by Daniel, Drew
References
Alien. Dir. Ridley Scott. Twentieth Century Fox, 1979.
John Ashbery. “A Mood of Quiet Beauty” April Galleons. London: Paladin, 1990.
Samuel Beckett. “Cascando” Poems in English. New York: Grove Press, 1961.
Samuel Beckett. Three Novels: Molloy, Malone Dies, The Unnamable. New York: Grove Press, 1991.
Walter Benjamin. Reflections. New York: Schocken Books, 1986.
Tony Brown, ed. The Complete Book of the British Charts: Singles & Albums. London: Omnibus Press, 2000.
William S. Burroughs and Brion Gysin. “Inside the Control Machine” The Third Mind. New York: The Viking Press, 1978.
John Callaghan. Socialism in Britain Since 1884. Oxford: Basil Blackwell, 1990.
Charles Richard Cammell. Aleister Crowley: The Man, the Mage, the Poet. London: The Richards Press, 1951.
John Campbell. Margaret Thatcher Volume One: The Grocer’s Daughter. London: Jonathan Cape. 2000.
Lewis Carroll [Charles Lutwidge Dodgson]. Through the Looking Glass and What Alice Found There. New York: The Heritage Press, 1941.
Al Clark, Ed. The Rock Yearbook: 1983. New York: St. Martin’s Press, 1982.
J. Edward Cornelius. Aleister Crowley and the Ouija Board. Los Angeles: Feral House, 2005.
Aleister Crowley. Magick: Book Four Parts I-IV. Hymenaeus Beta, ed. San Francisco: Weiser Books, 1994.
______. Snowdrops from a Curate’s Garden. (1904) Chicago: The Teitan Press, 1986.
John Curran, ed. The Future of the Left. Cambridge: Polity Press, 1984.
James Day. Englishness’ in Music. London: Thames Publishing, 1999.
Gilles Deleuze. Difference and Repetition. New York: Columbia University Press, 1994.
The Devil Rides Out. Dir. Terence Fisher. Hammer, 1968.
Jonathan Dollimore. Sexual Dissidence: Augustine to Wilde, Freud to Foucault. Oxford: Clarendon Press, 1991.
Simon Dwyer. Rapid Eye Movement. London: Creation Books, 2000.
Simon Ford. Wreckers of Civilization: The Story of Coum Transmissions & Throbbing Gristle. London: Black Dog, 1999.
Sir James Frazer. The Golden Bough: A Study in Magic and Religion. New York: The Macmillan Company, 1958.
Simon Frith and Howard Horne. Art into Pop. London: Methuen, 1987.
Funny Games. Dir. Michael Haneke. Fox Lorber, 1998.
John Geiger. Nothing Is True, Everything Is Permitted: The Life of Brion Gysin. New York: The Disinformation Company, 2005.
John Gill. Queer Noises: Male and Female Homosexuality in Twentieth-Century Music. Minneapolis: University of Minnesota Press, 1995.
Seymour Glass, ed. Bananafish. San Francisco: Tedium House, 1994.
Graham Greene. The Quiet American. New York: The Viking Press, 1956.
Brion Gysin. The Last Museum. New York: Grove Press, 1986.
Brion Gysin and Terry Wilson. Here to Go. London: Creation Books, 2001.
Robin Harris, ed. The Collected Speeches of Margaret Thatcher. New York: Harper Collins, 1997.
Paul Hegarty. Noise/Music: A History. New York: Continuum, 2007.
Morris Jastrow Jr. and George A. Barton. “Ashtoreth” The Jewish Encyclopedia, Isidore Singer, ed. New York: Funk and Wagnall’s, 1902, Vol. II. 206–7.
Dennis Kavanaugh. Thatcherism and British Politics: The End of Consensus? Oxford: Oxford University Press, 1987.
Geary Larrick. Biographical Essays on Twentieth-Century Percussionists. Lewiston: Edwin Mellen Press, 1992.
Jean-Francois Lyotard. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.
Sibyl Marcuse. Musical Instruments: A Comprehensive Dictionary. New York: W. W. Norton & Company, 1964.
Performance. Dir. Nicolas Roeg. Warner Brothers, 1970.
Plotinus. “Enneads” Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds. George Luck, ed. Baltimore: The Johns Hopkins University Press, 2006. 157–61.
Ezra Pound. The ABC of Reading. New York: New Directions, 1960.
