So, in the beginning, there were four men, Roger Waters, Nick Mason, Rick Wright and, of course, Syd Barrett.
The band was called Pink Floyd and the music they made belonged to the genre later labelled as pschedelic rock. The music of the band at this point, under the influence of Syd, was quite heavily experimental, poetic and possessed of an almost childlike quality heavily at odds with some of the images portrayed and the complexity of the pieces. Syd, along with the rest of the band, is often portrayed at this stage as attempting to do with music what many modern artists attempt with paints and sculpture.
During much of this time, Pink Floyd were an underground movement, with their popularity increasing until the release of Arnold Layne and See Emily Play, both of which made the top 20 of the singles chart. Following the success of thses single, the band released their debut album, Piper at the Gates of Dawn, widely recognized as a prime example of British pyschedelic rock. and considered by many to be an outstanding debut album.
The bands rise to popularity had a tragic effect on Syd, whose view of teh music had been more an experiment in a new medium art than a peice meant to be shared by thousands. The stress, combined with steadily increasing drug use, took a heavy toll on his mind, causing a gradual decline in his sanity. As his dependency on LSD increased and his behaviour became more erratic, Syd began to take more of a back seat role, with Dave Gilmour being drafted into the band to cover his guitar and vocal duties. Finally, in 1968, Syd left the band, signifying the end of an era for pink Floyd.
There followed a highly experimental period for Pink Floyd, in which the band attempted to find their feet following the departure of Syd, finding a sound of their own, rather than trying to recreate the sound inspired by Syd. A number of recording were released over this period, eventually culminating in the album Meddle, which features the epic compostion Echoes. This was the new sound Pink Floyd had been striving for, an epic, experimental, but truly haunting melody, a theme carried over into their most highly acclaimed album and what many consider the peak of their career, Dark Side of The Moon. The album is best thought of as one long composition separeted into pieces, each covering a number of topics, with one theme connecting them all, that of insanity, something the band had become quite familiar with. For those who doubt that rock music can be considered haunting, I can only direct their ears towards Time, where the separate notes of the guitar solo linger upon the air, seeming pent with emotion, flowing smoothly from one to the next. Of course the song which best describes the underlying theme of the album is Brain Damage, a succinct summation of the intellectual perils of modern life. An interesting feature of the album is the conversational snippets and sound effects interspersed throughout, occasionally causing a listener to wonder, did I just hear that or...?
Following this, the band released Wish You Were Here, an album which though almost universally hated upon it's release, is now considered amongst one of the greatest pieces ever released by Pink Floyd. It represents a somewhat bleak outlook on the music industry and life in general. It also of course features the multi-part composition, Shine On You Crazy Diamond, a powerful yet somewhat melancholy tribute to Syd Barrett.
After wish you were here, the band released Animals, a collection of metaphors for contemporary society. This comes across as more of a hard rock effort, and came under heavy criticism for being pretentious at the time of its release.
Following this was the album which effectively broke the band and resulted in the departure of Roger Waters. Essentially, Roger Waters had a vision. That vision was an album depicting the growth of a child to a man, and the emotional repression that is so much a part of this process. It covers a variety of topics, from the death of Rogers father in world war 2, through the oppressive English school system, to more adult topics such as infidelity and once again insanity. The most famous tracks are of course the three parts of Another Brick in the Wall, and the haunting depiction of a nervous breakdown, Comfortably Numb. Another truly powerful piece is Young Lust, which features at it's culmination a snippet of a phone conversation many a man would rather avoid. The final song, Outside the Wall, allows teh album to fade delicately to a close. Provided, of course, that a choir boy singing the word bugger can ever be described as delicate.
During this era, a number of the bands gigs featured a large wall being built along the front of the stage. This signified David Gilmours growing discomfort with the isolation of the band from it's audince, a result of teh bands massive popularity which caused them to play in venues where the crowd would number in the thousands. It is somewhat ironic that this isolated the band more completely from the crowd than anything else could have managed.
Unfortunately, Roger Waters vision was not without cost. Many consider that in the pursuit of his vision, the other band member became less than people to him, and more tools with which to accomplish the task. Whatever the case, some time after the albums release, the band became dissatisfied with his leadership and parted ways to pursue a variety of solo projects.
In 1985, Pink Floyd received a resurrection as David Gilmour and Nick Mason recorded A Momentary Lapse of Reason. The album has been labelled by many as a safety album. The music carries the same hauntingly poetic quality as previous albums, but lacks the air of experimentation and challenge so prevalent in earlier works. This may indicate that, although the disagreements between Dave and Roger effectively caused the bands destruction, they also provided much of the fire behind the music.
In 1994, the band released their final collective album to date, titled, The Division Bell. Considered by many to be a concept album for David Gilmour in much teh same way as The Wall was for Roger Waters, the sound is far more reminiscent of Dark Side of the Moon, with a number of tracks seemingly drawing influence from songs such as Time.

