The Real W.W.W

Visit the Cinematic Canon.
Watch the paint peel.

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The Results Are In: People Love Lists!

Find Out: Why?


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.

Amid all the chatter of "social media" supplanting anything and everything (conversation, reason, safe operation of automobiles...) in fact much of the Web, if not the world of "apps" on internet-connected "phones" (that is, tiny computers/ television devices), comes to us from organizations that exist in the real, "brick and mortar" world: magazines that still publish print versions; research and archival endeavors largely confined to university campuses; journalism and information-access efforts that either print newspapers, serve as community-organizing and politicking efforts, or produce films and television serials intended to be viewed as singular entities, not in fragmented form in one's "social media" feed; and so on. This list includes some organizations that largely exist online, or at least started online; but mostly consists of sites attached to an entity that does something other than create digital media (most of these: periodicals); in some cases, the connection is not one-to-one, but the material presented at the site definitely developed out of projects that would exist even if the material was not presented online or as part of any sort of screened/ broadcast presentation. To look at it another way: when abstract-and-indexing services only came in the form of books, nonetheless one would not claim that they existed primarily to be published as books. Rather, they happened to come in book form; in the present day, they largely come to us online. The work done to create those abstracts and indexes was going to be done regardless, as indeed the work is still done today. The difference between such projects and a book, even a book only published in digital form, is clear: an "e-book" is still meant to be read separately from other sources of information, as a singular work, its parts integral to the whole. Indexing-and-abstracting services, however, have not only been purchased en masse by a few companies but are incorporated into broader information-retrieval interfaces. Granted, periodicals that still publish print editions in many ways find that they have been subsumed by "social media": their articles being accessed only because a person shared a link at Facebook or Twitter or wherever, and the amount of attention that readers devote to the articles being not demonstrably different from that devoted to "social media" posts, pithy blog articles, "listicles," or caption-accompanied images. That is a good reason why we must persistently remind ourselves to read longer articles that entailed original research and show independent thought and to support periodicals that publish those articles. Some sites I cannot put in either category. The Associated Press, like other news services, runs their own website while providing content to newspapers, news websites, and others. The Poynter Institute is a journalism school that runs a newspaper, the Tampa Bay Times (originally the St. Petersburg Times), but also is involved in other efforts, like PolitiFact, that are exclusively online. Atlas Obscura began online but now publishes books and is used by tourists in much the same way that they use resources both born online (Trip Advisor) and begun as books (Roadside America). First Sounds seems to be produced largely by academics, but it is independent of any single organization. Critical Past was born online, but is not significantly different from older services providing audio-video footage of historical import for use by television news organizations, documentarians, and so on. And of course much of the footage to which they provide access was produced by governmental agencies. Muck Rock, too, would have existed as a political-organizing committee of some sorts, but in the age of digital media being remarkably accessible and easy to produce (or, perhaps more important, reproduce) it emphasizes its online repository of government documents.


Analog Science Fiction and Fact


Atlas Obscura



Big Internet Museum

Brain Pickings


Bureau of Public Secrets

Chicago Punk Database

Critical Past

Current History

Dangerous Minds

Diabolique Magazine

Dollars and Sense

D V D Beaver


The Fall Online

Fast 'n' Bulbous

First Sounds

Foreign Policy in Focus


From a Secret Location

Ted Gioia

Harper's Magazine

Independent Voices

Information Is Not Knowledge

Inner City Sound

Jump Cut

Light and Dust Anthology of Poetry

Literary Kicks

Literary Review


London Review of Books

Le Monde Diplomatique

Mondo Digital

Music Aficionado

New York Review of Books

N + 1

Point of Departure

Prince Vault

Prog Archives

Pro Publica

Public Books

Quarterly Essay


Reading Rat

Residents Official Site

Senses of Cinema

Synth Museum

3 A M Magazine


Trouser Press


Ugly Things Magazine

Marv Goldberg's Yesterday's Memories Rhythm and Blues Party

Victorian Web

Watching America


Wirz' American Music

Words Without Borders

World Wide Words

Neil Young Archives

Music... camps?


So many persons with so many things to say. Will we ever shut up?

Trevor Aaronson
Ben Burgis
Zachary D Carter
Patrick Cockburn
Noah Feldman
Thomas Frank
Conor Friedersdorf
Stanley Greenberg
Glenn Greenwald
Fred Kaplan
Dahlia Lithwick
Paul Krugman
Adrienne LaFrance
John McWhorter
Dylan Matthews
Suzanne Nossel
Blake Smith
Matt Taibbi
Zeynep Tufekci
Matthew Yglesias
Alexander Zaitchik

The 50 Best Good Bad Movies
The 50 Best Nonfiction Books of the Past 25 Years
1000 Novels Everyone Must Read
The Real Top 100 - Rock
25 Great Albums from Bad Artists
20 Oddball Sci-Fi Films of the 1970s

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)

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

The Special Release Series, part of Neil Young's Archives project, finally commenced in 2017 with Hitchhiker. Uncut magazine's cover story of September of that year offers potential track listings for nine unreleased Young albums, based as they say on "research, speculation and pure guesswork." For now, I'm ignoring Odeon-Budokan, because it would be a concert album consisting of alternate versions of songs available as studio tracks on other albums. As such, putting it with the other unreleased albums beclouds the big problem here: studio versions of songs on more than one album, a problem solved in some cases by differing recordings (to start, for example, the two versions of 'Powderfinger' currently available on Hitchhiker and Rust Never Sleeps). Granted, Rust Never Sleeps consists of mostly live tracks, and generally Young has been willing to include live tracks on otherwise-studio albums, but there's nonetheless an important distinction between a song that only exists as a live track on one of Young's major albums and a live version of a song otherwise available as a studio track, and Odeon-Budokan, as far as we know, would only include examples of the latter.

1) Homegrown
2) Star of Bethlehem
3) The Old Homestead
4) Love Is a Rose
5) Love Art Blues
6) Homefires
7) Give Me Strength
8) Deep Forbidden Lake
9) Try
10) Pardon My Heart
11) Kansas
12) White Line

In 2020, Homegrown finally came out. The actual tracking:

1) Separate Ways
2) Try
3) Mexico
4) Love Is a Rose
5) Homegrown
6) Florida
7) Kansas
8) We Don't Smoke It No More
9) White Line
10) Vacancy
11) Little Wing
12) Star of Bethlehem

Uncut was half right.

The others:

Chrome Dreams:
1) Pocahontas
2) Will to Love
3) Star of Bethlehem
4) Like a Hurricane
5) Too Far Gone
6) Hold Back the Tears
7) Homegrown
8) Captain Kennedy
9) Stringman
10) Sedan Delivery
11) Powderfinger
12) Look Out for My Love

1) Human Highway
2) Goin' Back
3) Sail Away
4) Pocahontas
5) Lost in Space
6) Little Wing
7) Already One
8) Peace of Mind
9) Comes a Time

Island in the Sun:
1) Little Thing Called Love
2) Hold On to Your Love
3) Bad News
4) If You Got Love
5) Raining in Paradise
6) Soul of a Woman
7) Big Pearl
8) Like an Inca

Old Ways [first version]:
1) Old Ways
2) Depression Blues
3) That's Alright Mama
4) Cry Cry Cry
5) Mystery Train
6) Wonderin'
7) California Sunset
8) My Boy
9) Are There Any More Real Cowboys?
10) Silver and Gold

Times Square:
1) Eldorado
2) Someday
3) Crime in the City
4) Box Car
5) Don't Cry
6) Heavy Love
7) Wrecking Ball
8) Cocaine Eyes
9) On Broadway

1) Quit (Don't Say You Love Me)
2) Goin' Hom
3) When I Hold You in My Arms
4) Standing in the Light of Love
5) Mr. Disappointment
6) The Gateway of Love

from the award-winning Macroscopic 2013 blog:

17 December 2013:
With this blog soon coming to an end, here's a list of sites 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 Webland, 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? Presumably.

