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Corrigenda
These are known typographical errors in Christgau's Record Guide: Rock Albums of the 1970s. Page references are to the original edition: Ticknor & Fields, 1980. 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 8: not London Calling nor Crawfish Fiesta nor Live Dead nor Oh! Pleasant Hope, all of which | Blue Cheer |
| Page 20: The Kinks Kronikles | The Kink Kronikles |
| Page 28: Duane Allman: An Anthology . . . listen again to Boz Scaggs's "Somebody Loan Me a Dime" | "Lone Me a Dime" |
| Page 34: Average White Band: Show Your Hand . . . A cross between te Spinners and the Main Ingredient | the |
| Page 35: Bachman-Turner Overdrive: NotFragile | Not Fragile (two words) |
| Page 36: Badfinger: Straight Up . . . Also, the Beatles put nicer pictures on the cover--pictures of themselves. | The cover of Straight Up shows a picture of the band. |
| Page 40-41: The Beach Boys: Holland (Brother/Reprise '72) . . . The Beach Boys: Carl and the Passions--So Tough/Pet Sounds (Brother/Reprise '72) | Release order: Carl and the Passions--So Tough was released first. Also, Holland was released Jan. 8, 1973. |
| Page 48: Bizarros/Rubber City Rebels: From Akron . . . (including viol, lest we forget John Cale) | viola? |
| Page 51: Blood, Sweat & Tears: Greatest Hits . . . Highlights: "Lisa, Listen to Me" and "I Can't Quit Her," neither of which made top hundred--and both of which make me appreciate Al Kooper very much. | Al Kooper didn't appear on the former, so: the latter of which makes . . . |
| Page 53: Blue Oyster Cult: Mirrors . . . Only "In Thee," a farewell to Patti Smith by Allen Lanier that deserves to become a standard on the order of "Allison," is more than marginally interesting. | Presumably this refers to the Elvis Costello song, spelled "Alison." |
| Page 61: James Brown: Get on the Good Foot . . . The hook on the twelve-minute "Please, Please" (not to be confused, of course, with "Please, Please, Please") repeates one hundred forty-eight (and a half) times. | repeats |
| Page 66: Cindy Bullens: Desire Wire . . . This woman sets out to prove that she can write and perform songs about the joys of rock and roll and the perils of romance are tougher, sprightlier, and more propulsive than Eddie Money's. | that are |
| Page 69: The Butterfield Blues Band: Sometimes I Feel Like Smilin' | Sometimes I Just Feel Like Smilin' |
| Page 70: The Byrds: Farther Along (Columbia '71) . . . The Byrds: Byrdmaniax (Columbia '71) | Release order: Byrdmaniax was released first. |
| Page 74: Captain Beefheart and the Magic Band: Shiny Beats (Bat Chain Puller) . . . Bruce Fowler's trombone is especially thaumaturgic adding an appropriately natural color to the electric atonality of the world's funnist ecology crank. | funniest |
| Page 74: Carmen: Fandango in Space | Many discographies give this as Fandangos in Space |
| Page 80: Chic: Risque . . . Edwards and Bernard Rodgers proved on Sister Sledge's "Lost in Music" that hedonism and its discontents . . . | Bernard Edwards and Nile Rodgers |
| Page 84: Jimmy Cliff: Music Maker . . . It's time we reminded ourselves that there are only three Jimmy Cliff songs on The Harder They Come. | Four, actually. |
| Page 84: Jimmy Cliff: In Concert/The Best of Jimmy Cliff . . . Always a passionately soulful live performer, he puts a lot into them, but the exigencies of in-concert arrangement ake more out | take |
| Page 88: Commander Cody and His Lost Planet Airmey: Live From Deep in the Heart of Texas . . . Billy C. vs. Roy Brown?? Buck Ownes?? | Buck Owens |
| Page 90: Ry Cooder: Jazz (Warner Bros., '77). | 1978 |
| Page 100: Daddy Cool: Daddy Cool? Daddy Cool! (Reprise '71) | Daddy Who? Daddy Cool! |
