
Billie Holiday
Andrew Hill
Jimi Hendrix
Joe Henderson
Judy Henske and Jerry Yester
Gerry Hemingway
Jimmy Heath
Isaac Hayes
Coleman Hawkins
Hawk and a Hacksaw
C M von Hausswolff
Emmylou Harris
Joe Harriott
Herbie Hancock
Hampton Grease Band
Ham1 [incl. Old Smokey]
Tom Hamilton
Daryl Hall/ John Oates
Keiji Haino [incl. Fushitsusha]
Charlie Haden

Brion Gysin
Mats Gustafsson
Vince Guaraldi
Gruppo di Improvvisazione Nuova Consonanza
Grateful Dead
Manuel Göttsching
Gunda Gottschalk
Gorky's Zygotic Mynci
Dexter Gordon
Sam Gopal
Benny Goodman
Malcolm Goldstein
Jimmy Giuffre
Stan Getz
Dizzy Gillespie [incl. The Modex Jazz Sextet]
Matthew Gee
Gastr del Sol
Garbage Island [incl. Hiro Noodles]
Rory Gallagher
Kenneth Gaburo

Chico Freeman
Aretha Franklin
Henry Flynt
Fleetwood Mac
Flaming Lips
Ella Fitzgerald
Firesign Theatre
Firehose [incl. Mike Watt]
Fifty Foot Hose
Fiery Furnaces [incl. Eleanor Friedberger]
Luc Ferrari
Maynard Ferguson
Simon H Fell
Morton Feldman
Fairport Convention
John Fahey

Bill Evans
Brian Eno
Emerson, Lake and Palmer
Duke Ellington
Electric Light Orchestra
Einstürzende Neubauten
Echo and the Bunnymen

Bob Dylan
Durutti Column
Kevin Drumm
Arnold Dreyblatt
Mark Dresser
Dream Scene
Arthur Doyle
Double Leopards
Kenny Dorham
Eric Dolphy
Willie Dixon
Bill Dixon
Dinosaur Jr.
Andrew Raffo Dewar
Lizzy Mercier Descloux
Sandy Denny
Miles Davis
Betty Davis
Lowell Davidson
Tadd Dameron
Karen Dalton

Jeremiah Cymerman
King Curtis
Alvin Curran
The Cure
Crosby, Stills and Nash [incl. Crosby, Stills, Nash and Young; David Crosby; Graham Nash]
Sonny Criss
Creedence Clearwater Revival
Elvis Costello
Chick Corea [incl. Return to Forever]
Sam Cooke
Loren Connors
John Coltrane
Alice Coltrane
Steve Coleman
Ornette Coleman
Bill Cole
Phil Cohran
Al Cohn-Zoot Sims Quartet
Leonard Cohen
Sonny Clark
Circle X
Charlie Christian
Vattel Cherry
Don Cherry
Cheap Trick
Eugene Chadbourne
Nick Cave [incl. Birthday Party]
Johnny Cash
Ron Carter
John Cale
John Cage
Cabaret Voltaire

Donald Byrd
Jerry Butler
William S Burroughs
Kenny Burrell
Burning Spear
Bubbly Mommy Gun
Jack Bruce
Dave Brubeck
Marion Brown
James Brown
Clifford Brown
Peter Brötzmann
Anthony Braxton
Max Brand
Glenn Branca
Boys of the Lough
Paul Bowles
David Bowie
Graham Bond
Blur [incl. Damon Albarn]
Blue Öyster Cult
Blue Orchids
Blood, Sweat and Tears [incl. Mike Bloomfield/ Al Kooper/ Stephen Stills]
Jaap Blonk [incl. Splinks]
Blithe Sons [incl. Child Readers; Franciscan Hobbies; Ivytree; Donovan Quinn]
Paul Bley
Carla Bley
Bobby Blue Bland
Art Blakey
Black Sabbath
Black Love
Big Brother and the Holding Company
Big Audio Dynamite
Chuck Berry
Tim Berne
William Bell
Captain Beefheart
Jeff Beck
Beach Boys
François Bayle
Count Basie
Thurman Barker
Derek Bailey
Joan Baez
Bad Brains
Johann Sebastian Bach

Albert Ayler
Robert Ashley
Art Ensemble of Chicago
Louis Armstrong
Archers of Loaf
Animal Collective [incl. Panda Bear; Avey Tare]
Tori Amos
Appliances-S F B
Paolo Angeli
Amon Düül II
Alternative T V
Herb Alpert and the Tijuana Brass
Allman Brothers Band
Terry Allen
Albion Dance Band
After Dinner
African Head Charge
George Adams/ Don Pullen
Adam and the Ants
Muhal Richard Abrams

For the award-winning Macroscopic 2013 blog, I attempted to construct a canon of Rock albums based on critics' lists and sales. This was not to assert or assess the validity of those critics' claims, or make any argument about how to consider the highest-selling albums from a critical vantage point. It was just an exercise in list-making: collating lists that don't necessarily match up in terms of how they were put together (especially when it comes to unacknowledged criteria for deciding what kind of music to include); determining to what extent a critical consensus exists among (mostly) U.S and British writers on Rock; and thus seeing more clearly what artists and albums have been ignored (a definite problem in the case of artists who focused mostly on singles instead of albums). Here's how that process went:

7 January 2013:
My "great books" project brings to mind sites like Metacritic that compile reviews and attempt to give a numerical summation of what, say, fifty publications have said about a given music album. The average number given should be ignored; it is extremely idiotic, especially as many of the sites whose reviews are being tabulated do not give a numerical score or even a school-style letter score. I give them a 0.5 for this aspect of their site. You can read the customary non-explanation of their "proprietary" method of determining Metascores yourself to see through the phlegm. But they do provide quick links to many reviews. They also remind me of the large number of music publications, online and print, nearly all offering year-end lists. These annual "best of" lists appearing over the course of December and January always intrigue me, often disgust me as well, as they're supposed to. Many web sites that did not begin as periodicals, such as the All-Music Guide (Best Albums of 2012) and E Music (Best Albums of 2012) have a blog-like section and also give annual lists. The web behemoth, Amazon (The Best Albums of 2012), once got a lot of attention for its yearly list, but I had to dig around to find it this year.

The music industry, from a broad economic perspective, is certainly struggling. Total sales and the number of high-selling releases are down. Terrestrial radio offers fewer options than ever, or at least since its early years in the 1920's. And yes, a few print magazines have stopped, or switched to online-only. Nonetheless, as with book publishing, more is available than ever before. Going into questions of aesthetics, that glut of material may very well be the reason music seems less significant to our lives. The music being created is no longer, in the abstract, as a whole, such a grand gesture, a unique treasure. Certain artists and works do stand out, though; using your own mix of standards, you need to filter the suggestions made by these publications, many with a strong interest, financial or intellectual, in getting you to buy new music, or at least make a lot of clicks.

The following is a list of extant music publications, as well as publications that offer all the expected content of a music-focused publication but which also focus on film, literature, etc., plus a link (if available) to their yearly round-up of the best albums. Many of the print magazines do not give away these lists for free on their web sites.

Absolute Punk (Top 30 Albums of 2012) [title change: Chorus F M]
Ad Hoc
Alt Sounds
Aquarium Drunkard
Club Fonograma (Best Albums of 2012)
Collapse Board
Consequence of Sound (Top 50 Albums of 2012)
Coke Machine Glow (Top 50 Albums 2012) XXX
Country Standard Time
Delusions of Adequacy (D O A) (Best of 2012)
Drowned in Sound (Favorite Albums of 2012)
Dusted XXX
Engine 145 (Top Albums of 2012) XXX
Faster Louder (Top 50 Albums of 2012)
Fast 'n' Bulbous (The Best Albums of 2012)
405 (Albums of the Year)
Freaky Trigger
Gigwise (Albums of the Year)
Hip Hop D X (Top 25 Albums of 2012)
In Music We Trust
K Mag
Line of Best Fit (The Best Fit Fifty Albums of 2012)
Live Music Blog
Louder Than War (The Albums of the Year 2012)
Music OMH (Top 100 Albums of 2012)
New Noise
No Ripcord (Top 50 Albums of 2012 (Part One); Top 50 Albums of 2012 (Part Two))
Obscure Sound (Best Albums of 2012)
Okayplayer (Top 12 L Ps of 2012)
Perfect Sound Forever
Pitchfork (The Top 50 Albums of 2012)
Pretty Much Amazing (Best Albums of 2012)
Resident Advisor (Top 20 Albums of 2012)
Reggae Report
Skyscraper (formerly printed)
Slicing Up Eyeballs XXX
Sound It Out
Sputnik Music (Top 50 Albums of 2012)
State (Albums of 2012)
Stereogum (Top 50 Albums of 2012)
Still Single
Tiny Mix Tapes (Favorite 50 Albums of 2012)
Tone Deaf
Urb (formerly printed)
Wondering Sound XXX
Yellow Green Red