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 2015, disc two, track eight: Storms (11/30/78 Version) with minor differences in tracking
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 2015, disc two, track 10: Never Make Me Cry (4/17/79 Version) the former is longer due to an included count off
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;
but not the bonus tracks that are on the 2004 reissue but are missing from the second disc of the 2015.

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

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

The self-titled 1975 album finally got its due in 2018, two-disc and four-disc versions: the first disc having the original album and single versions,
the second being demos and what-not plus a few tracks 'Live From the Warner Bros. Sound Stage', the third being a concert album,
and the fourth a D V D with 5.1 and high-definition mixes of the first disc. The 2004 reissue of this album has been made redundant, as its five bonus tracks are all included in the new version.


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! (see below)
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]

Live tracks on U S version of Got Live If You Want It! (LP, 1966), at least some of which feature overdubs in the studio :
Under My Thumb [2002 reissue uses alternate take]
Get Off My Cloud
Lady Jane
Not Fade Away
Fortune Teller
The Last Time
19th Nervous Breakdown
Time Is on My Side
I'm Alright [possibly the same backing track
as the version found on the U K version]
Have You Seen Your Mother, Baby, Stanind in the Shadow?
(I Can't Get No) Satisfaction

Stone Free
1966: B-side of Hey Joe
The Jimi Hendrix Experience
7, 9, 14 April, 17 May 1969: Valleys of Neptune

Mr. Bad Luck / Look Over Yonder
5 May 1967, partially re-recorded 5 June 1987: Mr. Bad Luck, Valleys of Neptune [2010]
22 October 1968: Look Over Yonder, Rainbow Bridge [1971]; and South Saturn Delta [1997]

The Stars That Play With Laughing Sam's Dice
19 July 1967 recording: B-side of Burning of the Midnight Lamp; and Smash Hits; 1972 remix included on Loose Ends [1974]; and South Saturn Delta

Little Wing [early version]
14 October 1967 recording (Axis: Bold as Love sessions): Little Wing, South Saturn Delta

Sweet Angel / **Angel**
13 November 1967 recording: Sweet Angel (Angel), South Saturn Delta; overdubs recorded 28 December 1967: The Jimi Hendrix Experience
28 January 1968 recording: Sweet Angel, Both Sides of the Sky [2018]
23 July, 20 August 1970 recording: Angel, 8 March 1971 7-inch 45, B-side of 'Freedom'; Cry of Love; and First Rays; alternate mix, Voodoo Soup

All Along the Watchtower
21, 26 January 1968 (Electric Ladyland sessions) alternate, early mix: South Saturn Delta

Tax Free [Bo Hansson/ Jan Carlsson]
26, 28 January, 1 May 1968 recording (Electric Ladyland sessions): on War Heroes [1972]; and South Saturn Delta

March 1968, partially re-recorded 1972: The Jimi Hendrix Experience; partially re-recorded and remixed 1974, Crash Landing
13 March 1968: People, Hell and Angels

My Friend
13 March 1968 recording: Cry of Love; and First Rays

South Saturn Delta
2 May, 14 June 1968 recording (Electric Ladyland sessions): South Saturn Delta

Cherokee Mist
2 May 1968 recording: Both Sides of the Sky

Inside Out
11 June 1968: People, Hell and Angels

**Hey Baby (New Rising Sun)** / New Rising Sun / Hey Gypsy Boy
23 October 1968: New Rising Sun West Coast Seattle Boy; abridged version, alternate mix, Voodoo Soup
18 March 1969: Hey Gypsy Boy, People, Hell and Angels; partially re-recorded and remixed: Gypsy Boy (New Rising Sun), Midnight Lightning
1970 recording: Hey Baby (New Rising Sun), Rainbow Bridge; and First Rays

Peace in Mississippi
24 October 1968: The Jimi Hendrix Experience [2013 reissue only]; abridged version, alternate mix, Voodoo Soup; partially re-recorded, 1975: Crash Landing

Lover Man [developed out of B B King's 'Rock Me Baby', which the Experience performed in concert]
29 October 1968: Here He Comes (Lover Man), South Saturn Delta
16 February 1969, partially re-recorded, 1987: Valleys of Neptune
15 December 1969: Both Sides of the Sky

Mojo Man [originally a recording by the International G T O's]
1969, August 1970: People, Hell and Angels

Sunshine of Your Love
16 February 1969: Valleys of Neptune

Crying Blue Rain
16 February 1969, partial re-recording, 1987: Valleys of Neptune

Spanish Castle Magic
17 February 1969: The Jimi Hendrix Experience

**Hear My Train a Comin'**
19 December 1967 [early acoustic version]: originally featured as an audiovisual recording in the film, Experience [1968]; Blues
March 1968: West Coast Seattle Boy
17 February 1969: The Jimi Hendrix Experience
7 April 1969: Valleys of Neptune; partially re-recorded and remixed, as 'Hear My Train': Midnight Lightning
9 April 1969: Both Sides of the Sky
21 May 1969: People, Hell and Angels

Fire [later version]
17 February 1969: Valleys of Neptune

Red House [later version]
17 February 1969: Valleys of Neptune

Lullaby for the Summer
7 April 1969: Valleys of Neptune

Ships Passing Through the Night
14 April 1969: Valleys of Neptune

Mannish Boy
22 April 1969 recording: Both Sides of the Sky
April 1969 composite version: Blues

**Bleeding Heart** [Elmore James]
18 March 1969: Blues
24 April 1969: Valleys of Neptune
21 May 1969: People, Hell and Angels
24 March, June 1970: War Heroes; and South Saturn Delta

Crash Landing [later developed into Freedom]
April 1969, partially re-recorded and remixed 1974: Crash Landing
24 April 1969 recording: People, Hell and Angels

Valleys of Neptune
February 1969: Hear My Music
September 1969: Lifelines
23 September 1969, 15 May 1970: Valleys of Neptune

The Star Spangled Banner
18 March 1969: Rainbow Bridge

Let Me Move You
18 March 1969: People, Hell and Angels

Georgia Blues
19 March 1969: Both Sides of the Sky

1, 3 April 1969 recording: on War Heroes; and South Saturn Delta; alternate mix, Voodoo Soup

Things I Used to Do
7 May 1969: Both Sides of the Sky; abrided version, Lifelines

Jelly 292 / Jam 292
14 May 1969: Jelly 292, Blues; abridged version, Loose Ends

Villanova Junction Blues
21 May 1969: People, Hell and Angels

28 August 1969: People, Hell and Angels
17 January 1970: to be released as a 7-inch b/w Stepping Stone but withdrawn; partially re-recorded and remixed June 1970: War Heroes [1972]; and First Rays

Easy Blues
28 August 1969: People, Hell and Angels; abridged version, Nine to the Universe [1981]

Message to the Universe/ Message of Love
28 August 1969 recording: Message to the Universe (Message of Love), South Saturn Delta
20 January 1970 recording: Message to Love, West Coast Seattle Boy; partially re-recorded, 1975: Crashing Landing; and Voodoo Soup

Woodstock [Joni Mitchell]
30 September 1969: Both Sides of the Sky

$20 Fine [Stephen Stills]
30 September 1969: Both Sides of the Sky

14 November 1969: Both Sides of the Sky

**Room Full of Mirrors**
17 November 1969, 20 August 1970 recording: Rainbow Bridge; and First Rays; partially re-recorded, January 1995: Voodoo Soup