| Page 102: Miles Davis: Water Babies (Columbia '78) . . . Miles Davis: Agharta (Columbia '76) | album order should be reversed |
| Page 108: The Dictators: Go Girl Crazy! (Epic, '76) | 1975 |
| Page 109: Bo Diddley: The London Bo Diddley Sessions . . . Hint: Bo's best-of is called Got My Own Band of Tricks. | Got My Own Bag of Tricks |
| Page 112: Dr. John: Right Place, Wrong Time (Atco '73) | In the Right Place |
| Page 113: The Doobie Brothers: Best of the Doobies . . . In fact, the baseline hooks of "China Groove" and "Long Train Comin'" move me so efficiently that by the time we get to "Listen to the Music" . . . | "Long Train Runnin'" |
| Page 118: Bob Dylan: Street-Legal . . . This divorcée sounds overripe, too in love with his own self-generated misery to break through the leaden tempos that oppress his melodies, devoid not just of humor but of lightness--unless, that is, he intends his Neil Diamond masquerade as a joke. | divorcé (Dylan, right?) |
| Page 128: Emerson Lake & Palmer: Works: Volume 2 . . . gallumphing respectfully through Scott Joplin and Meade Lux Lewis . . . | galumphing |
| Page 129: George Faith: To Be a Lover . . . And he let's you know why he loves "Turn Back the Hands of Time" and "So Fine" by covering Paul Anka's "Diana" along with them. | lets |
| Page 132: Freddy Fender: Merry Christmas-Feliz Navidad from Freddy Fender (ABC/Bot '71) | Label was ABC/Dot. The year was 1977, and by the sequence of album numbers (as well as marketing logic) it came out after The Best of Freddy Fender. The title is usually rendered as Feliz Navidad: Merry Christmas From Freddy Fender. |
| Page 133: Bryan Ferry: Let's Stick Together . . . On the other hand, we have unlikely remakes of old Roxy Music material, much of it from the groups's very first album. | group's |
| Page 136: Fleetwood Mac: Heros Are Hard To Find (Reprise '74) | Heroes Are Hard to Find |
| Page 136: Fleetwood Mac: Fleetwood Mac . . . after five years of struggling for a consistency that became their hob globin, they make it sound easy. | hob goblin? hobgoblin? |
| Page 138: Steve Forbert: Steve Forbert (Nemporer '78) | Alive on Arrival |
| Page 152: Get Down and Boogie . . . Finds: Jeannie Reynold's "The Fruit Song" | Jeannie Reynolds's |
| Page 157: The Grateful Dead: At the Mars Hotel (Grateful Dead '74) | From the Mars Hotel |
| Page 162: Grin: The Best of Grin Featuring Nils Lofgren . . . ("Like Rain," "We All Sing Together"). | "We All Sung Together" |
| Page 163: Arlo Guthrie: Hobo's Lullabye | Hobo's Lullaby |
| Page 164-165: Arlo Guthrie: Last of the Brooklyn Cowboys . . . Instead, the best new tune here, Arlo's celebration of the Guthries' fiddling tradition, sounds supiciously like a traditional fiddle tune. | suspiciously |
| Page 169: Tom T. Hall: The Rhymer and Other Five and Dimers . . . One reason Merle Haggard's thought of as the Poet of the Common Man is that he's also in the running for Voice of the Comman Man | Common |
| Page 197: Garland Jeffreys: Garland Jeffreys . . . and a song about the zoo that makes Paul Simon sound like Marlin Parkins. | A reference to Wild Kingdom TV host Marlin Perkins |
| Page 207: K.C. & the Sunshine Band: K.C. & the Sunshine Band (T.K. '76') | Released 1975 |
| Page 214: The Kinks: Misfits . . . Dismaying: "Black Messiah--Enoch Powell would be proud. | "Black Messiah" |
| Page 222: Led Zeppelin: Physical Graffiti . . . But except on side one--comprising three-only-three Zep classics: "Houses of the Holy," "Trampled Under Foot," and the exotic "Kashmir"--they do disperse quite a bit | side two |
| Page 230: Roy Loney & the Phantom Movers: Roy Loney & the Phantom Movers (Solid Smoke '79) | Out After Dark |
| Page 238: Mahavishnu Orchestra: Between Nothingness and Eternity . . . I even hear a quote from "Sunshine of My Love," | The Cream song is called "Sunshine of Your Love" |