Alternative Press (10 Essential Albums of 2012--see below)
American Songwriter (Top 50 Albums of 2012)
Artrocker (Artrocker Awards)
Big Cheese
Big Takeover
Black Velvet
Blues Matters
Blues Music Magazine
Blues and Rhythm
Blues and Soul
Brave Words and Bloody Knuckles
Clash(The Top 40 Albums of 2012)
Classic Rock
C M J New Music Report
Cyclic Defrost
Decibel (The Top 40 Albums of 2012--see below)
Decoder Magazine
D J Mag
D J Times
Exclaim! (Best Albums of 2012)
Filter (Top 10 of 2012)
Ghetto Blaster
Hittin' the Note
Iron Fist
Juke Blues
Living Blues
Loud and Quiet
M Music and Musicians
Magnet (Top 25 Albums of 2012)
Maximum Rocknroll
Metal Hammer
Mojo (50 Best Albums of 2012--see below)
New Musical Express(Albums of the Year)
Off Beat
Q (50 Best Albums of 2012)
Record Collector
Record Collector News
Rock Sound
Rolling Stone(50 Best Albums of 2012)
Source (Top 20 Albums of 2012--see below)
Spin (50 Best Albums of 2012)
Stomp and Stammer
This Is Fake D I Y
Ugly Things
Uncut (75 Best Albums of 2012--see below)
Under the Radar(Top 100 Albums of 2012)
Vive le Rock!
Wax Poetics
XLR8R (Best of 2012: Releases, Part OneBest of 2012: Releases, Part Two)

Publications that cover music but also focus on other media:
Digital Fix
Paste (The 50 Best Albums of 2012)
Pop Matters (The 75 Best Albums of 2012)
Quietus (Albums of the Year 2012)
Slant Magazine (The 25 Best Albums of 2012)
Slug Magazine
Spectrum Culture (Top 20 Albums of 2012)

Entertainment Weekly (10 Best Albums of 2012)
Fact (The 50 Best Albums of 2012)

Village Voice, with its famous Pazz and Jop Critics Poll that collects the top-ten lists of hundreds of critics [the subject of another post at some point this year], plus many other "alternative" newsweeklies, of which the most prominent in music have been the Chicago Reader and the Boston Phoenix--the latter now only online--should be noted, as should:

the Onion's A V Club (The Best Music of 2012);

the London newspaper the Guardian (Best Albums of 2012) has become as much a trendsetter as Pitchfork--listener beware!; the New York Times (Popcast: The Best Albums of 2012) is not so organized;

the government suggests a few (N P R Music's 50 Favorite Albums of 2012 and B B C Music's Top 25 Albums of 2012);

at least one person at M T V (Best Albums of 2012) still listens to music;

and the true curios of the bunch: A B C News (The 50 Best Albums of 2012), the Associated Press (A P Music Writers' Top 10 Albums of the Year), and Time (Top 10 Everything of 2012: Albums).

The Album of the Year web site provides a few lists not available online: Alternative Press's 10 Essential Albums of 2012 and Insound's Top 10 Albums of 2012 (apparently already replaced on their site by a longer "staff picks" list).

Another site, Year-End Lists, transcribes several of the print magazines' lists noted above but unavailable at their sites: Decibel; Mojo; Source; Uncut; Wire.

12 January 2013:
12 January Album of the Year uses a method somewhat similar to Metacritic, at times more transparent, at other times lacking in explanation. Their method starts out simple: a first-place finish in a year-end list gets an artist a certain number of points, second-place gives a smaller number, and so on. But they never bother to tell us exactly how many points. Someone who finds mathematics more amusing than I do could figure it out, assuming they don't weight certain publications more. But that might not be a safe assumption, because...

Like Metacritic, they make the mistake of estimating a numerical score for an album based on its reviews when those reviews did not give any numerical score; and offer no explanation of how those estimates were divined, other than noting that certain publications are weighted more. These scores, highlighted in green next to an image of the album's cover, are hard to avoid when browsing the site. Only the year-end summary focuses on the relatively simple, verifiable approach of rating albums based only on other numerical lists.

30 January 2013: [updated]
Having analyzed Album of the Year, we should discuss a similar site, Best Ever Albums. As stated on its 'How It Works' page: this site "aggregates over 7,900 different greatest albums charts to provide an easy way for visitors to look up and find out the greatest albums in history." My initial reaction was absolute shock at that number: 7,900—asking, "Music publications have made that many lists? Really?" But, of course, not really. Many lists have been published over the years, but this site only has 18 of them, as listed here:

N.M.E 's 100 Best Albums Of All Time (2003) (New Music Express)

The Top 100 Albums (2001) (V.H.1)

Top 100 Greatest Music Albums (2005) (Channel 4)

Top 100 Greatest Music Albums (2000) (Melody Maker)

100 Greatest Albums of All Time (1995) (Mojo)

The Guardian 100 Best Albums Ever (1997) (The Guardian)

Top 100 Albums (2006) (A.B.C)

100 Greatest Albums Ever (2006) (Q)

100 Greatest Albums Ever (2003) (Q)

Top 100 Greatest Music Albums (1997) (Q)

The Definitive 200 (2007) (National Association of Recording Merchandisers) [only the first 100 provided at this site; go instead to:]

Greatest 100 Albums of All Time (2006) (The Guinness Book of British Hit Singles and Albums with N.M.E)

The Top 50 Albums of All Time (2008) (Sound and Vision Magazine)

Virgin All-Time Top 1000 Albums (2000) (Virgin)

Top 100 Albums Ever (2010) (Consequence of Sound)

Top 500 Albums of All Time (2012) (Rolling Stone) [updated version of 2005 list with additions from list of albums released in the Aughts]

Top 500 Albums of All Time (2005) (Rolling Stone) [book version of 2003 list]

Top 500 Albums of All Time (2003) (Rolling Stone)

Where do the other 7,886 lists come from? Users. So that total is constantly changing, by the way. Granted, the site is quite transparent in its methods, unlike Album of the Year. You can even edit the 'Overall Chart' to create an aggregated list based just on 14 of those 18 charts (including only the most recent of the three lists each from Q and Rolling Stone). Nonetheless, this site has to be one of the strangest of all user-generated "2.0" sites out there. Submit your own list of the greatest albums of all time, see how your list compares to the overall average, perhaps get upset at the difference, create more user profiles so you can create many lists all somewhat similar so that you can alter the overall score. Why not?

[As of June, 2016, that total of 18 has increased to 43. They use the term, "recognised charts," to refer to these, as compared to "member charts," not suggesting a high estimation of those members' input. Here're those added:

100 Best Albums of the 2000s (2011) (Rolling Stone)

100 Best Albums of the Nineties (2010) (Rolling Stone)

100 Best Albums of the Eighties (1989) (Rolling Stone)

50 Best Albums of 2014 (2014) (Rolling Stone)

Critics' Picks: 10 Best Albums of 2012 (2012) (Billboard)

Critics' Picks: 15 Best Albums of 2013 (2013) (Billboard)

The 10 Best Albums of 2014 (2014) (Billboard)

The 500 Greatest Albums of All Time (2013) (New Musical Express)

Top 100 Greatest Albums of the Decade (2009) (New Musical Express)

Top 903 Listener Voted Albums of 2008 (2008) (K E X P)

The 100 All-Time Greatest Albums (2013) (Entertainment Weekly)

The Top 200 Albums of the 2000s (2009) (Pitchfork)

The 50 Best Albums of the Decade (2000-2009) (2009) (Paste)

CoS Top of the Decade: The Albums (2009) (Consequence of Sound)

Best of the Aughts: Albums (2010) (Slant Magazine)

Top 100 Albums of the 1990s (2003) (Pitchfork)

Best Albums of the 1990s (2011) (Slant Magazine)

The 90 Best Albums of the 1990s (2012) (Paste)

Top 100 Albums of the 1980s (2002) (Pitchfork)

The 80 Best Albums of the 1980s (2012) (Paste)

Best Albums of the 1980s (2012) (Slant Magazine)

Top 100 Albums of the 1970s (2004) (Pitchfork)

The 70 Best Albums of the 1970s (2012) (Paste)

Popjustice's 33 Best Albums of 2011 (2011) (Popjustice)

The Clash Top 40 Albums of 2008 (2008) (Clash)

So I ask again: is this all an elaborate joke? Given that 29,000 members have submitted charts currently totaling more than 23,000, and assuming that some of those members submit a huge number of charts, probably only a few thousand individuals don't think it's a joke—or they're in on the joke, getting kickbacks from the money generated by advertising on the site.]

1 February:
Critics' lists not among the 18 at Best Ever Albums:

British Broadcasting Corporation - Music of the Millennium

Guardian - The 50 Albums That Changed Music

Short List - The 50 Coolest Albums Ever

Time - All-Time 100 Albums

Also, one can read transcriptions of many more lists at Rocklist (one would like to think that the name is a pun on the word, rockist, but don't count on it) and a transcription of Vibe's 100 Essential Albums of the 20th Century at Dave's Music Database. You'll have to find the most-bored person in the world to write the creators of Best Ever Albums and ask why they don't include more of these lists in their equations.

8 February:
Given their implicit acceptance of the notion that those included in a list are winners, and that the entity ranked no. 1 in the list is the winningest of the winners, the ultimate list to which all creators of music-album rankings defer is that of the highest-selling albums. No matter how many users submit their own lists at Best Ever Albums, Album of the Year, and similar sites, no list will ever have the input of such a large number of individuals as sales charts do. Indeed, critics' list are both compared to the list of highest-selling albums in any given nation, and at times informed by a goal of making the list different from those charts. So any overview of critics' "best of" lists needs to keep in mind the "blockbuster" albums that have such a strong effect on listeners and musicians, especially when they are young and haven't been exposed to a broad array of music.