**Stepping Stone**
14, 18 November 1969: Both Sides of the Sky
7, 17, 20 January: to be released as the B side to Stepping Stone but withdrawn; partially re-recorded 26 June 1970: War Heroes; and First Rays; partially re-recorded, January 1995: Voodoo Soup

**Ezy Ryder**
18 December 1969, 20 January, 15, 18 June, 2 July, 22 August 1970 recording: Cry of Love; and First Rays; alternate mix, Voodoo Soup

**Earth Blues**
19 December 1969: People, Hell and Angels; partially re-recorded 20 January, 26 June 1970: Rainbow Bridge; and First Rays

Send My Love to Linda
16 January 1970 : Both Sides of the Sky

Power of Soul
21 January, 3 February, 22 August 1970: Both Sides of the Sky; slightly abridged: South Saturn Delta; partially re-recorded and remixed 1974, entitled 'With the Power': Crash Landing

6 February 1970: The Jimi Hendrix Experience
15 May 1970: West Coast Seattle Boy
25 June, 14, 19 July, 14, 20 August 1970: 8 March 1971 7-inch 45 b/w 'Angel'; Cry of Love; and First Rays; alternate mix, Voodoo Soup

Midnight Lightning
23 March 1970: South Saturn Delta

**Night Bird Flying** [based at least partially on 'Ships Passing Through the Night']
16 June, 19 July 1970: planned to be B side to 'Dolly Dagger'; Cry of Love; and First Rays; alternate mix, Voodoo Soup

Pass It On / Straight Ahead
17 June, 19 July, and 20 August 1970: Straight Ahead, Cry of Love; and First Rays

Drifter's Escape
17 June, 19-20 July, 22 August 1970: South Saturn Delta; remixed 1974, Loose Ends

**Astro Man**
25 June, 19 July, 22 August 1970: Cry of Love; and First Rays

25, 29 June, 23 July, 20 August, 20 November 1970: Cry of Love; and First Rays; alternate mix, Voodoo Soup

Pali Gap
1 July 1970: Rainbow Bridge; South Saturn Delta; slightly abridged version, alternate mix on Voodoo Soup

Jam Back at the House/ **Beginnings**
1 July, 22 August 1970: Beginnings, War Heroes; and First Rays

**Dolly Dagger**
1, 15, 19-20 July, 14, 18, 20, 24 August 1970: Rainbow Bridge; and First Rays

**In From the Storm**
22 July, 20-24 August 197: Cry of Love; and First Rays; alternate mix, Voodoo Soup

**Belly Button Window**
22 August 1970: Cry of Love; and First Rays; alternate mix, Voodoo Soup

Freak Out:
1966 stereo: now part of The Mofo Project/Object
1966 mono: unavailable on C D
1969 re-mixes of 'It Can't Happen Here', 'You're Probably Wondering Why I'm Here', 'Who Are the Brain Police?', and 'Hungry Freaks, Daddy' included in Mothermania, reissued on C D in 2012
1985: partial re-mix prepared for The Old Masters Box One; subsequent C D's except Mofo feature this version

Absolutely Free:
1967 stereo: featured on 2012 C D reissue with the two additional tracks noted below, but in their original mono
1967 mono: unavailable on C D
1969 edited version of 'Call Any Vegetable' included in Mothermania, reissued on C D in 2012
1985: re-mix for The Old Masters Box One, with additional tracks: 'Big Leg Emma' and 'Why Don'tcha Do Me Right' in fake stereo;
all C D's featured this version until the 2012 issue noted above

We're Only in It for the Money:
1968 stereo and mono versions were released in both censored and "heavily censored" versions
1968 mono version now part of Lumpy Money
1985: partial re-recording for The Old Masters Box One, but with lyrics uncensored; 1995 Rykodisc features the original stereo mix of the censored version
1968 "heavily censored" version unavailable on C D?
1969 alternate versions of 'The Idiot Bastard Son' and 'Mother People' included in Mothermania, reissued on C D in 2012

Lumpy Gravy:
1968 stereo [mono reduction exists but apparently only for promotional copies]: supposedly featured on early C D versions
1995: Rykodisc reissue adds indexing (no longer merely two tracks corresponding to the A and B sides of the L P)
but also mistakenly has a section, nearly two minutes in length, in mono; 2012 C D features this version
1967 alternate, earlier version finally released as part of Lumpy Money, though apparently mistakenly made available on eight-track cartridge in 1967-68;
1986 alternate, later version that Zappa considered releasing including with the re-recorded version of We're Only in It on the two-for C D release of these albums also included in Lumpy Money

Cruising With Ruben and the Jets:
1968: now part of Greasy Love Songs
1985: partial re-recordeding for The Old Masters Box One, except 'Stuff Up My Cracks';
subsequent C D versions except Greasy Love Songs feature this version in addition to a re-mixed 'Stuff Up My Cracks'

Uncle Meat:
1969: now part of Meat Light
1986: re-mix for The Old Masters Box Two with bonus tracks; subsequent C D releases feature this version;
except that the U K version of the original C D [1987] features additional slight changes

STREAM - Performance - Date
post-Amory/ Corbin:
88 - Trans Pecos, Palisades, Bell House, Ave A, Trans Pecos--all New York, NY - 2016 March 20, 2016 April 1, 2016 April 22, 2016 May 13, 2016 July 8
Abril '14 - Cave 12, Geneva, Switzerland; Fylkingen, Stockholm, Sweden; WORM, Rotterdam, Netherlands - 2014 April 8, 2014 April 18, 2014 April 23
ABRIL20 - Korjaamo, Helsinki, Finland - 2014 April 20
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 7
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 - WKCR 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
47 - Castaways, Ithaca, NY - 2008 March 1
46 - Vassar College - 2008 February 21
45 - Bar, New Haven, CT - 2008 February 3
44 - Music Hall of Williamsburg, New York, NY - 2008 January 19
43 - Issue Project Room, New York, NY - 2007 December 7
42 - New York University 4th Floor Auditorium, New York, NY - 2007 December 6
41 - Empty Bottle, Chicago, IL - 2007 September 28
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
35 - Sacramento, CA - 2006 May 21
34 - Hemlock, Sab Francisco, CA - 2006 May 20
33 - [Jamnesty], Maplewood, NY - 2006 April
32 - Knitting Factory, New York, NY - 2006 February 25
31 - Wien Hall, New York, NY - 2006 February 14
3X - Syrup Room, New York, NY - 2005 December
29 - Webster Hall, New York, NY - 2005 November 20
28 - Cake Shop, New York, NY - 2005 November 4
27 - North Six, New York, NY - 2005 October 11
26 - Vox Populi, Philadelphia, PA - 2005 September 24
25 - Knitting Factory, New York - 2005 September 16
24 - Sin-é, New York, NY - 2005 September 5
23 - Rothko, New York, NY - 2005 July 10
22 - [Sonic Protest Festival], Paris, France, 2005 May 8
21 - Eyedrum, Atlanta, GA - 2005 April 1
XX - [studio recording?] - 2004 December 24
19 - Lit Lounge, New York, NY - 2004 November
18 - Knitting Factory, New York, NY - fall 2004
17 - 911 Florda Ave., Washington, DC - fall 2004
16 - Tonic, New York, NY - fall 2004
15 - Tonic, New York, NY - fall 2004
14 - Sin-é, New York, NY - summer 2004
13 - Tonic, New York, NY - summer 2004
12 - Brooklyn Lyceum, New York, NY, 18 June 2004
11 - Sin-é, New York, NY, spring 2004
0X - Pianos, New York, NY - spring 2004
09 - Coral Room, New York, NY - spring 2004
08 - S5TH, New York, NY - 2004 April 18
07 - [unnamed venue], New York, NY - "early spring" 2004
06 - Lit Lounge, New York, NY - "early" 2004
05 - Tonic, New York, NY - 2003 December 12
04 - Plaid, New York, NY - 2003 December 10
03 - Boogaloo, New York, NY - 2003 December 6
02 - Lit Lounge, New York, NY - summer 2003
01 - [studio recording] - later released as 'Heart Beat/ Rock Stepper', included in the compilation, OD

The Jazz Messengers!

