Robert Christgau: Dean of American Rock Critics

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Any Old Way You Choose It Book Cover


These are known typographical errors in Any Old Way You Choose It. Page references are to the original edition: Penguin Books, 1973, unless 2nd Edition (Cooper Square Press, 2000) is noted. (The 2nd Edition was not re-typeset, so pages 1-314 are the same in both editions.) More items will be added to this list as we find them.

Note that capitalization of titles has generally been changed to be consistent with current practice. Such changes are not noted below.

Page 79-80: Don Kirschner
Don Kirshner
Page 106: COLORADO, LATE SEPTEMBER. . . . One of has to leave, so I do.
One of us has to leave
Page 116: Granted, this is speculation, . . . (who according to a recent Rat were put through the ringer by a male manager)
Page 135: Mike Nesmith and the First National Band: Loose Salute . . . B.
In the original CG 16, and in the CG '70s book, this record was listed as B+.
Page 145: His next release, "School Days," was another complaint song,
original song title was "School Day", although "School Days" appears on some reissues, such as The Great Twenty-Eight
Page 175: Yet I suspect that its flawless, rather languid loveliness is ultimately sporific, whereas Tapestry is in many ways an eye-opener.
Page 218: Joni's biggest single is on this record--"You Turn Me On (Like a Radio)"
"You Turn Me On (I'm a Radio)"
Page 267-268: As the refrain of "Peaceful Easy Feeling" advises: "Lighten up while you still can,/ Don't even try to understand,/ Find a place to make your stand/ And take it easy."
Lyric is from "Take It Easy"; the lyric quoted in the next paragraph is from "Peaceful Easy Feeling," so the footnotes that cite the two songs' publishers are reversed.
Page 300-301: And then, that winter, came "Up Tight."
Song title is "Uptight"; same error repeated two additional times
Page 303-304: . . . says Arthur Kaye, bassist of the New York Dolls. . . . Johnny Thunder has his own theory . . .
that would be Arthur Kane and Johnny Thunders; same error occurs throughout the piece
Page 307-308: This time it's wearing makup and platforms and platforms and suggesting possibilities of love that decent people don't want to think about.
Page 331-332: Beefheart's association with Frank Zappa . . . it isn't the products of his apparent musical sophistication that attract his fans so much as the way be has sold the idea.