A problem arises, though, when we consider how long to make any list of the top-selling albums. It could go on forever, right down to self-released C.D.R's that have sold no copies or digital downloads with no downloaders. Even using a numerical determinant, such as one-million copies sold, is not as exact as one would like: the tabulations of sales has always been a source of controversy, especially before the launch of Sound Scan. The R.I.A.A's official site provides of list of all albums that have been certified platinum five times (named Top 100 Certified Albums, though the list is far greater than 100). In Britain, the Official Charts Company provides a list of The Official Top 40 Biggest Selling Albums of All-Time. Outside the U.S and U. K, sales have not been as consistently measured--nor would such lists be of significance to the history of popular music beyond a few nations like Germany (West Germany) and Japan, though hopefully they will be in the future.

In the Rock era at least, most of the albums that sold well were also good, though obviously not the best according to most standards, such is the relatively-objective nature of sales charts (though I suppose a populist could decide that the highest-selling albums are, by definition, the best). Following a transition era of 1985-1994, where an increasing number of the best-selling albums were either more obviously non-Rock in instrumentation and production, or blatantly-derivative and non-creative Rock music, mainstream music went to shit. The confounding success of the American Idol television program has only confirmed this--indeed, the participants unwittingly mock the very idea of popular music having any artistic value. Despite occasional great singles (Martin Solveig and Dragonette's 'Hello', Jeremih's 'Birthday Sex', Gorillaz's 'Dirty Harry', Usher's 'Yeah!', and this past year the two stand-out tracks on Frank Ocean's Channel Orange: 'Thinkin About You' and 'Bad Religion') the hit parade, especially the album charts, tends to be one disaster after another. [Even artists with a modicum of talent, such as Norah Jones, Usher, and Adele, don't challenge their listeners. Only a few Hip Hop artists who have made it to the highest sales levels actually could be said to make music that's genuinely new or that will prove to be influential.] In the list below, albums released from 1995 on have been crossed out, while those released 1985-1994 are put in brackets.

Since the "best of" lists done by magazines, writers, radio stations, etc., tend not to include compilations, or at least not generic "greatest hits" albums, a comparison between the best-selling lists, with compilations removed, and critics' lists is helpful (especially as the U K list includes three compilations in the top ten, the U S only one). I've also excluded movie-related albums, at least insofar as they are compilations, which they nearly always are (even if they emphasize a single artist, such as with Saturday Night Fever or The Bodyguard) the major exception being Prince's Purple Rain.

[See below for another section of The World's Wide Web that lists the highest-selling U.S albums from eight million copies upward.]

U.S (The top 73, selling more than ten million copies):
Thriller - Michael Jackson
Led Zeppelin [IV] - Led Zeppelin
Back in Black - A.C/ D.C
Come On Over - Shania Twain
Rumours - Fleetwood Mac
[Appetite for Destruction - Guns n' Roses]
Boston - Boston
[No Fences - Garth Brooks]
Jagged Little Pill - Alanis Morissette
[Cracked Rear View - Hootie and the Blowfish]
[Metallica - Metallica]
Hotel California - The Eagles
The Dark Side of the Moon - Pink Floyd
Santana - Supernatural
Born in the U.S.A - Bruce Springsteen
The Backstreet Boys - The Backstreet Boys
[Ropin' the Wind - Garth Brooks]
...Baby One More Time - Britney Spears
Bat Out of Hell - Meat Loaf
[Ten - Pearl Jam]
[Whitney Houston - Whitney Houston]
Millennium - The Backstreet Boys
Purple Rain - Prince and the Revolution
The Wall - Pink Floyd
[Breathless - Kenny G]
[Hysteria - Def Leppard]
[Slippery When Wet - Bon Jovi]
[No Jacket Required - Phil Collins]
Wide Open Spaces - The Dixie Chicks
[II - Boyz II Men]
Led Zeppelin II - Led Zeppelin
The Woman in Me - Shania Twain
Yourself or Someone Like You - Matchbox 20
Pieces of You - Jewel
Abbey Road - The Beatles
Houses of the Holy - Led Zeppelin
[CrazySexyCool - T.L.C]
No Strings Attached - 'N Sync
Falling Into You - Céline Dion
Sgt. Pepper's Lonely Hearts Club Band - The Beatles
Human Clay - Creed
Devil Without a Cause - Kid Rock
[Double Live - Garth Brooks]
Tapestry - Carole King
Come Away With Me - Norah Jones
The Stranger - Billy Joel
The Beastie Boys - Licensed to Ill
Let's Talk About Love - Céline Dion
[Unplugged - Eric Clapton]
[Dookie - Green Day]
[Please Hammer, Don't Hurt 'Em - M.C Hammer]
21 - Adele
Oops!...I Did It Again - Britney Spears
The Marshall Mathers L.P - Eminem
Led Zeppelin II
Hybrid Theory - Linkin Park
Like a Virgin - Madonna
Pyromania - Def Leppard
Fly - The Dixie Chicks
The Eminem Show - Eminem
1984 (MCMLXXXIV) - Van Halen
[Garth Brooks - Garth Brooks]
Confessions - Usher
Van Halen - Van Halen
Sevens - Garth Brooks
Tragic Kingdom - No Doubt
Can't Slow Down - Lionel Richie
[Nevermind - Nirvana]
Elvis' Christmas Album - Elvis Presley
[The Joshua Tree - U.2]
Eliminator - Z.Z Top
[Faith - George Michael]
Daydream - Mariah Carey
[Music Box - Mariah Carey]
'N Sync - 'N Sync

Two of these albums—The Wall - Pink Floyd and Double Live - Garth Brooks—are officially higher on the list than placed here, but only because of confusing R.I.A.A rules that sometimes, but not always, count a release twice if it's a double album. The Beatles - The Beatles; Physical Graffiti - Led Zeppelin; Life After Death - The Notorious B I G; Speakerboxxx/ The Love Below - OutKast; Mellon Collie and the Infinite Sadness - The Smashing Pumpkins; Up! - Shania Twain; and Songs in the Key of Life - Stevie Wonder are generally included on the list of ten-million sellers for the same reason. So are Bruce Springsteen's Live/ 1975-85 and the 1990 Led Zeppelin boxed set because the R.I.A.A will count boxed sets multiple times depending upon the number of discs or tapes. This rule has justly been subject to criticism. It should be ignored.

Sgt. Pepper's Lonely Hearts Club Band - The Beatles
(What's the Story) Morning Glory? - Oasis
Thriller - Michael Jackson
21 - Adele
[Brothers in Arms - Dire Straits]
The Dark Side of the Moon - Pink Floyd
[Bad - Michael Jackson]
Back to Black - Amy Winehouse
[Stars - Simply Red]
Rumours - Fleetwood Mac
Come On Over - Shania Twain
Back to Bedlam - James Blunt
Urban Hymns - The Verve
Bridge Over Troubled Water - Simon and Garfunkel
No Angel - Dido
Spirit - Leona Lewis
Bat Out of Hell - Meat Loaf
Talk on Corners - The Corrs
White Ladder - David Gray
Spice - The Spice Girls

9 February: [updated]
To compare differing albums lists, I've sketched out this uniform method of inscribing them in a single list: [name of publication] - [year list was published] - [number of items in the list]. As with the "great books" project [that is, what became Greater Books], only those lists that cover all music (even if Jazz, Classical, and more are essentially excluded) from all periods (but essentially from the mid-1950's onward, because the album had become dominant by that point) are included. So, with Best Ever Albums and Rocklist as our sources, plus a few direct links, we have in reverse-chronological order:

(Top 500 Albums) Rolling Stone - 2012 - 500

(The 75 Albums Every Man Should Own) Esquire - 2009 - 75

(Top 50 Albums of All Time) Sound and Vision - 2008 - 50

(21 Albums That Changed Music) Q - 2007 - 21

(The 50 Albums That Changed Music) Observer [Guardian's Sunday paper] - 2006 - 50

(100 Greatest Albums Ever) Q - 2006 - 100

(All-Time 100 Albums) Time - 2006 - 100

(50 Most Influential Albums of All Time) Kerrrang! - 2003 - 50

(100 Best Albums) New Musical Express - 2003 - 100

(100 Greatest Albums Ever) Q - 2003 - 100

(Top 500 Albums) Rolling Stone - 2003 - 500

(Top 40 Albums) U S A Today - 2003 - 40

(The Best Albums Ever...Honest!) Sunday Herald - 2001 - 103

(All Time Top 100 Albums) Melody Maker - 2000 - 100

(100 Essential Albums of the 20th Century) Vibe - 1999 - 100

(100 Albums You Must Hear Before You Die) Kerrang! - 1998 - 100

(100 Best Albums Ever) Guardian - 1997 - 100

(Top 100 Greatest Music Albums) Q - 1997 - 100

(100 Greatest Albums of All Time) Mojo - 1995 - 100

(100 Greatest CD's) Entertainment Weekly - 1993 - 100

(Top 100 Albums) New Musical Express - 1993 - 100

(The Vulture's 100 Best Albums of All Time) The Times Magazine - 1993 - 100

(The 25 Greatest Albums of All Time) Spin - 1989 - 25

(All Time 100 Albums) New Musical Express - 1985 - 99

(All Time Top 100 Albums) Sounds - 1985 - 100

(All Time Top 100) New Musical Express - 1974 - 100

With the Kerrang! lists, there's an implicit genre limitation in addition to those noted above, but since it's not stated we can just treat it as an all-encompassing list; in other words, for those compiling that list, Hard Rock, Heavy Metal, and to a lesser extent the slickly shit that passes for mainstream Rock these days are superior. I'm only including lists by periodicals (thus not the lists by the Australian Broadcasting Corporation, the B.B.C, V.H.1, Channel 4, the National Association of Recording Merchandisers, and the lists from the book version of the Rolling Stone list and the Guinness Book of British Hit Singles and Albums) and also excluding the lists from e-zines that are fairly young, Consequence of Sound and Slant Magazine. One list from a print publication, Short List, is excluded because it's not dated. A few other lists would be included, but are not available online (Billboard, Blender, Urb). The Time and Vibe lists are only arranged chronologically; so, by the way, is the book 1001 Albums You Must Hear Before You Die, a decent effort if only because of its size, but hampered by its laughable inclusion of many recent British mediocrities.