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

The Art Ensemble of Chicago

A Jackson in Your House [1969] (Mitchell, Jarman, Bowie, Favors)
Tutankhamun [1969]
The Spiritual [1969]
People in Sorrow [1969]
Message to Our Folks [1969]
Reese and the Smooth Ones [1969]

Comme à la Radio [1969] (Brigitte Fontaine, Areski Belkacem, Mitchell, Jarman, Bowie, Favors, [Wadada] Leo Smith, Kakino de Paz, Albert Guez)
Certain Blacks [1970] (Mitchell, Jarman, Bowie, Favors, Chicago Beau, Julio Finn, William Howell)
Go Home [1970] (Mitchell, Jarman, Bowie, Favors, Fontella Bass, et al.)

Chi-Congo [1970] (Mitchell, Jarman, Bowie, Favors, Famoudou Don Moye)
Les Stances a Sophie [1970] (Mitchell, Jarman, Bowie, Favors, Moye, Bass)
With Fontella Bass [1970]
Phase One [1971] (Mitchell, Jarman, Bowie, Favors, Moye)
Fanfare for the Warriors [1973] (Mitchell, Jarman, Bowie, Favors, Moye, Muhal Richard Abrams)

Nice Guys [1978] (Mitchell, Jarman, Bowie, Favors, Moye)
Full Force [1980]
Great Black Music, Ancient to the Future [1982]
The Third Decade [1984]
Naked [1985-6]

Ancient to the Future (Dreaming of the Masters Series Vol. 1) [1987] (Mitchell, Jarman, Bowie, Favors, Moye, Bahnamous Lee Bowie)
The Alternative Express [1989] (Mitchell, Jarman, Bowie, Favors, Moye)
The Art Ensemble of Soweto [1989-90] (Mitchell, Jarman, Bowie, Favors, Moye, Elliot Ngubane, Joe Leguabe, Zacheuus Nyoni, Welcome Max Bhe Bhe, Kay Ngwazene)
America-South Africa [1989-90]
Thelonious Sphere Monk (Dreaming of the Masters Series Vol. 2) [1990] (Mitchell, Jarman, Bowie, Favors, Moye, Cecil Taylor)
Dreaming of the Masters Suite [1990] (Mitchell, Jarman, Bowie, Favors, Moye)
Coming Home Jamaica [1995-6] (Mitchell, Bowie, Favors, Moye)

Tribute to Lester Bowie [2001] (Mitchell, Favors, Moye)
The Meeting [2003] (Mitchell, Jarman, Favors, Moye)
Sirius Calling [2003]

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 The Mastery of John Coltrane Vol. IV: Trane's Modes]; Africa (First Version) [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 1]; 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) reissue: + Feelin' Good [originally released on The Mastery of John Coltrane Vol. 1: Feelin' Good]
1997 reissue: + Nature Boy (First Version) [originally released on The Mastery of John Coltrane Vol. 1: Feelin' Good]; Nature Boy (Live Version)
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 1967
2000 reissue: + Selflessness (originally released on Selflessness Featuring My Favorite Things, 1969); Dusk Dawn (Issued Take) (originally released on Living Space, 1998); Dusk Dawn (Alternative Take)
Vigil and Welcome included in The Classic Quartet

Om: Om
recorded 1965, released 1967

Expression: Ogunde; To Be; Offering; Expression
recorded and released 1967
1991 and 1993 reissues: + Number One [originally released on The Mastery of John Coltrane Vol. III: Jupiter Variation, 1978]

Transition: Transition; Dear Lord; Suite
1993 reissue: Dear Lord removed [released on Dear Old Stockholm instead]; Welcome and Vigil added, despite also being included on Kulu Sé Mama
recorded 1965, released 1970

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 from original included in The Classic Quartet

Interstellar Space: Mars; Venus; Jupiter; Saturn
recorded 1967, released 1974
all C D versions: + Leo; Jupiter Variation [both originally released on The Mastery of John Coltrane Vol. III: Jupiter Variation, 1978]

First Meditations (For Quartet): Love; Compassion; Joy; Consequences; Serenity
recorded 1965, released 1977
all C D versions include alternate version of Joy--this take also released with overdubbed percussion and strings on Infinity, 1972
all tracks included in The Classic Quartet

Dear Old Stockholm: Dear Old Stockholm; After the Rain; One Down, One Up; After the Crescent; Dear Lord
recorded 1963 (tracks 1-2); 1965 (tracks 3-5); track 1 originally released on the varied-artists compilation, The Definitive Jazz Scene Volume 2, 1964; track 2 originally released on Impressions, 1963; track 5 originally released on Transition, 1970; tracks 3 and 4 originally released on The Mastery of John Coltrane Vol. II: To the Beat of a Different Drum, 1978
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

Living Space: Living Space; Untitled 90314; Dusk-Dawn; Untitled 90320; The Last Blues
recorded 1965, released 1998; tracks 1-4 originally released on The Mastery of John Coltrane Vol. 1: Feelin' Good, 1978; track 1 also released with overdubbed percussion and strings on Infinity, 1972

The Mastery of John Coltrane Vol. III: Jupiter Variation, 1978, includes an additional track: Peace on Earth, also released with overdubbed percussion and strings on Infinity, 1972

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; track 4 also included on Dear Old Stockholm
2000 reissue: + Dear Old Stockholm [originally released on the varied-arists compilation, The Definitive Jazz Scene Volume 2, 1964; later on Dear Old Stockholm]
both 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
all 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

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]

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 1973 after 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
Sloan Wilson - The Man in the Gray Flannel Suit

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 [The Beat generation]
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 Luther King, Jr. - Stride Toward Freedom: The Montgomery Story
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
R D Laing - The Divided Self: An Existential Study in Sanity and Madness [Anti-psychiatry]
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 [Spring break]
Sheldon Wolin - Politics and Vision: Continuity and Innovation in Western Political Thought [The Berkeley school of political theory]

John Cage - Silence: Lectures and Writings
Frantz Fanon - The Wretched of the Earth
Waldo Frank - Prophetic Island: A Portrait of Cuba [The Fair Play for Cuba Committee]
Joseph Heller - Catch-22
Jane Jacobs - The Death and Life of Great American Cities
Thomas Szasz - The Myth of Mental Illness: Foundations of a Theory of Personal Conduct
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 [The Second Wave of Feminism]
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
Martin Luther King, Jr. - Why We Can't Wait [The civil-rights movement]
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 [New Journalism]
Malcolm X/ Alex Haley - The Autobiography of Malcolm X

Peter L Berger and Thomas Luckmann - The Social Construction of Reality: A Treatise in the Sociology of Knowledge
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 [The anti-war movement]
Daniel Keyes - Flowers for Algernon
Mark Lane - Rush to Judgment: A Critique of the Warren Commission's Inquiry Into the Murders of President John F Kennedy, Officer J D Tippit and Lee Harvey Oswald
William H Masters/ Virginia E Johnson - Human Sexual Response [The sexual revolution]
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
Stokely Carmichael/ Charles V Hamilton - Black Power: The Politics of Liberation
J William Fulbright - The Arrogance of Power
Thomas A Harris - I'm O K – You're O K
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
Frederick Exley - A Fan's Notes
Free [Abbie Hoffman] - Revolution for the Hell of It [The Youth International Party (Yippies)]
Paulo Freire - Pedagogia do Oprimido
Saint Geraud [Bill Knott] - The Naomi Poems: Book One: Corpse and Beans
James Simon Kunen - The Strawberry Statement: Notes of a College Revolutionary
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 [The Native American renaissance]
Andrew Sarris - The American Cinema: Directors and Directions 1929-1968 [The auteur theory]
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 [The Factory]
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 [Liberation theology]
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
Theodore Roszak - The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition
Gary Snyder - Four Changes
Kurt Vonnegut - Slaughterhouse-Five