Rosemary’s Baby. Dir. Roman Polanski. Paramount Pictures, 1968.
Simon Reynolds. Generation Ecstasy: Into the World of Techno and Rave Culture. Boston: Little, Brown and Company, 1998.
______. Rip It Up and Start Again: Post-punk 1978-1984. London: Faber and Faber, 2005.
Trevor Rowley. The English Landscape in the Twentieth Century. London: Continuum, 2006.
The Marquis de Sade. Justine, Philosophy in the Bedroom, and Other Writings. New York: Grove Press, 1965.
Jon Savage. England’s Dreaming: Anarchy, Sex Pistols, Punk Rock and Beyond. New York: St. Martin’s Press, 1992.
Barry Schwabsky. “Jim Lee” ARTFORUM. May 2007. 382.
Kurt Schwitters. “Chinese Banalities” PPPPPP: Poems Performance Pieces Proses Plays Poetics. Cambridge: Exact Change, 2002.
Geoffrey Self. Light Music in Britain Since 1870: A Survey. Burlington: Ashgate, 2001.
Peter Sloterdijk. Critique of Cynical Reason. Minneapolis: University of Minnesota Press, 1987.
Susan Sontag. “The Pornographic Imagination” Perspectives on Pornography, Douglas A Hughes, ed. New York: St. Martin’s Press, 1970. 131–70.
Austin Osman Spare. The Book of Automatic Drawing. Thame: I-H-O Books, 2005.
______. The Book of Pleasure: The Psychology of Ecstasy. Thame: I-H-O Books, 2005.
John Suttees. Beachy Head. Sussex: SB Publications, 1997.
Eric Tamm. Brian Eno: His Music and the Vertical Color of Sound. New York: Da Capo Press, 1995.
Max Taylor and Ethel Quayle. Child Pornography: An Internet Crime. New York: Brunner-Routledge, 2003.
David Toop. Exotica: Fabricated Soundscapes in a Real World. London: Serpent’s Tail, 1999.
R. Emmettt Tyrell, Jr., ed. The Future That Doesn’t Work: Social Democracy’s Failures in Britain. New York: Doubleday, 1977.
Brian Vickers, ed. English Renaissance Literary Criticism. Oxford: Clarendon Press, 1999.
Chris Villars, ed. Morton Feldman Says: Selected Interviews and Lectures 1964–1987. London: Hyphen Press, 2006.
Rickey Vincent. Funk: The Music, The People, and the Rhythm of the One. New York: St. Martin’s Press, 1996.
Walkabout. Dir. Nicolas Roeg. Universal Pictures, 1971.
John Waters. “Why I Love Violence” Shock Value. New York: Delta, 1981.
Allen S. Weiss. Shattered Forms: Art Brut, Phantasms, Modernism. Albany: State University of New York, 1992.
WFMU: Beware of the Blog “Do the Ostrich” July 15, 2007. Online. http://blog.wfmu.org/freeform/2007/07/the-ostrich-mp3.html
Colin Wilson. “The Country of the Blind” The Essential Colin Wilson, London: Harrap, 1985. 22–34.
______. The Outsider. Boston: Houghton Mifflin, 1956.
______. The Mind Parasites. Oakland: Oneiric Press, 1972.
______. Autobiographical Reflections. Nottingham: Pauper’s Press, 1988.
Catherine Yronwode. “Mojo Hand and Root Bag” Hoodoo in Theory and Practice. Online, http://www.luckymojo.com/mojo.html.
Slavoj Zizek. The Sublime Object of Ideology. London: Verso, 1989.