So which albums are on more of these lists than others? Focusing on the top five of each list, the number of placements for the following albums is so:

Pet Sounds - The Beach Boys: 9
Meet the Beatles - The Beatles: 1
Rubber Soul - The Beatles: 2
Revolver - The Beatles: 12
Sgt. Pepper's Lonely Hearts Club Band - The Beatles: 5
The Beatles - The Beatles: 1
If You're Feeling Sinister - Belle and Sebastian: 1
Black Sabbath - Black Sabbath: 1
The Rise and Fall of Ziggy Stardust and the Spiders From Mars - David Bowie: 2
Sex Machine - James Brown: 1
Ride This Train - Johnny Cash: 1
The Clash: The Clash - 2
Kind of Blue - Miles Davis: 2
Highway 61 Revisited - Bob Dylan: 8
Blonde on Blonde - Bob Dylan: 3
The Marshall Mathers L.P - Eminem: 1
Angel Dust - Faith No More: 1
What's Going On - Marvin Gaye: 3
Dookie - Green Day: 1
Electric Ladyland - The Jimi Hendrix Experience: 1
King of the Delta Blues Singers - Robert Johnson: 1
Destroyer - Kiss: 1
Trans-Europe Express - Kraftwerk: 1
Led Zeppelin II - Led Zeppelin: 1
Led Zeppelin [IV] - Led Zeppelin: 1
Master of Puppets - Metallica: 2
Astral Weeks - Van Morrison: 3
Phases and Stages - Willie Nelson: 1
Nevermind - Nirvana: 6
In Utero - Nirvana: 1
Straight Outta Compton - N.W.A: 1
Definitely Maybe - Oasis: 1
The Dark Side of the Moon - Pink Floyd: 1
Doolittle - The Pixies: 1
Lust for Life - Iggy Pop: 1
The Bends - Radiohead: 2
O.K Computer - Radiohead: 3
Transformer - Lou Reed: 1
Automatic for the People - R.E.M: 1
Beggars Banquet - The Rolling Stones: 1
Let It Bleed - The Rolling Stones: 1
Exile on Main Street - The Rolling Stones: 2
The Queen Is Dead - The Smiths: 2
Roots - Sepultura: 1
Nevermind the Bollocks, Here's the Sex Pistols - The Sex Pistols: 3
Graceland - Paul Simon: 1
In the Wee Small Hours - Frank Sinatra: 1
Horses - Patti Smith: 1
Darkness on the Edge of Town - Bruce Springsteen: 1
Nebraska - Bruce Springsteen: 1
The Stone Roses - The Stone Roses: 6
Fun House - The Stooges: 1
Marquee Moon - Television: 2
Heathen Earth - Throbbing Gristle: 1
The Velvet Underground and Nico - The Velvet Underground: 3
Swordfishtrombones - Tom Waits: 1

The top twelve albums:
1. Revolver
2. Pet Sounds
3. Highway 61 Revisited
4. The Stone Roses
4. Nevermind
6. Sgt. Pepper's Lonely Hearts Club Band
7. Blonde on Blonde
7. The Velvet Underground and Nico
7. Astral Weeks
7. What's Going On
7. Nevermind the Bollocks, Here's the Sex Pistols
7. O.K Computer

[Of the 25 lists now included at Best Ever Albums but which weren't there in 2013, only two fit the criteria I used to determine this master list: New Musical Express's The 500 Greatest Albums of All Time, published 2013; and Entertainment Weekly's The 100 All-Time Greatest Albums, 2013. The following albums received additional top-five placements; their new total number listed:

Revolver: 14
Purple Rain: 1
Exile on Main Street: 3
Thriller: 1
London Calling: 1
The Queen Is Dead: 3
Hunky Dory: 1
Is This It: 1
The Velvet Underground and Nico: 4

To compare these new results with the old top-twelve albums, see the updated 20 February post below].

19 February:
In the post of 9 February, I listed those albums that had made the top five of twenty-four lists of the best albums of all time. Those who'd prefer a method of giving a certain number of points for a first-place finish, a smaller number for a second-place finish, and so on, would point to the arbitrariness of focusing on the top five. Why not the top ten, fifteen, or twenty? My problem with such an opinion is that it ignores the random nature of the lists in the first place. Several publications, especially New Musical Express and, in recent years, Q, have published more lists than others; we often don't know which critics contributed to the lists; the two Rolling Stone lists are quite similar, but if we were to exclude one we'd have to establish clear, but inherently arbitrary rules, for limiting the number of lists from a single publication; and that's just the beginning. As we've seen from sites like Best Ever Albums or The Greatest Books, those aggregating these lists weigh some over others, in some cases without telling us which lists are considered superior, and how that superiority is computed. So how do we not know that the original listmakers pulled off similar maneuvers? Anyone familiar with the history of the Rock and Roll Hall of Fame can imagine that the notorious Jann Wenner's votes for the Rolling Stone lists, if he participated, could have counted more than the others' by factor of hundred, a thousand, who wants to know....

Instead, I'm going to see which of the albums I've already pulled from these lists appear in positions six through ten of those lists in which they didn't place in the top five. If, say, Radiohead's The Bends (which, as we've seen, made the top five of two lists) appears in the next five of two additional lists, it will get that second number placed next to it. Those albums that only appear in the positions, six through ten, will constitute a second list. Finally, an aggregated list will be made, with the highest-selling albums not on the critics' lists added at the end. Since we've got a list of 12 albums from the critics' list so far, the addition of a few more could give a number comparable to the highest-selling albums prior to 1985. This new list will be ready tomorrow.

While I don't want to belabor the point, this discussion further highlights the massive difference between "great books" and music-albums lists, and the superiority of the former. Since many of the book lists are made by individuals, their arbitrariness is obvious from the outset. Only the wide temporal scan from which they come (nearly 120 years) gives them more of a hard (social) science flavor than their music counterparts. Too fixated on ranking albums, popular-music listmakers have almost never made individualized lists. They collaborate, a fine gesture. However, the results rarely provide more than blurbs about the albums and often-interchangeable articles serving as a cheap way to sell magazines. An exception to this general rules is Tom Moon's 1,000 Recordings to Hear Before You Die, a decent-enough work (better than the 1,001-albums book), hampered primarily in that the author seems to know next to nothing about Rock music since the Punk era. It's especially useful if you want some guidance on Rhythm and Blues, Soul, and New Orleans artists that have been neglected by the Rock doc/ deluxe-expanded-legacy/ retro rags arbiters of commodification.

20 February [updated]:
Looking again at the list of critics' favorites, but with the number of placings at spots six through ten placed next to the number of top-five placings... Of those albums that didn't receive more than one top-five placing, one received enough six-through-ten rankings to warrant inclusion in a final list: The Beatles' "white album." Of those that received only two top-five rankings, several improved their position significantly: Exile on Main Street especially, followed by Ziggy Stardust, The Queen Is Dead, and Marquee Moon. Two albums that received three six-through-ten placings (London Calling and Are You Experienced?) also deserve mention.

[As per the updated 9 February post, the new tallies for those albums listed in the two lists added by Best Ever Albums since 2013 are included in brackets below.]

Pet Sounds - The Beach Boys: 9-2 [9-3]
Meet the Beatles - The Beatles: 1
Rubber Soul - The Beatles: 2
Revolver - The Beatles: 12-2 [14-2]
Sgt. Pepper's Lonely Hearts Club Band - The Beatles: 5-3
The Beatles - The Beatles: 1-4 [1-5]
If You're Feeling Sinister - Belle and Sebastian: 1
Black Sabbath - Black Sabbath: 1
The Rise and Fall of Ziggy Stardust and the Spiders From Mars - David Bowie: 2-2
Sex Machine - James Brown: 1
Ride This Train - Johnny Cash: 1
The Clash - The Clash: 2
Kind of Blue - Miles Davis: 2
Highway 61 Revisited - Bob Dylan: 8
Blonde on Blonde - Bob Dylan: 3-5
The Marshall Mathers L.P - Eminem: 1
Angel Dust - Faith No More: 1
What's Going On - Marvin Gaye: 3-5
Dookie - Green Day: 1
Electric Ladyland - The Jimi Hendrix Experience: 1-1
Destroyer - Kiss: 1
Trans-Europe Express - Kraftwerk: 1
Led Zeppelin II - Led Zeppelin: 1
Led Zeppelin [IV] - Led Zeppelin: 1-1
Master of Puppets - Metallica: 2
Astral Weeks - Van Morrison: 3-2
Phases and Stages - Willie Nelson: 1
Nevermind - Nirvana: 6 [6-1]
In Utero - Nirvana: 1
Straight Outta Compton - N.W.A: 1
Definitely Maybe - Oasis: 1-2 [1-3]
The Dark Side of the Moon - Pink Floyd: 1-1
Doolittle - The Pixies: 1 [1-1]
Lust for Life - Iggy Pop: 1
The Bends - Radiohead: 2-1
O.K Computer - Radiohead: 3
Transformer - Lou Reed: 1
Automatic for the People - R.E.M: 1-1
Beggars Banquet - The Rolling Stones: 1
Let It Bleed - The Rolling Stones: 1-1
Exile on Main Street - The Rolling Stones: 2-3 [3-3]
Roots - Sepultura: 1
Nevermind the Bollocks, Here's the Sex Pistols - The Sex Pistols: 3-5
Graceland - Paul Simon: 1
In the Wee Small Hours - Frank Sinatra: 1
Horses - Patti Smith: 1-2
The Queen Is Dead - The Smiths: 2-2 [3-2]
Darkness on the Edge of Town - Bruce Springsteen: 1
Nebraska - Bruce Springsteen: 1
The Stone Roses - The Stone Roses: 6-2 [6-3]
Fun House - The Stooges: 1
Marquee Moon - Television: 2-2
Heathen Earth - Throbbing Gristle: 1
The Velvet Underground and Nico - The Velvet Underground: 3-4 [4-4]
Swordfishtrombones - Tom Waits: 1-1
[London Calling - The Clash: 1-3
Thriller - Michael Jackson: 1
Purple Rain - Prince: 1
Hunky Dory - David Bowie: 1-1
Is This It - The Strokes: 1-2]

