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The book industry isn’t far behind that of . Shelves creak with biographies, autobiographies (well, ’s) and accounts of specific albums, as well as Mark Blake’s definitive overview . Mike Cormack gives reason for this proliferation: “They astonish and intrigue and move you like no other group.
” And their story, with its pathos, estrangements and resentment, though well-known, still beguiles. seeks to be a definitive volume in the Floyd canon: a high-level analysis of the band’s music and, as it says, the first serious survey of their work and achievements. With a cultural timeline offered as well, it’s clear that it seeks to be the equivalent to Ian MacDonald’s (a high bar).
Cormack – an academic who has written extensively on China – displays a gentle wit through the book. He got into Floyd through his father and uncles, who played their music incessantly: “Although basically a pot-head allergic to work and responsibility, Dad always made it his mission to convert the people around him to what he liked: Gandalf with a spliff instead of a staff.” Divided into three sections, ( , and ), begins with and ends with .
Each song is explored with facts, context and opinion, and Cormack avoids both the intra-band tiffs and Roger Waters’ political views unless they directly influence the work. His scoring system becomes cumbersome; 13 songs out of the canon are awarded the full 10/10, most of which seasoned Floyd aficionados could guess. Meanwhile, the footnotes are a thing of wonder – “It’s notable that of the best-selling singles in the UK in the 1960s, not one is by a university graduate,” he notes insightfully at one point.
An assured voice is essential, but at times it comes across as superiority There’s also an extensive bootleg guide (whether it’s needed after such a highbrow exploration is a different matter), and three interviews round out the book: , always a reliable, irreverent witness; longtime studio collaborator James Guthrie; and, interestingly, Stevie Mac from The Australian Pink Floyd Show, who have been touring for at least 20 more years than the actual Pink Floyd did. So, is in tune? Partially. An assured voice is essential in taking on a task like this, but at times it comes across as superiority.
However, its ambition must be admired, and its place on that fat old shelf is assured. Daryl Easlea has contributed to Prog since its first edition, and has written cover features on Pink Floyd, Genesis, Kate Bush, Peter Gabriel and Gentle Giant. After 20 years in music retail, when Daryl worked full-time at Record Collector, his broad tastes and knowledge led to him being deemed a ‘generalist.
’ DJ, compere, and consultant to record companies, his books explore prog, populist African-American music and pop eccentrics. Currently writing Whatever Happened To Slade?, Daryl broadcasts Easlea Like A Sunday Morning on , can be seen on Channel 5 talking about pop and hosts the M Means Music podcast. Cool new proggy sounds from Tim Bowness, Charlotte Wessels, Dim Gray and more in Prog's Tracks Of The Week Beardfish share first new music since reuniting.
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