As an aside, a number of people believe that Dark Side of the Moon synchronises with the opening scenes of The Wizard of Oz. Personally, I remain unconvinced, but there are some startling coincidences between music and the on screen images.

A short entry, just by way of easing things back in, and to inform you that I am going to make use of this space to tell you what I feel you should listen to. Fatboy might rejoin me in this endeavour, who knows?

The stranglers formed in 1974 and were initially classes as one of Englands early punk bands, supporting groups such as The Ramones.

Listening to their music, it's pretty easy to see where a lot of modern punk bands get their influences from. They possess far more polish than many of the more revolutionary bands of the era, such as the sex pistols. They manage to make the statement they wish, but they make it couched in well polished verse, with the sophisticated touches that only proper post-production can provide.
Many of their songs have a somewhat jaunty feeling to the rhythm, which provides a distinct contrast with the somewhat raw vocals that accompany many of the tracks.
I recommend you start your exploration of their back catalogue with songs like "No More Heroes", "Peaches" and the old favourite of many "Golden Brown", songs which typify teh jaunty style and make excellent usage of a somewhat graphic imagery in their lyrics.

"My lips may be smiling, but I'm lost in the middle of god-knows-where"

From the Land of Volcanos is the album of solo artist Lucia, a woman who is a prime example of why music needs more female vocal talent. Although not exactly rock music, it is a style removed from that pursued by the majority of female solo vocalists in the arena of todays music. It is Lucias powerful voice which spellbinds the listener and draws them in. Much of the album is fast with easily flowing tunes backed up by a heavy bass beat, with a combination of numerous instruments complimenting each other well to provide the perfect backing for Lucias amazing voice.
The album starts with the song "so Clever", a combination of repetetive bass and drum beat, overlaid by smooth yet powerful vocals and a relatively simple yet well written tune. The song draws you in and lays the foundation for the music to follow.
"I will" is the song which first drew me to the album, a smooth, slow peice which lets loose on the chorus, an essence of power oozing from your speakers. It is a song which reaches out and grabs you, demanding to be listened to. The heavy bass is once again evidenced in the song "Little Rose" Plumbing a depth which causes vibrations to shake through anything within range.
The album is finished by "Ordinary Girl" an interesting, different peice. A fairly rapid beat contrasting with slow vocals, it is consistent with the thme of the album. The style varying throughout yet with a consistent theme. Each song unique yet a definable part of the whole.
For those looking for something different, and wishing to revel in the sound of a smooth superior female vocalist, From the Land of Volcanos is definetly an album to own.