The albums that placed at positions six through ten, but didn't make the top five of any list, and the number of lists in which they appeared at positions six through ten:
Back in Black - A.C/ D.C: 1
Dirt - Alice in Chains: 1
Music From Big Pink - The Band: 1
The Band - The Band: 1
Abbey Road - The Beatles: 1
Vol. 4 - Black Sabbath: 1
Live at the Apollo - James Brown: 1
The Boatman's Call - Nick Cave and the Bad Seeds: 1
Meditations - John Coltrane: 1
This Years Model - Elvis Costello and the Attractions: 1
Layla and Other Assorted Love Songs - Derek and the Dominos: 1
Dire Straits - Dire Straits: 1
The Doors - The Doors: 1
Brining It All Back Home - Bob Dylan: 1
Liege and Lief - Fairport Convention: 1
I Never Loved a Man the Way I Love You - Aretha Franklin: 1
Repeater - Fugazi: 1
Appetite for Destruction - Guns n' Roses: 1
Are You Experienced? - The Jimi Hendrix Experience:3
Unknown Pleasures - Joy Division: 2
Autobahn - Kraftwerk: 1
Led Zeppelin [I] - Led Zeppelin: 1
John Lennon/ Plastic Ono Band - John Lennon/ Plastic Ono Band: 1
Forever Changes - Love: 2
Blue - Joni Mitchell: 1
Illmatic - Nas: 1
Low-Life - New Order: 1
(What's the Story) Morning Glory? - Oasis: 2
Crooked Rain, Crooked Rain - Pavement: 1
Elvis Presley - Elvis Presley: 1
Screamadelica - Primal Scream: 1
The Fat of the Land - The Prodigy: 1
It Takes a Nation of Millions to Hold Us Back - Public Enemy: 1
Kid A - Radiohead: 1
The Ramones - The Ramones: 1
Otis Blue - Otis Redding: 1
Sticky Fingers - The Rolling Stones: 1
Sister - Sonic Youth: 1
Reign in Blood - Slayer: 2
Fresh - Sly and the Family Stone: 1
Ænima - Tool: 1
Electric Warrior - T Rex: 1
Achtung Baby - U.2: 2
The Velvet Underground - The Velvet Underground: 1
Catch a Fire - The Wailers: 1
The Who Sell Out - The Who: 1
Who's Next - The Who: 1
After the Gold Rush - Neil Young: 1
Odyssey and Oracle - The Zombies: 1
Blood on the Tracks - Bob Dylan: 1
[Aretha Franklin - Lady Soul: 1
My Beautiful Dark Twisted Fantasy - Kanye West: 1
Different Class - Pulp: 1]

The final top albums (top-five rankings place an album above any number of six-through-ten rankings) [updated to show how the three new lists effect the results, and with an additional high-seller (Brothers in Arms) replacing Elvis' Christmas Album, which I later excluded because of its uncertain status as an album (see below)]:

1. Revolver - The Beatles
2. Pet Sounds - The Beach Boys
3. Highway 61 Revisited - Bob Dylan
4. The Stone Roses - The Stone Roses
4. Nevermind - Nirvana
6. Sgt. Pepper's Lonely Hearts Club Band - The Beatles
7. Blonde on Blonde - Bob Dylan
7. What's Going On - Marvin Gaye
7. Nevermind the Bollocks, Here's the Sex Pistols - The Sex Pistols
10. The Velvet Underground and Nico - The Velvet Underground
11. Exile on Main Street - The Rolling Stones
12. The Queen Is Dead - The Smiths
12. Astral Weeks - Van Morrison
14. O.K Computer - Radiohead
15. The Rise and Fall of Ziggy Stardust and the Spiders From Mars - David Bowie
15. Marquee Moon - Television
16. The Bends - Radiohead
17. Rubber Soul - The Beatles
17. The Clash - The Clash
17. Kind of Blue - Miles Davis
17. Master of Puppets - Metallica
21. The Beatles - The Beatles
22. London Calling - The Clash
23. Is This It - The Strokes
24. Hunky Dory - David Bowie
25. Thriller - Michael Jackson
25. Purple Rain - Prince

Plus a few top sellers to get close to 50:
27. Led Zeppelin [IV] - Led Zeppelin
28. Back in Black - A.C/ D.C
29. Rumours - Fleetwood Mac
30. Boston - Boston
31. Hotel California - The Eagles
32. The Dark Side of the Moon - Pink Floyd
33. Born in the U.S.A - Bruce Springsteen
34. Bat Out of Hell - Meat Loaf
35. Abbey Road - The Beatles
36. Led Zeppelin II - Led Zeppelin
37. The Wall - Pink Floyd
38. Houses of the Holy - Led Zeppelin
39. The Stranger - Billy Joel
40. Tapestry - Carole King
41. Pyromania - Def Leppard
42. Can't Slow Down - Lionel Richie
43. Like a Virgin - Madonna
44. 1984 (MCMLXXXIV) - Van Halen
45. Van Halen - Van Halen
46. Eliminator - Z.Z Top

From the list of U.K top sellers...
47. Bridge Over Troubled Water - Simon and Garfunkel
48. Brothers in Arms - Dire Straits

And from U.S sellers in the period, 1985-1994...
49. Appetite for Destruction - Guns n' Roses
50. The Joshua Tree - U.2.

The Entertainment Weekly list has the Goldberg Variations (the transcription at Rocklist doesn't note which recording, if any, the listmakers referred to) and four compilations not included here. The Guardian had one compilation: Robert Johnson's King of the Delta Blues Singers. However, we should at least note those artists that have compilations in high-selling positions, but which do not have high-selling studio albums or high-ranking critics' favorites: Elton John, Journey, The Steve Miller Band, Kenny Rogers, Aerosmith, James Taylor, Bob Marley, The Doobie Brothers, Tom Petty and the Heartbreakers, Patsy Cline; and in the U K, Queen and ABBA.

23 February: [updated]
A chronological list of the informal canon of music albums made from: first, the top ten of lists of ranked albums, made by music publications dating back to 1974; second, top-selling albums in the U S and the U K; and third, additions made by me based upon the albums that had already made the list, in order to fill in obvious gaps [the additions I made at the 21 February, 2 April, 8 April, 9 April, 10 April, and 11 April posts are now part of the list posted on 31 October].

I've further removed Elvis' Christmas Album, since its status as an album of original material is slightly hampered in that four of the twelve tracks had been released earlier in 1957 as an E P called Peace in the Valley, and those tracks were removed from the later, "budget" version of the album, replaced by newer tracks. The eight Christmas-themed tracks featured on all versions of the album could be considered an E P, being less than 20 minutes in length. Either way, and especially given its secondary place in Presley's oeuvre, I'm excluding it now.

In the Wee Small Hours - Frank Sinatra

Elvis Presley - Elvis Presley

Kind of Blue - Miles Davis

Ride This Train - Johnny Cash

Live at the Apollo - James Brown

The Beatles - Meet the Beatles

Rubber Soul - The Beatles
Bringing It All Back Home - Bob Dylan
Highway 61 Revisited - Bob Dylan
Otis Blue - Otis Redding

Pet Sounds - The Beach Boys
Revolver - The Beatles
Blonde on Blonde - Bob Dylan
Meditations - John Coltrane

Sgt. Pepper's Lonely Hearts Club Band - The Beatles
The Doors - The Doors
I Never Loved a Man the Way I Love You - Aretha Franklin
Are You Experienced? - The Jimi Hendrix Experience
Forever Changes - Love
The Velvet Underground and Nico - The Velvet Underground
The Who Sell Out - The Who

Music From Big Pink - The Band
The Beatles - The Beatles
Lady Soul - Aretha Franklin
Electric Ladyland - The Jimi Hendrix Experience
Astral Weeks - Van Morrison
Beggars Banquet - The Rolling Stones
Odyssey and Oracle - The Zombies

The Band - The Band
Abbey Road - The Beatles
Liege and Lief - Fairport Convention
Led Zeppelin - Led Zeppelin
Led Zeppelin II - Led Zeppelin
Let It Bleed - The Rolling Stones
The Velvet Underground - The Velvet Underground