Richard Bach - Jonathan Livingston Seagull
James H Cone - A Black Theology of Liberation
Shulamith Firestone - The Dialectic of Sex: The Case for Feminist Revolution
Jerry Farber - The Student as Nigger
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
Charles A Reich - The Greening of America
Jerry Rubin - DO IT!: Scenarios of the Revolution
Lynn Schroeder/ Sheila Ostrander - Psychic Discoveries Behind the Iron Curtain
Telford Taylor - Nuremberg and Vietnam: An American Tragedy
Eric Weber - How to Pick Up Girls!

Anonymous [Beatrice Sparks] - Go Ask Alice
Ram Dass - Be Here Now
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
Robert Masters and Jean Houston - Mind Games: The Guide to Inner Space
Donnella H Matthews, Dennis L Meadows, Jørgen Randers, and William W Behrens III - The Limits to Growth
Nena O'Neill and George O'Neill - Open Marriage: A New Life Style for Couples
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

The Boston Women's Health Book Collective - Our Bodies, Ourselves: A Book by and for Women
Rita Mae Brown - Rubyfruit Jungle
Jill Johnston - Lesbian Nation: The Feminist Solution
Erica Jong - Fear of Flying

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

----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
Future Ape Tapes
Deep Leaks, 2017
1093, 2016
Visuals, 2015
Pyramirrormid, 2014
Lives, 2013
Somnambuland, 2013
Reincarnations>>>>, 2011
Future Eights, 2010
Temples, 2010
D N A Superstar, 2008
Art of Darkness, 2007
Fuck the Future, 2006

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

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 Turgeneve, 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: A Critical History of Industrial Music
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 Soseki, 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: Public Discourse in the Age of Show Business
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: A Manifesto
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 Symbolist 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: A Secret History of the Esoteric Underground
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

1) John Hersey, Hiroshima
2) Doris Lessing, A Proper Marriage
3) Walter Lippmann, Preface to Morals
4) Charles Dickens, Great Expectations
5) Comte de Lautéamont, Maldoror
6) Muriel Spark, Memento Mori
7) Tim Lacy, The Dream of a Democratic Culture: Mortimer J Adler and the Great Books Idea
8) Gustave Flaubert, Sentimental Education
9) Tad Hershorn, Norman Granz: The Man Who Used Jazz for Justice
10) Louis Auchincloss, The Rector of Justin
11) Georges Bataille, The Story of the Eye*
12) Alex Beam, A Great Idea at the Time: The Rise, Fall, and Curious Afterlife of the Great Books
13) James Joyce, Dubliners*
14) Doris Lessing, A Ripple from the Storm
15) Doris Lessing, Landlocked
16) Anthony Haden-Guest, The Last Party: Studio 54, Disco, and the Culture of the Night
17) Thomas Hardy, Tess of the d'Urbervilles
18) Paul Griffiths, Modern Music: A Concise History
19) Philip Ennis, The Seventh Stream: The Emergence of Rocknroll in American Popular Music
20) Sophocles, Oedipus Rex
21) Sophocles, Oedipus at Colonus
22) Frederick Exley, A Fan's Notes
23) Italo Calvino, If on a Winter's Night a Traveler...
24) Sophocles, Antigone
25) Anthony Kenny, The Rise of Modern Philosophy: A New History of Western Philosophy Volume 3
26) Douglas Adams, A Hitchhiker's Guide to the Galaxy
27) Nick Norby, High Fidelity
28) Robertson Davies, The Salterton Trilogy: Tempest Tost
29) Philip K Dick, Flow My Tears, the Policeman Said*
30) Robertson Davies, The Salterton Trilogy: The SalLeaven of Malice
31) Kingsley Amis, Lucky Jim
32) Roberston Davies, The Salterton Trilogy: A Mixture of Frailties
33) Doris Lessing, Prisons We Choose to Live Inside
34) Sam Bully-Thomas, Cane
35) Stephen King, The Green Mile
36) Virginia Woolf, Mrs. Dalloway
37) Robert M Pirsig, Zen and the Art of Motorcycle Maintenance
38) Scott Frost, My Life, My Tapes: The Autobiography of F B I Special Agent Dale Cooper
39) Richard Yates, Revolutionary Road
40) Doris Lessing, The Four-Gated City
41) Dante, The Divine Comedy: Inferno*
42) Benjamin Piekut, Experimentalism Otherwise: The New York Avant-Garde and Its Limits
43) Yasunari Kawabata, Thousand Cranes
44) Albert Camus, The Myth of Sisyphus and Other Essays
45) Nicholson Baker, The Mezzanine
46) Nicholson Baker, Vox
47) William Makepeace Thackeray, Vanity Fair: A Novel Without a Hero
48) Mark Frost, Twin Peaks: The Final Dossier
49) David Hepworth, Never a Dull Moment: 1971—The Year Rock Exploded
50) H P Lovecraft, The Dream Quest of Unknown Kadath
51) Dante, The Divine Comedy: Purgatorio
52) Neil Young, Special Deluxe: A Memoir of Life and Cars
53) Milan Kundera, Life Is Elsewhere
54) Colette, Cheri
55) Dante, The Divine Comedy: Paradiso
56) Colette, The Last of Cheri

1) Joan Lindsay, Picnic at Hanging Rock
2) J D Salinger, The Catcher in the Rye
3) Kingsley Amis, The Green Man
4) Henrik Ibsen, The Wild Duck
5) William Golding, The Lord of the Flies
6) Alberto Manguel, A History of Reading
7) Vladimir Mayakovsky, The Bedbug
8) Lance Strate, Amazing Ourselves to Death: Neil Postman's Brave New World Revisited
9) Samuel Butler, Erewhon
10) Daniel Boorstin, The Image: A Guide to Pseudo-Events in America
11) William Golding, Pincher Martin
12) Natsume Soseki, Botchan
13) Siva Vaidhyanathan, The Googlization of Everything (And Why We Should Worry)
14) Frank Herbert, Dune
15) Mike McGonigal, Loveless
16) Ken Kesey, One Flew Over the Cuckoo's Nest
17) Ed Sanders, The Family: The Story of Charles Manson's Dune Buggy Attack Battalion
18) Thomas Hardy, The Mayor of Casterbridge
19) Mario Puzo, The Godfather
20) José Saramago, Blindness
21) Terry Eagleton, Literary Theory: An Introduction*
22) Doris Lessing, Under My Skin: Volume One of My Autobiography, to 1949
23) Italo Calvino, Marcovaldo or The Seasons of the City
24) Heinrich Böll, And Where Were You, Adam?
25) Franz Kafka, The Trial
26) Marshall McLuhan, Understanding Media: The Extensions of Man
27) Yasunari Kawabata, Snow Country
28) Philip K Dick, Martian Time-Slip
29) Saul Bellow, The Adventures of Augie March
30) David McLellan, Utopian Pessimist: The Life and Thoughts of Simone Weil
31) Milan Kundera, Ignorance
32) Laurence Sterne, The Life and Opinions of Tristram Shandy, Gent.
33) Arthur Koestler, Darkness at Noon
34) Melvyn New, Tristram Shandy: A Book for Free Spirits
35) Rupert Thomson, The Book of Revelation
36) Nicholson Baker, The Everlasting Story of Nory
37) Geert Mak, Amsterdam
38) Elizabeth Smart, By Grand Central Station I Sat Down and Wept
39) James Vance Marshall, Walkabout
40) Elie Wiesel, Night
41) Don DeLillo, Libra
42) Nicholson Baker, The Fermata
43) Daphne Du Maurier, Rebecca
44) Henri Bergson, An Introduction to Metaphysics
45) Diane Ackerman, A Natural History of the Senses
46) Bernard Malamud, The Natural
47) Giuseppe di Lampedusa, The Leopard
48) Bernard Gendron, Between Montmarte and the Mudd Club: Popular Music and the Avant-Garde*
49) Anthony Kenny, Ancient Philosophy: A New History of Western Philosophy Volume 1
50) Mark Greif, The Age of the Crisis of Man: Thought and Fiction in America, 1933-1973
51) Raold Dahl, Matilda
52) Jean-Paul Sartre, Nausea
53) Alfred Jarry, Caesar Antichrist
54) J D Salinger, Raise High the Roof Beam, Carpenters; and Seymour: An Introduction
55) Horace, The Odes
56) Aristotle, The Nichomachean Ethics
57) Apuleius, The Golden Ass
58) Shel Silverstein, Where the Sidewalk Ends*
59) Tom Wolfe, The Painted Word