Two men, recently left middle age.
Nothing to look at, you'd pass the in the street.
On stage, with guitar and harmonica, they spellbind a room.
The Running Horse.
Not exactly rock.
But the kind of place where bands are made.
This isn't the only such place of course.
But you already knew that.
And if you didn't?
Shame on you.
Of course they weren't the only ones playing that night.
Henry, a genius in the keybaord and probably no older than I.
A few old men playing guitars like another man would walk.
And one guy who, if I didn't know better, would think was Dylan himself.
The Running Horse

Well now, a decade after the Manics’ career highlight, The Holy Bible, which is incidentally being released as one of “those” special edition cash-ins next month comes this, their seventh studio album.  Their last album, Know Your Enemy, was absolutely excellent, loved by the fans but not many others, thus didn’t sell well back on its release in 2001.  There has been a greatest hits since, and it seems apparent that their mainstream success has come from their more melodic albums of recent years.  Thus, Lifeblood arrives and is an album of crowd-pleasing elegiac pop-rock, only now the general public practically loathe the band.  It has done astonishingly poorly in the UK chart and probably is only available in the US if it has been mixed up with a shipment of the Franz Ferdinand album.  Hard times indeed.

 

Yet again the style has changed, and this is very soft rock indeed, and is carefully put together.  They complement the crisp guitar riffs with keyboards and other weird and wonderful sounds, including a harmonica!  This works amazingly well on opening track 1985, which showcases the drive that their new direction is capable of, and sees them admitting they can never return to their anti-institution punk rock roots;  “We’ve realised there’s no going back”.

 

This is a shame because all that can be said of the rest of the album is that it might help your insomnia out.  It’s extremely boring, and you won’t remember the songs after listening to this album ten times or more.  The lead single, The Love of Richard Nixon, was very poor indeed, and the other songs are an improvement, but just not enough.  Other embarassments include Glastnost, an appalling attempt at a sincere love song, I live to fall asleep, which seems about right, listening to Nicky Wire’s lyrics, as this is probably the most interesting part of his day.

 

The best aspect of this album is Bradfield’s vocals, which are extremely crisp and well-delivered, but sadly this is akin to applying illustrations to a science textbook.  It makes it more accessible, but you’d still rather be reading something fun.

 

Once the most important band in Britain, they can no longer be themselves, as there is no need for them.  In the era of Razorlight, Franz Ferdinand, The Futureheads, etc., the Manics are no longer needed.  Tired old bands like this should quit gracefully so that new talent can shine brighter.  That means you too, Stipe...

"I'm on it, get on it, the troops are on fire!"

This eponymously titled peice is Kasabians first album and no doubt the record that hopes to establish their place on the british music scene. In many places the musical style of the band is greatly reminiscent of the Stone Roses. The record as a whole has a laid back feel to it that brings to mind a smoky living room filled with students under the influence of alcohol, or perhaps something stronger. NME in fact goes so far as to describe them as "a group of self confessed stoners".
The album itself is a mix of full length tracks and other shorter peices like "Orange" and "Pinch Roller" which I can only describe as filler music between the bigger numbers as they lack that fundamental something which would make them a tune in their own right.
The albums highlights come in the form of the recent single "L.S.F. (lost souls forever)" and processed beats" both of which have the catchy kind of beat which will linger in your head for hours. The tunes flow smoothly, with that laid back feel which seems to characterise the bands music as a whole. Another track worth mentioning is "Club Foot" a song which feels darker than the rest of the album and almost seems to shake off the sense of lethargy which pervades the album as a whole.
On a final note I bring up the track "Ovary Stripe" a track which isn;t so much a song as a collection of garbled press clippings set to music, bringing to mind the sense of rebellion which apparently burns in the hearts of so many of the countries educated youth.
Kasabian may not be the album to rock your world, but if you're looking for a chilled afternoon, check it out.

Marilyn Manson has always been the subject of debate, whether it be early on in his career, being feared across middle America or being regarded as a non-scary figure of fun in recent years, who is just, well not threatening anymore.  That said he has shocked many people during his career, has spawned bizarre, non-parentaly friendly ideals and dress sense and has always worked hard on his "unusual" image.  This gives him all the prerequisites of a fantastic rock star.