Black Sabbath - Black Sabbath
Sex Machine - James Brown
Layla and Other Assorted Love Songs - Derek and the Dominos
John Lennon/ Plastic Ono Band
Bridge Over Troubled Water - Simon and Garfunkel
Fun House - The Stooges
After the Gold Rush - Neil Young

Hunky Dory - David Bowie
What's Going On - Marvin Gaye
Tapestry - Carole King
Led Zeppelin - Led Zeppelin
Blue - Joni Mitchell
Sticky Fingers - The Rolling Stones
Electric Warrior - T Rex
Who's Next - The Who

Vol. 4 - Black Sabbath
The Rise and Fall of Ziggy Stardust and the Spiders From Mars - David Bowie
Transformer - Lou Reed
Exile on Main St. - The Rolling Stones

Houses of the Holy - Led Zeppelin
The Dark Side of the Moon - Pink Floyd
Fresh - Sly and the Family Stone
Catch a Fire - The Wailers

Autobahn - Kraftwerk
Phases and Stages - Willie Nelson

Horses - Patti Smith

Boston - Boston
Hotel California - The Eagles
Destroyer - Kiss
The Ramones - The Ramaones

The Clash - The Clash
Rumours - Fleetwood Mac
The Stranger - Billy Joel
Trans-Europe Express - Kraftwerk
Bat Out of Hell - Meat Loaf
Lust for Life - Iggy Pop
Nevermind the Bollocks, Here's the Sex Pistols - The Sex Pistols
Marquee Moon - Television

This Years Model - Elvis Costello and the Attractions
Dire Straits - Dire Straits
Darkness on the Edge of Town - Bruce Springsteen
Van Halen - Van Halen

London Calling - The Clash
Unknown Pleasures - Joy Division
The Wall - Pink Floyd

Back in Black - A.C/ D.C
Heathen Earth - Throbbing Gristle

Nebraska - Bruce Springsteen
Thriller - Michael Jackson

Pyromania - Def Leppard
Can't Slow Down - Lionel Richie
Swordfishtrombones - Tom Waits
Eliminator - Z.Z Top

Like a Virgin - Madonna
Purple Rain - Prince and the Revolution
Born in the U.S.A - Bruce Springsteen
1984 (MCMLXXXIV) - Van Halen

Brothers in Arms - Dire Straits
Low-Life - New Order

Master of Puppets - Metallica
Graceland - Paul Simon
Reign in Blood - Slayer
The Queen Is Dead - The Smiths

Appetite for Destruction - Guns n' Roses
Sister - Sonic Youth
The Joshua Tree - U.2

Straight Outta Compton - N.W.A
It Takes a Nation of Millions to Hold Us Back - Public Enemy

Doolittle - The Pixies
The Stone Roses - The Stone Roses

Repeater - Fugazi

Nevermind - Nirvana
Screamadelica -Primal Scream
Achtung Baby - U.2

Dirt - Alice in Chains
Angel Dust - Faith No More
Automatic for the People - R.E.M

In Utero - Nirvana

Dookie - Green Day
Illmatic - Nas
Definitely Maybe - Oasis
Crooked Rain, Crooked Rain - Pavement

(What's the Story) Morning Glory? - Oasis
Different Class - Pulp
The Bends - Radiohead

If You're Feeling Sinister - Belle and Sebastian
Roots - Sepultura
Ænima - Tool

The Boatman's Call - Nick Cave and the Bad Seeds
The Fat of the Land - The Prodigy
O K Computer - Radiohead

The Marshall Mathers L.P - Eminem
Kid A - Radiohead

Is This It - The Strokes

Kanye West - My Beautiful Dark Twisted Fantasy


[Continuing the construction of a Canon of Rock as seen above, I suppose I let the daily demand of the Macroscopic blog encourage me to make my own additions, attempting to compensate for the apparent randomness of the contents of the critics' list. Here goes...]


21 February: [revised and updated]
While any serious listener, music artist, journalist, musicologist, etc., could come up with his own list of favorites (but many don't unless prompted—modesty I don't recommend in general, even if the lack of form it takes in this case is appreciated), what if we were to accept this informal canon constructed from critics' list and sales charts? Within the basic guidelines established by the artists selected there, what's missing?

- Highway to Hell - A C/D C. You've got an album with Brian Johnson, you need one with Bon Scott. Differing Australian and international versions of their early albums and the higher sales of Highway lead me to chose that one.

- Today!; Summer Days (and Summer Nights!!) - The Beach Boys. So Pet Sounds is the second-greatest album, but the albums that laid the groundwork for it rarely makes any lists, somewhat understandably—they're a bit uneven, with some filler.

- Please Please Me; A Hard Day's Night; Beatles for Sale - The Beatles. Their music needs to be appreciated in its early years to embrace where they went with it; sure, the U S album Meet the Beatles is extremely important historically, but overall the U K albums were sequenced better. A Hard Day's Night was all originals, no covers--a big deal at the time; Beatles for Sale is my choice for their early peak.

- Paranoid, Master of Reality, and Sabbath Bloody Sabbath - Black Sabbath. If you've got the first and fourth albums, you need the second, third, and fifth; arguably the most influential of all Rock bands, though that influence is often regrettable (not their fault).

- Station to Station; Low - David Bowie. Both are required to accompany Hunky and Ziggy.

- Live at the Apollo, Volume II; The Payback - James Brown. Keep the music going after Live at the Apollo and Sex Machine.

- Johnny Cash Sings the Ballads of the True West; At Folsom Prison; At San Quentin - Johnny Cash. Just listening to Ride This Train isn't going to get you far...

- Your Funeral... My Trial - Nick Cave and the Bad Seeds. You absolutely must listen to early Bad Seeds before later albums like The Boatman's Call.

- Modern Sounds in Country and Western Music - Ray Charles. Surprising not to see this.

- A Love Supreme - John Coltrane. Given that this album, like Kind of Blue, is one of those Jazz works Rock scribes have decided you are allowed to listen to, I'm very surprised it didn't any publication's top ten.

- Déj&agreave; Vu - Crosby, Stills, Nash and Young. A defining album for millions upon millions of people at the time; to me, it holds up well.

- Brothers in Arms - Dire Straits. Very high on the list of U K top sellers, and just below our cut-off point for U S top sellers, it's definitely better than their first album; many of their early fans would probably strong disagree. [This album was later added to the original 50.]

- The Freewheelin' Bob Dylan - Bob Dylan. As with Bowie's Low, there are probably plenty of lists out there with this album on them, they just aren't included here. Easily the album to start with when it comes to Dylan's Folk period.

- Axis: Bold as Love - The Jimi Hendrix Experience. If the other two Experience albums make the cut, I don't see any reason why this one doesn't; it hasn't several Hendrix classics: 'Spanish Castle Magic', 'Little Wing', 'If 6 Was 9', and 'Castles Made of Sand'.

- Loveless - My Bloody Valentine. If Pitchfork (which once proclaimed this the best album of the 1990's) and a few other younger publications did some all-time lists, this album would easily get some top-ten votes.

- Wish You Were Here - Pink Floyd. At least as good as The Wall.

- The Idiot - Iggy Pop. Goes well with Lust for Life, obviously enough.

- Different Class - Pulp. British publications got the Stones Roses' eponymous debut so high in the list, but not this album? [This album made the top ten of one of the two lists added since 2013.]

- Murmur - R E M. I'm prone to liking Automatic for the People better, but overall Murmur gets higher accolades—yet didn't make any of our top tens.

- Raising Hell - Run-D M C. Let's be blunt: if you put Eminem ahead of this, you're dumb.

- Arise - Sepultura. Seems like an appropriate companion to Roots.

- Parsley, Sage, Rosemary and Thyme - Simon and Garfunkel; Still Crazy After All These Years - Paul Simon. The latter is arguably the best choice of Simon's early years, needed to accompany Graceland. The former helps not to slight the duo.

- Songs for Swingin' Lovers - Frank Sinatra. The counterpart to In the Wee Small Hours.

- Stand! - Sly and the Family Stone. Earlier standard to accompany Fresh.

- Daydream Nation - Sonic Youth. See note on My Bloody Valentine.

- Born to Run; The River - Bruce Springsteen. If you're going to listen to Darkness on the Edge of Town, Nebraska, and Born in the U S A, you've got to listen to these too.

- Raw Power - Iggy and the Stooges. As with Low, this is an obvious one.

- Tres Hombres and Degüello - Z Z Top. How they got to Eliminator...

- Burnin' - The Wailers. The other early classic besides Catch a Fire.

- Rain Dogs - Tom Waits. Slightly better than Swordfishtrombones.

- My Generation, Tommy, and Quadrophenia. Necessary if you're going to delve into The Who Sell Out and Who's Next.

- Talking Book and Innervisions - Stevie Wonder. Since Songs in the Key of Life is often listed as a best-seller because the R I A A counts it twice, we should include a Wonder album or two; also note the many Grammy Album of the Year awards he won--another crucial sign of mainstream praise.

- Tonight's the Night - Neil Young. If you're going to have After the Gold Rush...