1) Gore Vidal, Burr*
2) Jay Parini, The Empire of Self: A Life of Gore Vidal
3) Ben Yagoda, The B Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song
4) William S Burroughs, The Wild Boys: A Book of the Dead
5) Gore Vidal, 1876*
6) Virginia Woolf, A Room of One's Own
7) Daniel Clowes, David Boring*
8) Patti Smith, Just Friends
9) Petronius, Satyricon
10) Xhenet Aliu, Brass
11) Stuart Kelly, The Book of Lost Books: An Incomplete History of All the Great Books You'll Never Read
12) Gore Vidal, The Judgment of Paris*
13) Sven Birkerts, Changing the Subject: Art and Attention in the Internet Age
14) Patti Smith, M Train
15) Philip K Dick, A Maze of Death
16) Walter Tevis, The Man Who Fell to Earth
17) David Morton, Off the Record: The Technology and Culture of Sound Recording in America
18) Willa Cather, My Mortal Enemy
19) Jacques Ellul, The Technological Society
20) Vladimir Nabokov/ Alfred Appel, Jr., The Annotated Lolita
21) Shirley Jackson, We Have Always Lived in the Castle
22) Euripides, Bacchae
23) Alfred Bester, The Demolished Man
24) Aristophanes, The Birds
25) Arthur Conan Doyle, The Hound of the Baskervilles*
26) Doris Lessing, The Good Terrorist
27) Lucretius, On the Nature of Things
28) William Faulkner, The Sound and the Fury
29) Graham Greene, Brighton Rock
30) Hermann Hesse, Steppenwolf
31) Henry James, The Portrait of a Lady
32) Iris Murdoch, The Fire and the Sun: Why Plato Banished the Artists
33) W Somerset Maugham, The Razor's Edge
34) Robert Graves, I, Claudius
35) Vladimir Nabokov, Transparent Things
36) Isak Dinesen, Out of Africa
37) Milan Kundera, The Festival of Insignificance
38) Wim Mertens, American Minimal Music
39) Will Self, Umbrella
40) Roberto Calasso, Literature and the Gods
41) Gore Vidal, Lincoln
42) Augustine of Hippo, The Confessions of Saint Augustine
43) S E Hinton, The Outsiders
44) Richie Unterberger, Turn! Turn! Turn! The '60s Folk-Rock Revolution
45) Ric Menck, The Notorious Byrd Brothers
46) Damon Krukowski, The New Analog: Listening and Reconnecting in a Digital World
47) Helen DeWitt, Lightning Rods
48) Maurice Bowra, The Greek Experience
49) Gordon Lamb, Widespread Panic in the Streets of Athens, Georgia
50) Charles Eidsvik, Cineliteracy: Film Among the Arts
51) Ted Gioia, Music: A Subversive History
52) Irina Odoyevtseva, Isolde
53) Douglas Adams, The Restaurant at the End of the Universe

1) Haruki Murakami, The Elephant Vanishes
2) Philip K Dick, Counter-Clock World
3) Iris Murdoch, The Good Apprentice
4) H Rider Haggard, She
5) Peter Schaffer, Equus
6) Natsume Soseki, Kokoro
7) Joris-Karl Huysmans, Against Nature
8) Jason Heller, Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded
9) Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe
10) C S Lewis, Out of the Silent Planet
11) Gore Vidal, Empire
12) Philip K Dick, Lies, Inc.
13) J G Ballard, The Atrocity Exhibition
14) Gore Vidal, Hollywood
15) Tim Lawrence, Life and Death on the New York Dance Floor 1980-1983
16) George Bernanos, The Diary of a Country Priest
17) Susan Orlean, The Library Book
18) Arthur Conan Doyle, Adventures of Sherlock Holmes
19) Willa Cather, A Lost Lady
20) Daniel Defoe, A Journal of the Plague Year
21) J G Ballard, High-Rise
22) Anthony J Gribin and Matthew M Schiff, The Complete Book of Doo Wop
23) Joseph Conrad, Under Western Eyes
24) Saul Bellow, Herzog
25) Will Hermes, Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever
26) Gore Vidal, The Golden Age
27) Paul Bowles, The Spider's House
28) Andrew Grant Jackson, 1973: Rock at the Crossroads
29) George Sand, Mauprat
30) Giovanni Arrighi, The Long Twentieth Century: Money, Power and the Origins of Our Times
31) Muriel Spark, A Far Cry From Kensington
32) Raymond Carnver, Where I'm Calling From
33) Molière, The School for Wives
34) Phil Baker and Neil Young, To Feel the Music
35) Haruki Murakami, Kafka on the Shore
36) W B Yeats, The Death of Cuchulain
37) Iris Murdoch, The Sea, the Sea
38) Ted Templeman and Greg Renoff, Ted Templeman: A Platinum Producer's Life in Music
39) W B Yeats, Purgatory
40) Herman Melville, Moby-Dick; or, The Whale
41) Paddy Chayefsky, Altered States
42) J M Coetzee, Waiting for the Barbarians
43) Cormac McCarthy, The Road
44) Simon Ford, Hip Priest: The Story of Mark E Smith and the Fall
45) Edmund Wilson, To the Finland Station: A Study in the Writing and Acting of History
46) Juan Rulfo, Pedro Páramo
47) Stephen King, Christine
48) Chris Frantz, Remain in Love: Talking Heads, Tom Tom Club, Tina
49) Ian Fleming, Thunderball
50) David N Howard, Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings
51) Hermann Broch, The Sleepwalkers
52) Rob Young/ Irmin Schmidt, All Gates Open: The Story of Can
53) Albert Camus, The Fall
54) Barney Hoskyns, Small Town Talk: Bob Dylan, the Band, Van Morrison, Janis Joplin, Jimi Hendrix and Friends in the Wild Years of Woodstock
55) Gottfried Ephraim Lessing, Laocoön
56) Karl Hagstrom Miller, Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow
57) Graham Greene, The Heart of the Matter