| Page 247: Curtis Mayfield: Super Fly (Curtom '72) | Nowadays this album title is almost always written as a single word, Superfly. We haven't changed it here or elsewhere in the CG '70s book, but later pieces refer to this title as Superfly. |
| Page 248: Paul McCartney: McCartney . . . As self-indulgent as Two Virgins or Music for the Lions, yet marketed as pop . . . She wouldn't be starting from any further back then hubby. | than; the second John Lennon/Yoko Ono album was called Life With the Lions |
| Page 251: Kate & Anna McGarrigle: Pronto Monto . . . And I'll trade you Ann's "Bundle of Sorrow, Bundle of Joy" for the next Maria Muldaur album sound unheard. | Anna's |
| Page 255-256: Harold Melvin & the Blue Notes: Collectors' Item . . . And Kenny Gamble could no more get off his high horse than he could do the dishes, so he includes the inevitable piece of male-chauvinism-as-moral-posture, "Be fo Real," instead of "Satisfaction Guaranteed," which was a hit. | Be for Real |
| Page 263: The Modern Lovers: The Modern Lovers . . . by cutting through the vaguely protesty ambience of so-called rock culture he opens the way for a worldiness that is specific, realistic, and genuinely critical. | worldliness |
| Page 274: Willie Nelson: Phases and Stages . . . On the woman's side of the breakup, try "Washing the Dishes" (soap gets in your eyes) or "Sister's Coming Home"/"Down at the Beer Joint" (going home to mother as non-joke); | "Down at the Corner Beer Joint" |
| Page 275: Willie Nelson: Stardust . . . but because he's provided me with eleven great popular songs that I've never had much emotional access to. | original album had ten songs on it; 1999 CD (Columbia CK 65946) has two bonus cuts, for total of twelve |
| Page 280: Harry Nilsson: Nilsson Schmilsson . . . (the cockeyed antemeridian triptych--"Gotta Get Up," "Driving Along," and "Early in the Morning"--that kicks off side two) | side one |
| Page 296: Ann Peebles: Straight From the Heart . . . and the woman shows her sense of roots and perogatives by coming up with competitive covers on both Bobby Bland and Sam & Dave. | prerogatives |
| Page 297-298: Pere Ubu: Dub Housing . . . they teach us how to live in the industrial shift--imaginatively! | Reprinted edition says "industrial shit"--which is the typo? |
| Page 312: Suzi Quatro: Quatro . . . And I wish her physical equipment--her medium-sized voice, her static bass playing, and her workmanlike band--were up to her concept and the likable, mostly Chapmann-Chinn material. | Chapman-Chinn (Mike Chapman/Nicky Chinn) |
| Page 319: Leon Redbone: Leon Redbone (Warner Bros. '75). | Title should be On the Track. |
| Page 327: Smokey Robinson: Deep in My Heart (Tamla '77) | Deep in My Soul |
| Page 337: The Rumour: Frogs Clogs Krauts and Sprouts . . . It it's true they wanna be the Band, then what's with the Donald Fagen imitations? | If |
| Page 341: Ed Sanders: Sanders' Truck Stop . . . B. | The period doesn't belong there. |
| Page 350: Sgt. Pepper's Lonely Hearts Club Band . . . George Burns I can forgive, even Peter Frampton--but not Diane Steinberg, Sandy Farina, Frankie Howard. | Frankie Howerd |
| Page 351: Billie Joe Shaver: Old Five and Dimers Like Me . . . Billie Joe Shaver can really write songs. But they aren't so irresistible that Billy Joe can get away with singing them. | Billy Joe Shaver |
| Page 360: Patti Smith Group: Easter . . . and as if to exemplify the latter there's a great song from Privilege, a movie I've always considered one of the worst ever. Guess I'll have to look at it gain. | again |
| Page 380: Donna Summer: "Once Upon a Time . . ." . . . a double-LP concept album with acutal lyrics that tell an actual story printed on the inner sleeves. | actual |