27 February:
Having already listed some artists with compilations, but not studio albums, which have sold more than ten million copies in the U S, and who also did not place in the top ten of any of the critics' lists, we should consider artists that we would expect to make critics' lists--and indeed do make many of the lists, just not high enough to make our aggregated list. Plus those artists that rank high on the R I A A's list of highest-selling artists but which have neither a studio album or compilation with more than ten million sales. Two glaring omissions, Frank Zappa and George Clinton, being very prolific, probably have an excess of great albums. While we could easily choose a few titles for newcomers to listen to (Maggot Brain, Mothership Connection, Freak Out, Hot Rats), we can also imagine what might have happened in the creation of an all-time list to cause these two to be excluded. Say a magazine polls ten of its writers, requesting a list of fifty albums. Two of them could have named One Nation Under a Groove, or Lumpy Gravy, one could say Funkentelechy vs. the Placebo Syndrome, or Over-Nite Sensation, and another Free Your Ass... And Your Mind Will Follow, or Uncle Meat. The result would be that none of those albums would make the magazine's top ten. A similar situation emerges with artists about whom most would agree reached a peak of artistry and popularity during a certain period, and which released several albums of similar caliber during that period. In other words, how did Kerrang! decide that Black Sabbath's Vol. 4 should be heard before Paranoid or Master of Reality? We've seen this problem already with the albums Stevie Wonder released, 1972-1976.

First, those with compilations selling more than ten million copies, whom I noted before:
Patsy Cline
The Doobie Brothers
Elton John
Bob Marley
The Steve Miller Band
Tom Petty and the Heartbreakers
Kenny Rogers
James Taylor;

and from the U K top sellers: Queen and ABBA.

Critics' favorites that have not made our list yet--focusing, as before, on the period, 1955-1985. The selections are either my own or come from the 10-through-50 positions (if applicable) in the same critics' lists used for previous posts, except the Kerrang! lists.
The Allman Brothers Band
Andrew W K
[Aphex Twin]
Joan Baez
[The Beastie Boys]
Harry Belafonte
Tony Bennett
Chuck Berry
[Big Daddy Kane]
Big Star
[Mary J Blige]
Booker T and the M G's
[Jeff Buckley]
Kate Bush
The Byrds
Captain Beefheart and the Magic Band
The Cars
[Vic Chesnutt]
Leonard Cohen
Shirley Collins
Alice Cooper
The Cure
Deep Purple
[De la Soul]
[Depeche Mode]
Derek and the Dominoes
Dexys Midnight Runners
Bo Diddley
[Dr. Dre]
Fats Domino
Lee Dorsey
[Youssou N'Dour]
Duran Duran
Ian Dury
Echo and the Bunnymen
Duke Ellington
Brian Eno
John Fahey
Fairport Convention
The Fall
Charlie Feathers
Ella Fitzgerald
The Flying Burrito Bros.
Peter Gabriel
Gang of Four
The Go-Betweens
The Grateful Dead
Al Green
Merle Haggard
Bill Haley and the Comets
Herbie Hancock
Isaac Hayes
Robyn Hitchcock
Buddy Holly
Howlin' Wolf
The Human League
Hüsker Dü
The Impressions
Iron Maiden
Etta James
Jefferson Airplane
Waylon Jennings
[The Jesus and Mary Chain]
Jethro Tull
Robert Johnson
Judas Priest
B B King
King Crimson
The Kinks
[K D Lang]
[L F O]
Little Richard
Loretta Lynn
[The Magnetic Fields]
[Manic Street Preachers]
[Massive Attack]
Curtis Mayfield
The M C5
[George Michael]
Minor Threat
The Minutemen
Moby Grape
The Modern Lovers
Thelonious Monk
The Moody Blues
Giorgio Moroder
Fred Neil
The New York Dolls
Harry Nilsson
[Nine Inch Nails]
[Sinéad O'Connor]
[The Orb]
Augustus Pablo
Gram Parsons
Dolly Parton
Pet Shop Boys
[Prefab Sprout]
The Pretenders
[Primal Scream]
Public Image Ltd.
The Raincoats
The Replacements
Smokey Robinson and the Miracles
Diana Ross and the Supremes
Roxy Music
Santana [of course, his later album Supernatural had been omitted from our list; so he's added here]
Pete Seeger
Siouxsie and the Banshees
The Soft Machine
The Specials
The Spice Girls
Dusty Springfield
Steely Dan
The Streets
Talking Heads
The Temptations
The 13th Floor Elevators
T Rex
[The Verve]
Scott Walker
Muddy Waters
Hank Williams
Bobby Womack
Frank Zappa

From the R I A A list of highest-selling artists, I've picked those with more than twenty million in total sales, and whose careers at least began before 1985, and those with compilations that have sold eight-nine million copies.

The Bee Gees
[Mary J Blige]
[Michael Bolton]
[Brooks and Dunn]
Jimmy Buffett
The Carpenters
Kenny Chesney
Eric Clapton [his Unplugged ranks among the top-selling albums, but falls into the 1985-1994 purgatory]
Phil Collins [No Jacket Required also a top seller released in the '85-'94 period]
Creedence Clearwater Revival
John Denver
Neil Diamond
Earth, Wind and Fire
[Vince Gill]
Faith Hill
Alan Jackson
Janet Jackson
Toby Keith
R Kelly
Lynyrd Skynyrd
Barry Manilow
Mannheim Steamroller
The Dave Matthews Band
[Reba McEntire]
Tim McGraw
John Mellencamp
Mötley Crüe
Ozzy Osbourne
The Police
[Red Hot Chili Peppers]
R E O Speedwagon
Linda Ronstadt
Bob Seger and the Silver Bullet Band
Rod Stewart
George Strait
Barbara Streisand
[T L C]
2 Pac
Luther Vandross

2 April:
The key albums from those artists who've made our list because they either have released compilations with more than eight million copies sold in the U S or have registered overall album sales of more than 20 million. Among those not already excluded (as seen on the 27 February post), Phil Collins is now excluded. As already noted, No Jacket Required comes from the 1985-1994 period from which most top sellers are being omitted. Furthermore, the two prior solo albums don't stand apart enough from the Genesis albums of the time. Indeed, I'd like to include a Genesis album from the post-Peter Gabriel era, but none of the albums have attained status as exemplary (either by commercial or critical standards) or epitomical of that period of the band. {Further additions made in 2016 are in braces like these.}

ABBA - Arrival{; The Album}
Aerosmith - Toys in the Attic; Rocks
Alabama - Mountain Music
The Bee Gees - Main Course; Children of the World
Jimmy Buffett - Changes in Latitudes, Changes in Attitudes
The Carpenters - A Song for You
Chicago - Chicago [II]
Eric Clapton - 461 Ocean Boulevard; Slowhand
Patsy Cline - Showcase
Creedence Clearwater Revival - Bayou Country; Green River; Willy and the Poor Boys; Cosmo's Factory
John Denver - Rocky Mountain High; Back Home Again
Neil Diamond - Hot August Night
Earth, Wind and Fire - That's the Way of the World
The Doobie Brothers - Toulouse Street; The Captain and Me
Enya - Watermark
Foreigner - 4
Genesis - {Foxtrot;} Selling England by the Pound; The Lamb Lies Down on Broadway
Heart - Heart
Elton John - Tumbleweed Connection; Madman Across the Water; Goodbye Yellow Brick Road; Captain Fantastic and the Brown Dirt Cowboy
Journey - Escape
Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd; Second Helping
Barry Manilow - Live
Mannheim Steamroller - Fresh Aire
Bob Marley and the Wailers - Natty Dread; Rastaman Vibration; Exodus
John Mellencamp - Scarecrow
The Steve Miller Band - Fly Like an Eagle
Mötley Crüe - Girls, Girls, Girls; Dr. Feelgood
Ozzy Osbourne - Blizzard of Ozz
Tom Petty and the Heartbreakers - Damn the Torpedoes; Tom Petty - Full Moon Fever
The Police - Synchronicity
Queen - Sheer Heart Attack; A Night at the Opera
R E O Speedwagon - Hi Infidelity
Kenny Rogers - The Gambler
Linda Ronstadt - Heart Like a Wheel; Simple Dreams
Rush - {2112; }Moving Pictures
Sade - Diamond Life
Bob Seger and the Silver Bullet Band - Night Moves
Rod Stewart - Gasoline Alley; Every Picture Tells a Story; A Night on the Town
George Strait - Strait From the Heart
Barbara Streisand - The Barbara Streisand Album; People
James Taylor - Sweet Baby James
Luther Vandross - Never Too Much

8 April:
The key albums for artists listed in the 27 February post: that is, those either in our critics' lists at nos. 20-50 or artists I've added because one would expect them to be on such lists; or perhaps we wouldn't expect them to be but they absolutely should be. For now, A through E (Note that the first half, roughly, of Duke Ellington's career is not represented because this list is only of studio and live albums of previously-unreleased material--or at least almost entirely previously-unreleased material because in many instances the first single of an album is released before the album itself; similarly, Louis Armstrong is not on this list--and again, we've only included Jazz artists because of unfortunate tendency of album listmakers to include a few token Jazz albums and in rarer cases a few token Classical and avant-garde albums): {Further additions made in 2016 are in braces like these:}