1) Albert Camus, The Plague
2) George Sand, Indiana
3) Plautus, Pseudolus
4) James Hilton, Lost Horizon
5) William S Burroughs, Naked Lunch
6) Colin Escott, ed., All Roots Lead to Rock: Legends of Rock 'n' Roll
7) Naguib Mahfouz, Midaq Alley
8) Robert MacFarlane, The Old Ways: A Journey on Foot
9) Philip K Dick, Dr. Futurity
10) Raymond Queneau, Exercises in Style
11) Preston Lauterbach, The Chitlin' Circuit and the Road to Rock 'n' Roll
12) Robert Anton Wilson/ Robert Shea, The Illuminatus! Trilogy
13) Aldous Huxley, Antic Hay
14) Douglas Coupland, Generation X: Tales for an Accelerated Culture
15) Anna Wiener, Uncanny Valley
16) Peter Matthiessen, The Snow Leopard
18) Albert Murray, The Omni-Americans: Some Alternatives to the Folklore of White Supremacy
19) Johann Wolfgang von Goethe, The Sorrows of Young Werther
20) Mahmoud Darwish, Mural
21) Philip K Dick, The Man Who Japed
22) Andrew Grant Jackson, 1965: The Most Revolutionary Year in Music
23) Wanda von Sacher-Masoch, The Confessions of Wanda von Sacher-Masoch
24) Edgar Allan Poe, The Narrative of Arthur Gordon Pym of Nantucket
25) David Browne, Fire and Rain: The Beatles, Simon and Garfunkel, James Taylor, C S N Y, and the Lost Story of 1970
26) Woody Allen, Apropos of Nothing
27) David Stubbs, Future Sounds: The Story of Electronic Music from Stockhausen to Skrillex
28) Michael Bracewell, Re-make/Re-model: Becoming Roxy Music
29) Stephen Tow, London, Reign Over Me: How England's Capital Built Classic Rock
30) Shoshana Zuboff, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power
31) Tom Beaujour/ Richard Blenstock, Nöthin' but a Good Time: The Uncensored Oral History of the '80s Hard Rock Explosion
32) Friedrich Nietzsche, Thus Spoke Zarathustra: A Book for None and All

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

4 January

The U K magazine Sound on Sound has published these excellent 'Classic Tracks' essays but it's hard to get them listed on a single page, because the designers of their web site, like most web developers, couldn't care less about making information accessible. For the time being, this approach (somewhat) works:

Reading the Wikipedia entry on the magazine makes me less surprised at the high quality of these articles. Sound on Sound seems to be a superior publication in its field (perhaps the U S magazine Tape Op, launched in 1996, was inspired by Sound by Sound, which debuted in 1985).

from the award-winning Macroscopic 2013 blog:

10 January 2013

A list of publications covering Jazz, Classical, experimental, and so on, is comparatively quite depressing. In Jazz specificially, this situation arises not so much due to an excess of lemming sycophants, as in Rock genres, but because of sheer lack of interest. Thousands of listeners, not hundreds of thousands, devote a fair amount of time to listening to new Jazz, especially that which is not traditionalist in some fashion. Signal to Noise, mentioned previously, is switching to biannual publication. For traditionalists (you know... Woody Allen?) the Mississippi Rag is apparently gone with the passing of its editor and founder Leslie Johnson. You've got the mainstream rags: Jazz Times, Down Beat, Jazz Journal, Jazzwise, and Jazziz; two fine New York-centric publications (New York City Jazz Record and Hot House). Cadence, with its curious mix ranging from the Blues to Free Jazz, and previously connected to an eponymous major mail-order/online retail operation (now called Klompfoot), is being revived as an annual; the fate of the Canadian publication Coda, which for many years was the best among those covering modern/ avant-garde/ Free Jazz, is still uncertain, having gone on extended hiatus. While I'm only discussing English-language publications in these posts, the Jazz world is served by publications in Germany, Japan, and elsewhere to a greater extent than Rock music.

Stretching beyond Jazz, the situation seems better, though the U K magazine Avant is gone, following the London Musicians Collective's usually-excellent Resonance. The Wire helps tremendously, though it toned down its coverage of the Jazz avant-garde for much of the last decade only to pick it up again more recently. That publication's unpredictability with regard to what music gets covered presents several barriers to its relevance for post-Classical/ modern Classical/ post-Rock experimental/ avant-garde Jazz musicians. Artists whose releases have not been reviewed in some time will suddenly grace the magazine's cover. Artists with huge followings like Radiohead or Wilco get high accolades for brief moments, then get ignored again. It should be renamed the Waver.

Music Works, a Canadian voice for experimentalists, could be said to be the global voice. Two cheers for the Canadians--that is, if Coda comes back--because these publications know what they're doing and do it well. Plenty of academic journals do too (The Leonardo Music Journal, the A R S C Journal, Jazz Perspectives, Popular Music and Society, and a smattering more), but we're leaving those aside for now.

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

14 January 2013

Now, part 2 of the review of publications pertaining to Jazz, modern Classical, experimental, and so on: the e-zines, blogs, and so on.

Two are indispensable: Point of Departure and Paris Transatlantic [defunct]. A few others are worthy of attention: Destination: Out [defunct]; Disquiet; Hz [defunct]; Improvisor (formerly a magazine) [now entirely defunct]; Monk Mink Pink Punk [defunct]; and Squid's Ear (apropos my comment about e-zines doing web sales, this site is connected to Squid Co, where you can buy all sorts of Jazz and other hard-to-find-at-most-retail-stores music). Vital Weekly has offered a huge number of reviews for quite some time now, available via mailing list.

Many blogs, they come and go; here's some: Another World of Sound [defunct], Bang the Bore [defunct], Dark Forces Swing Blind Punches, Free Jazz Collective, 100 Greatest Jazz Albums (not exactly what its title suggests), Outer Space Gamelan [defunct], Scrapyard Forecast [defunct], Streams of Expression [more about poetry now], Touching Extremes, Watchful Ear. And just about Anthony Braxton: If You Know What I'm Saying [defunct?].

Classical music is covered at the daily Music and Vision; also the blog On an Overgrown Path. I don't follow these as much, especially not relatively-traditionalist Classical. I'm going to do a little research.

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
B M G Magazine [defunct?]
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:

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]

27 April:
2009: The Blog /Blob is my first blog, a year-long project like this one. On that site a list of music blogs that upload entire albums of others' music is provided, both because of the essay I wrote about "sharity," as these blogs were called, and the significant amount of music I listened to that year having been obtained through such blogs. Since 2009, though, many of those sites have disappeared, largely due to legal pressures, as discussed in the roundtable discussion at the e-zine, The Awl, The Rise and Fall of the Obscure Music Download Blog [defunct, but you can find the article at the Internet Archive using this link]. Though I miss the ease with which I could, say, hear all 12 discs of the complete works of Bernard Parmegiani, the decline of these blogs, overall, is a positive thing. The number of sites that focused on out-of-print, obscure albums of unknown legal status has always been dwarfed by the sites run by individuals simply copying C D's and giving away the music (as with that Parmegiani set), all the while speaking of the process in euphoric tones. Notice how the title and focus of that Awl article attempts to split "obscure music" sites from the larger "sharity" realm: a premature romanticization of recent history.

A few other issues to consider: first, the assumption that, if an album was released once, but is not currently in print, a listener who happens to own a copy should make it available for others to liste—as if the denial of consumer demands is a problem needing any possible solution. Of course, the "sharity" bloggers don't speak of consumers, or buyers. It's all about the music, right?—until they complain, as in that Awl discussion, about the plight of users having stored hundreds or thousands of files at sites like Megaupload only to see them disappear. How many of these bloggers and their followers stop to think about the effect of obsessive listening, compared to making music? One of the men behind Mutant Sounds, generally considered to be the most prominent of "sharity" blogs, Eric Lumbleau, had his own label and his own band (Vas Deferens Organization) but is more known now for providing low-quality digital copies of others' music via large conglomerates like Google. More recently, having considered ending the site, the Mutant Sounds crew have decided only to post music from artists who have given their permission.