More praise for the 33 1/3 series:
We . . . aren’t naive enough to think that we’re your only source for reading about music (but if we had our way . . . watch out). For those of you who really like to know everything there is to know about an album, you’d do well to check out Continuum’s “33 1/3” series of books.—Pitchfork
As individualistic and idiosyncratic as the albums that inspired them—Rob Trucks, Cleveland Scene
The best albums ever made—turned into books!—Blender magazine
This is some of the best music writing going on right now—Pulse of the Twin Cities
Music writing done right—Tape Op magazine
Admirable. . . . 33 1/3 has broken new ground—THES (UK)
The series quietly breathes some life into the world of music fanaticism . . . an explosion of sincere, humbled app
reciation—The Portland Mercury
The series represents the Holy Grail of millions of late Baby Boomers—All About Jazz
Inspired—Details
Neat—Nick Hornby, The Believer
A much-needed reprieve from the bite-size capsule reviews that rule much of today’s music criticism—San Francisco Bay Guardian
Informed, fun and personal—Paste Magazine
The series tries to inject new life into a tired form—Newsday
All [these] books revel in the distinct shapes and benefits of an album, its ability to go places film, prose or sculpture can’t reach, while capable of being as awe-inspiring as the best of those mediums—Philadelphia City Paper
These first few installments set the bar pretty high for those to come—Tangents
At their best, these Continuum books make rich, thought-provoking arguments for the song collections at hand—The Philadelphia Inquirer
A really remarkable new series of books—The Sunday News-Herald, Michigan
A brilliant idea—The Times (London)
The series treats its subjects with the kind of intelligence and carefully considered respect they deserve—Pop Culture Press
Lucid . . . each volume provides insightful commentary—The Paper, Central Illinois
Idiosyncratic, pocket-sized monographs done with passion and insight . . . the analysis is both personal and articulate—Harp Magazine
The series delves as deep as it’s possible to go without resorting to padding . . . 5 stars each—Classic Rock Magazine (UK)
Passionate, astutely written, and they lend real insight—Amplifier Magazine
If an enterprising college professor were to put together a course on pop criticism and classic rock ‘n’ roll records, the textbooks could clearly be found among the . . . 33 1/3 series presented by Continuum Books. Each book delves deeply into an iconic album of the past 40 years, with a variety of approaches—St. Louis Post-Dispatch
Informative, thought-provoking, creative, obsessive and more—Albany Times Union
Articulate, well-researched, and passionate—Library Journal
A cracking good idea, and if you like the albums in question, you’re sure to love the books—Leaf Salon, New Zealand
Eclectic enough that there should be something for everyone—Maxim
A nifty little string of books that deserves more attention—Columbia Daily Tribune
These little tomes have captured me in a gobsmacked haze. . . . These writings are so vivid and uplifting—Cincinnati City Beat
Cultural elitism never had it so good—Louisville Eccentric Observer
Praise for individual titles in the series:
Meat Is Murder
My personal favorite of the batch has to be Joe Pernice’s autobiographic-fiction fantasia. . . . Over little more than a hundred pages, he manages a vivid recollection of a teenage New England Catholic school life circa 1985, in all its conflict and alienation, sexual fumblings and misplaced longing—Tangents
Pernice’s novella captures these feelings of the despair of possibility, of rushing out to meet the world and the world rushing in to meet you, and the price of that meeting. As sound-tracked by the Smiths—Drowned in Sound
Pernice hits his mark. The well-developed sense of character, plot and pacing shows that he has serious promise as a novelist. His emotionally precise imagery can be bluntly, chillingly personal—The Boston Weekly Dig
Continuum . . . knew what they were doing when they asked songwriter Joe Pernice to pay homage to the Smiths’ Meat Is Murder—Austin American-Statesman
Pernice’s writing style reminded me of Douglas Coupland’s: the embodiment of youthful vitality and innocent cynicism, clever, quickwitted, and aware of the ridiculous cultural symbols of his time—Stylus Magazine (University of Winnipeg)
Forever Changes
Love fan Andrew Hultkrans obsesses brilliantly on the rock legends’ seminal disc—Vanity Fair
Dusty in Memphis.
Warren is a greatly gifted good heart, and I love him. Read his book, listen to his record, and you will too—Stanley Booth, author of The True Adventures of the Rolling Stones
Warren Zanes . . . is so in love with Dusty Springfield’s great 1969 adventure in tortured Dixie soul that he’s willing to jump off the deep end in writing about it. Artfully blending academic citation, personal memoir and pungent commentary from Dusty in Memphis principals such as producer Jerry Wexler, Zanes uses the record as a springboard into the myths and true mysteries of Southern life—Rolling Stone (4 star review)
James Brown Live at the Apollo
Masterful—The Big Takeover
Exemplary. . . . Most astonishing, however, is Wolk’s conjecture that to avoid recording distortion, the riotous album captured “James Brown holding back”—Mojo (UK)
Let It Be (Replacements)
These are solid short-short stories with bona fide epiphanies—that they shed light on Meloy’s past only makes them more engaging—Village Voice
For reviews of individual titles in the series, please visit our website at www.continuumbooks.com and 33third.blogspot.com