The Allman Brothers Band - The Allman Brothers Band; Idlewild South; Live at Fillmore East; Eat a Peach
Joan Baez - Joan Baez; In Concert{; Joan; Blessed Are...}; Diamonds and Rust
Harry Belafonte - Calypso; At Carnegie Hall
Tony Bennett - I Left My Heart in San Francisco; I Wanna Be Around...; [Tony Bennett/ Count Basie and His Orchestra] In Person!; Bennett and Basie Strike Up the Band
Big Star - Radio City; Third
Booker T and the M G's - Green Onions; Melting Pot
Kate Bush - Hounds of Love
The Byrds - Turn! Turn! Turn!; The Notorious Byrd Brothers
Captain Beefheart - [Captain Beefheart and His Magic Band] Trout Mask Replica; [Beefheart] Bat Chain Puller
The Cars - The Cars
Chic - C'Est Chic; Risqué
Leonard Cohen - Songs of Leonard Cohen; Songs From a Room; Songs of Love and Hate
Shirley Collins - [Shirley Collins and the Albion Country Band] No Roses
Alice Cooper - Billion Dollar Babies; Welcome to My Nightmare
Cream - Disraeli Gears
The Cure - {Faith; }Pornography; The Head on the Door{; Disintegration}
Deep Purple - Deep Purple in Rock; Fireball; Machine Head
Depeche Mode - Violator
Derek and the Dominoes - Layla and Other Assorted Love Songs
Dexys Midnight Runners - Too-Rae-Ay
Bo Diddley - Bo Diddley; Go Bo Diddley; Have Guitar Will Travel
Fats Domino - Carry On Rockin'; This Is Fats
The Doors - The Doors; L A Women
Lee Dorsey - Yes We Can
Youssou N'Dour - Immigrés; Set
Duran Duran - Duran Duran; Rio
Ian Dury - New Boots and Panties!!
Echo and the Bunnymen - Heaven Up Here{; Ocean Rain}
Duke Ellington - Ellington Uptown; Ellington at Newport; The Far East Suite
Brian Eno - [Eno] Here Comes the Warm Jets; [Eno] Taking Tiger Mountain (By Strategy); [Eno] Another Green World; Discreet Music{; Ambient 1: Music for Airports}

9 April:
Critics' darlings' albums, F-K, except for Charlie Feathers and Robert Johnson (the latter of course did not make studio albums, the former had a few studio albums but his singles receive higher accolades). Also, Billy Haley and the Comets would have one album (Shake Rattle and Roll) and B B King a second (Singin' the Blues) if we were including albums of which at least a majority of the tracks had been released as singles:

John Fahey - Blind Joe Death [final, 1967 version]; America
Fairport Convention - {What We Did on Our Holidays; }Unhalfbricking{; Liege and Lief}
The Fall - Hex Enduction Hour; This Nation's Saving Grace
Ella Fitzgerald - Ella Fitzgerald Sings the Cole Porter Songbook; Ella Fitzgerald Sings the Rodgers and Hart Songbook; Ella Fitzgerald Sings the Duke Ellington Songbook; Ella Fitzgerald Sings the Irving Berlin Songbook; Ella Fitzgerald Sings the George and Ira Gershwin Songbook
The Flying Burrito Bros. - The Gilded Palace of Sin
Funkadelic - Maggot Brain; One Nation Under a Groove
Peter Gabriel - Peter Gabriel [3]; Peter Gabriel [4]; So
Gang of Four - Entertainment!
The Go-Betweens - Before Hollywood
The Grateful Dead - Anthem of the Sun; American Beauty; Workingman's Dead; Live/ Dead; Europe '72{; Wake of the Flood}
Al Green - Let's Stay Together; Call Me
Merle Haggard - A Portrait of Merle Haggard; [Merle Haggard and the Strangers] Hag
Herbie Hancock - Headhunters
Isaac Hayes - Hot Buttered Soul; Black Moses
Robyn Hitchcock - I Often Dream of Trains; [Robyn Hitchcock and the Egyptians] Fegmania!
Buddy Holly - Buddy Holly; [The Crickets] The "Chirping" Crickets
The Human League - Dare
Hüsker Dü - Zen Arcade; New Day Rising; Flip Your Wig
The Impressions - The Impressions
Etta James - At Last!; Etta James Rocks the House; Tell Mama
Japan - Gentlemen Take Polaroids; Tin Drum
Jefferson Airplane - Surrealistic Pillow; Volunteers
Waylon Jennings - Honky Tonk Heroes; Dreaming My Dreams
Jethro Tull - Aqualung; Thick as a Brick
Judas Priest - Stained Class; British Steel
B B King - Live at the Regal
King Crimson - In the Court of the Crimson King; Larks' Tongue in Aspic
The Kinks - Something Else by the Kinks; The Kinks Are the Village Green Preservation Society; Arthur (Or the Decline and Fall of the British Empire)
Kiss - Alive!; Destroyer

10 April:

Little Richard - Here's Little Richard
Loretta Lynn - Don't Come Home a Drinkin' (With Lovin' on Your Mind); Coal Miner's Daughter
Curtis Mayfield - Curtis; Superfly; There's No Place Like America Today
The M C 5 - Back in the U S A
Minor Threat - Out of Step
The Minutemen - Double Nickels on the Dime
Moby Grape - Moby Grape
The Modern Lovers - The Modern Lovers
Thelonious Monk - Brilliant Corners; Monk's Moods{; Monk's Dream}
The Moody Blues - Days of Future Passed; In Search of the Lost Chord; On the Threshold of a Dream
Giorgio Moroder - From Here to Eternity
Motörhead - Overkill; Ace of Spades
Fred Neil - Fred Neil
Harry Nilsson - Nilsson Schmilsson
The New York Dolls - The New York Dolls
Augustus Pablo - East of the River Nile; King Tubby Meets the Rockers Uptown
Parliament - Mothership Connection
Gram Parsons - G P
Dolly Parton - Just Because I'm a Woman; Coat of Many Colors; Heartbreaker
The Pet Shop Boys - Actually
The Pretenders - The Pretenders; Learning to Crawl
Public Image Ltd. - Metal Box

11 April:
Q-Z (Note that both the Temptations and the Supremes have crucial albums from the 1960's that essentially served as studio albums but which consisted almost entirely of previously-released singles--namely, The Temptin' Temptations and the Supremes's Where Did Our Love Go; the same situation pertains to early albums by Chuck Berry [After School Session, 1957; One Dozen Berrys, 1958; Chuck Berry Is on Top, 1959], Bo Diddley [self-titled, 1958], Howlin' Wolf [Moanin' in the Moonlight; self-titled, 1962], and Muddy Waters [The Real Folk Blues; Down on Stovall's Plantation]): {Further additions made in 2016 are in braces like these:}

The Raincoats - The Raincoats; Odyshape
The Replacements - Let It Be; Tim
Smokey Robinson and the Miracles - [The Miracles] Hi... We're the Miracles; Going to a Go-Go; Make It Happen; [Smokey Robinson] A Quiet Storm
Diana Ross and the Supremes - [The Supremes] The Supremes Sing Holland-Dozier-Holland; [Diana Ross] diana
Roxy Music - Roxy Music; For Your Pleasure; Country Life; Siren
{Todd Rundgren - Something/ Anything?; A Wizard, a True Star}
Santana - Abraxas{; Santana III}
Pete Seeger - [The Weavers] The Weavers at Carnegie Hall; American Favorite Ballads [Vol. 1]
Siouxsie and the Banshees - The Scream; Juju
The Soft Boys - Underwater Moonlight
The Soft Machine - The Soft Machine; Third
The Specials - The Specials
Dusty Springfield - Stay Awhile/ I Only Want to Be With You; Dusty in Memphis
Steely Dan - Can't Buy a Thrill; Pretzel Logic{; Countdown to Ecstasy}
Suicide - Suicide; Alan Vega/ Martin Rev
Swans - Children of God; Soundtracks for the Blind
Talking Heads - 77; {More Songs About Buildings and Food; Fear of Music;} Remain in Light{; Speaking in Tongues}
The Temptations - The Temptations Sing Smokey; With a Lot o' Soul; Cloud Nine; Sky's the Limit; All Directions
The 13th Floor Elevators - The Psychedelic Sounds of the 13th Floor Elevators; Easter Everywhere
Traffic - Traffic; The Low Spark of High Heeled Boys
T Rex - T Rex; Electric Warrior; Slider
Scott Walker - Scott 3; Scott 4; Tilt
Muddy Waters - At Newport 1960; Hard Again
Bobby Womack - Understanding; The Facts of Life
Yes - Fragile; Close to the Edge{; Tales From Topgraphic Oceans}
Frank Zappa - Freak Out; Lumpy Gravy; Hot Rats; Over-Nite Sensation; Zoot Allures


[So much more to add, especially from the 1970's hey day of Rock and artists whose focus was always 45s, not albums, mostly from 1940's and '50's: Hasil Adkins; Amon Düül II; Bad Brains; Jeff Beck; Bobby Blue Bland; Blood, Sweat and Tears; Arthur Brown; Cabaret Voltaire; Can; The Clean; The Clovers; Cluster; The Coasters; Dick Dale; Sandy Denny; Dinosaur Jr.; Willie Dixon; The Drifters; The Electric Light Orchestra; Emerson, Lake and Palmer; Faust; The Feelies; The Four Tops; Buddy Guy; The Ink Spots; Iron Butterfly; Rick James; Gladys Knight and the Pips; Little Anthony and the Imperials; The Lovin' Spoonful; Frankie Lymon and the Teenagers; The Mamas and the Papas; Meat Puppets; Mission of Burma; The O'Jays; The Orioles; The Alan Parsons Project; The Pentangle; Carl Perkins; The Platters; The Pretty Things; Procol Harum; The Righteous Brothers; Sebadoh; Spirit; Steppenwolf; Styx; Tangerine Dream; 10cc; Peter Tosh; Toto; The Ventures; Billy Ward and His Dominoes; Johnny Guitar Watson; Barry White; Lucinda Williams; Link Wray; X; X T C—do we realize the pointlessness of this endeavor yet?]