| Page 387: Tavares: Sky-High! . . . "The mighty power of love/It's got more force than any shove" and "Son you gotta give a heck/You gotta promise to give respect.") | Unmatched parenthesis, omit? |
| Page 395: Richard & Linda Thompson: Hokey Pokey . . . And not only does he know about love gone wrong--"I'll Forget It All in the Morning" is as bleak as relationship songs get--he also knows about ice cream. | "I'll Regret It All in the Morning" |
| Page 395: Richard & Linda Thompson: Pour Down Like Silver Island '76). | (Island '76) |
| Page 401: Happy & Artie Traum: Hard Times in the Country . . . ramblin' mythopeia, articulated sentiment, purty tunes | mythopoeia |
| Page 404: Ron Turner: Ron Turner . . . Armed with a twelve-string and a sense of humor, Turner obviously yokes his imagination to felt experience than than production schedules, and his flat monotone is often pretty droll. | One "than" should suffice. |
| Page 418: Barry White: Just Another Way to Say You Love Me | Just Another Way to Say I Love You |
| Page 426: Bill Withers: Still Bill . . . Wither has created the most credible persona of any of the upwardly mobile soul singers, . . . | Withers |
| Page 426: Bill Withers: Bill Withers Live at Carnegie Hall . . . Two of the five new songs leaIndex on friendship themes, and that's one too many, but the old ones are live indeed. | lean on? |
| Page 428: Stevie Wonder: Music of My Head . . . But because the specifics are less inspired than the gestault-- | gestalt |
| Page 430: Link Way: Link Wray | Link Wray |
| Page 436: Neil Young: Time Fades Away . . . The opener, "Don't Be Denied," is an anthem of encouragement to young hopefuls everywhere that doesn't shrink from laying open fame and its discontents. | Second-side opener? |
| Page 438: Zabriskie Point . . . John Fahey, Roscoe & Holcomb, and Patti Page | Roscoe Holcomb |
| Page 454: Little Richard: 17 Original Golden Hits (Specialty) | very probably: Little Richard's Grooviest 17 Original Hits (Specialty) |
| Page 454: Elvis Presley: Elvis' Gold Records (RCA Victor) | Elvis' Golden Records |
| Page 455: The Impressions: Vintage Years: The Impressions Featuring Jerry Butler and Curtis Mayfield (Sire) | The Vintage Years |
| Page 455: The Kinks: The Kinks' Greatest Hits (Reprise) | The Kinks Greatest Hits! |
| Page 456: The Who: The Who Sing My Generation (Decca) | The Who Sings My Generation |
| Page 459: Leonard Cohen: Live Songs (Columbia) | should be: Leonard Cohen: Songs of Love & Hate (Columbia) |
| Page 459: The Kinks: The Kinks Kronikles (Reprise) | The Kink Kronikles |
| Page 460: Jimi Hendrix: Into the West (Reprise) | Hendrix in the West |
| Page 460: Janis Joplin: Janis Joplin in Concert (Columbia | Joplin in Concert |
| Page 461-462: 1974 (47) . . . George Jones: The Best of George Jones Vol. 1 (Epic) | Drop from list, reducing count to 46. Title matches a RCA Victor release graded A- in 1972 (but omitted from published 1972 list); there is a The Best of George Jones on Epic, graded B+ in 1975, which may be a source of confusion but is not a candidate here. |
| Page 462: Bryan Ferry: These Foolish Things (Atlantic) | "These Foolish Things" |
| Page 463: 1976 (47) | (48): Stevie Wonder: Songs in the Key of Life (Tamla) should be on this list at #12, between Miles Davis and the Modern Lovers. |
| Page 464-465: 1977 . . . Richard & Linda Thompson: Live (More or Less) (Island) | Album is credited to Richard Thompson only (see p. 395), although it included a second disc reissue of I Can See the Bright Lights Tonight, which has always been credited to Richard & Linda Thompson. |
| Page 466: Al Green: Truth n' Time (Hi) | grade changed to B+, so should drop from list? |
| Page 467: Air: Lore (Arista Novus) | Air Lore |
| Page 467: Pretenders: Pretenders (Warner Bros.) | Sire |