On that note.... Second, you'll notice that, at several of the sites listed below, the bloggers are quick to say that an artist only needs to request that their music not be shared. Does this not sound familiar? You need to opt out yourself, instead of opting in? Much like the user needs to persistently check his account settings at Facebook, Google, etc., to ensure that a modicum of privacy is maintained? These blogs, justified as they are with grandiose claims of expanding the audience for obscure music, are following the practices of shady corporations everywhere.

So what sites are still active? As with any lists of blogs, this is far from definitive.

Aussie Music Blog

Awesome Tapes From Africa

The Boogieman Will Get Ya!

Buffalo Tones

The Changing Same

A Closet of Curiosities [defunct]

Die or D.I.Y.?

Dr. Schluss' Garage of Psychedelic Obscurities

Down Underground

Dusty Psychic Hut

Experimental Etc. [defunct; replaced by Slowdive's Corner]

Freedom Records [defunct]

L'Invitation au Suicide [defunct]

Lossless World [defunct]

Love in Spurts [defunct]

Meet the Music Traveler [defunct]

Mesmirization [defunct]

My Little Bubble... [defunct]

9 Grey Chairs [defunct]

No Longer Forgotten Music

Orgy in Rhythm

Prof Stoned: Rare & Deleted Vinyl

Q Records

Rest in Bits

Roots and Traces: Spurensicherung

Schwebeablaut [defunct]

Stuck in the Past! [defunct]

Systems of Romance

The Thing on the Doorstep [defunct]


We Fucking Love Music

Zero G Sound [defunct]

In addition to the the "go legit" approach of Mutual Sounds [now defunct] (apparently also taken, at least partially, by Microphones in the Trees and Ongakubaka--both of these sites aided by the sad fact that many of the contemporary artists discussed there already give away their music via Bandcamp and similar sites), several other sites have switched to being reviews sites, or the creators of "sharity" blogs have started new such sites: for example, Another Sucker on the Vine birthed In a White Room [defunct]; and Killed in Cars, which might still be giving away music, I can't tell, it's a mess [and, as of 2018, defunct]. Several other blogs, because of the legal crackdown, have also floundered between quitting and refashioning, making a few posts here and there over the last year.

7 January 2013: [updated]
My "great books" project [Greater Books] 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; many of the sites whose reviews are being tabulated do not give a numerical score or even a school-style letter score. They offer unhelpful non-explanations of their "proprietary" method of determining Metascores that, in a roundabout fashion, says that they prefer certain publications or critics over others and don't want to bother putting that preference into words (in other words, be a mindless consumer). 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, financially speaking, 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 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. 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; 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 and scrolls.

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. [If the publication's status has changed, it is noted in brackets.]

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) [Defunct]
Country Standard Time
Delusions of Adequacy (D O A) (Best of 2012)
Drowned in Sound (Favorite Albums of 2012)
Dusted [Defunct]
Engine 145 (Top Albums of 2012) [Defunct]
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 [Defunct]
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 [Defunct]
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.

9 January 2013:
Making a single list of the major music publications, and seeing the voluminous output of their annual reviews, makes me inclined never to read such lists again (unless of course I make them myself--ed.). Just as the musicians put themselves into cultural silos called Heavy Metal or Indie or whatever the horrible post-Pearl Jam/ post-Green Day schlock is called these days, or even confine themselves to local scenes (certainly prevalent in Athens, Ga., where I've spent much of my life), writers on music rarely engage with those who differ significantly in tastes and background. Only a few music e-zines truly branch out beyond song-composing or electronica artists. Dusted and Tiny Mix Tapes are the principal examples. In print, The Wire's editors often trip over themselves in their efforts at eclecticism; granted, we prefer they try and fail. Its U S doppelganger, Signal to Noise, stays more within the Jazz/ Improvised realm. Otherwise, the dominant trend with these publications and their annual reviews is to lie--not purposely, but indirectly nonetheless. That is, if they offer the "top" or "best" albums of 2012 without acknowledging the obvious broad, genre-based limitations at work, they're being disingenuous at best. At least Metal publications state their area of interest plainly.

Now that personal blogs, even blogs shared by several authors, are no longer faddish, old-fashioned 1990's-style e-zines seem more prevalent than ever (if not prominent). Apparently enough people wanting to write about music, but not willing to create their own site or blog, are willing to work for a pittance writing reviews. (Maybe many of these writers are working for little more than free access to music and gigs.) Granted, a few publications are largely the work of a few individuals; still one can imagine a different version of music publishing online, closer to the model suggested by Fast 'n' Bulbous. There, a single individual reviews more albums than many publications do. Then he organizes his favorites into an elaborate array of lists. But his approach is uncommon; it requires more time and effort than most can handle. In other words, the relative lack of barriers that defines web publishing certainly has contributed to the current glut of e-zines, but it had more of a direct relationship with blogs and personal sites. Perhaps as more sales happen online, popular-music critics can reap some benefits—learning some Web design in the process, becoming a pro at developing all those "click bait" listicles and ads that pollute our sight. That line of thought makes me wonder why more of these sites don't attempt what Insound and E Music are doing: integrating sales with editorial content. Of course, in my cynicism regarding the crap music most of these e-zines are peddling, I'm ignoring the youthful enthusiasm many of these writers undoubtedly feel, presumably having found a coterie of like-minded fans.

12 January 2013:
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.

3 February:
For more lists not included at Best Ever Albums, Rocklist, or elsewhere, go to the following page at Dave's Music Database:

7 February:
Studying "great books" lists has lead me, as seen here, to one of my periodic reviews of music-album rankings. And it has lead me for the first time to ponder why music listmakers seem dead-set on ranking the listed albums. The logic at work, that of mathematics surely, but also that of competition (gaming, sportsmanship, capitalism), has been used by nearly every critics' poll to determine the order in which to list albums--in stark contrast to the personalized lists more common in "great books" list-making, wherein books are generally listed chronologically: given numbers often, but only for organization's sake, with no thought given to which are the top five or ten. As I've discussed in the "great books" posts, many of the lists include excerpts of books, essays originally published in periodicals, and so on. The music lists, on the other hand, focus on albums, with on occasion separate lists for singles. Only with halls of fame do we see a similar approach to "great books": artists themselves are included, with no indication of one being greater than another, except indirectly in that a few artists are inducted in their first year of eligibility, others are not; and those artists not inducted as early as possible, even when they are inducted, receive a lower level of support. This means that the album lists are simpler, and easier to compare with each other; but they also fail to relate a broader history of the music eras and genres covered by the list. Many of the "great books" listmakers write entire books explaining their selections, in the process relating an informal history of literature, and in some cases civilization itself.

8 February: [updated]
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. 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 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[alas, apparently no longer online]. 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 (e.g. Kylie Minogue's 'Can't Get You Out of My Head', Jeremih's 'Birthday Sex', Gnarls Barkley's 'Crazy', Martin Solveig/ Dragonette's 'Hello!', Frank Ocean's 'Thinkin Bout You') the hit parade, especially the album charts, tends to be one disaster after another (the divas who rule the pop world—Taylor Swift, Beyoncé, Adele, Katy Perry, Kanye West—often merely sell their personalities, crappy stories about them crafted into short films with big budgets but little to no artistry). 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, 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).

[See also the other 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

At this point in the development of the award-winning Macroscopic 2013 blog, I attempted to construct a canon of Rock albums based on sales and critics' lists. 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: (but please don't actually read beyond this point):

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.

- Déjà 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 two 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, 1972-6.

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 [incl. V S O P]
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?]-->

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