Ok, so this album clearly isn't regarded as a rock classic.  It is not even regarded as the best effort to be found from the gloriously eclectic back-catalogue of Eels.  For me, however, this is a boldly experimental rock masterpiece that was somewhat overlooked.  It has that rare gift that is found so infrequently in experimental records, namely that you don't have to grit your teeth and force yourself to like it - it is simply irresistible.

It was a marked departure from previous album Daisies Of The Galaxy, with the same melancholy feel, but with the guitars and amps turned up to eleven.  The lead single, Souljacker pt 1, has a bouyant and downright dirty rift that keeps me coming back again and again.  Elsewhere, on Dog Faced Boy and Jungle Telegraph, the guitars are cranked up to the max, yet somehow the talented Mr. E's voice remains saliant over whatever he chooses to throw at it.

This album has its mellow moments too, such as Woman Driving Man Sleeping and Souljacker pt. 2, with dreamy melodies covering somewhat darker lyrics.

That icon of a depressive generation, Mr. E still manages to bring some light into proceedings though, with two odes to his wife; Fresh Feeling and What Is This Note?  The former has beautifully honest lines;  "You, don't have a clue, what it is like, to be next to you", while the latter begins as heavy as anything to be found here, and has a sudden transfer in the middle to create a highly melodic, celebratory end to an amazing album.

For an eclectic yet cohesive masterpiece look no further.

"When you conscience hits you knock it back with pills"

This was the first album I purchased by Led Zeppelin, introducing me to the world of Paige, Plant, Bonham and Jones. This band is without a doubt one of the most vital links between modern rock and the laid back blues of the early twentieth century.
The album starts off in true rocking fashion, with "whole Lotta Love" hammering its way out of your speakers. A truly unique song you can't help but rock along to, it has since found widespread recognition a sthe theme to top of the pops on the BBC. The album ocntinues in a highly varied way with no two songs the same but each tied together by the brilliance of Jimmpy paiges guitar playing and Robert Plants amazing vocals.
Amongst the masterpieces of rock history is the aptly named "Ramble On", a song which does just that, but in a fashion which is by no means mundane or boring. It meanders back and forth between the mellow verses with their laid back rhythm and the more lively chorus, all brought together neatly into one perfectly formed rock package.
As far as  the heavier side of the album goes, "Heartbreaker" plumbs the depths of the musical scale. With yet another superb solo from Jimmy Paige this is a song that will truly make oyu sit back and appreciate real rock music. Deserving of special mention is "Moby Dick". Towards the end of the album this "song" dispenses with vocals entirely. Instead midway through the osng it breaks into a remarkable drum solo, allowing John Bonham to show us just what can be done by a man with two sticks and a drum kit.
In the interests of "you don't know where you're going until you know where you've been", this is one of the albums all fans of real rock music should own.

"They'll never do the things that they wish that they could do so well."
Up all night is the debut album of london four peice Razorlight, featuring ex-libertines front man Johnny Burrell. The album is both lively and passionate, delivering music equally suited to quiet listening in your front room or for assualting your eardrums in the local, run-down rock club.
Lead singer Johnny Burrell instils an intense passion in his music, lending a depth of feeling to the record that is so often lacking in this era of manufactured pop. Rather than being left flat-footed in his wake, the rest of the band play in a fashion that both compliments and restrains his somewhat over-the-top vocals, keeping Razorlight from dropping over the precipice into he horribly fanatical.
It is songs like "Vice" in particular which best represent the lively passion of this unique band. A song which begins slow and mellow, before slowly building up to a crescendo that will leave you begging for more. Songs like "To the Sea" are those that will perhaps stay with you longest, keeping your head, your foot or whichever part of your body you prefer tapping along in time to a tune which starts fast but climaxes hard before fading softly away.
"Golden Touch" the single from the album is a somewhat restrained example of what Razorlight has to offer. The whole band comes together to sell themselves and their music in a highly memorable fashion that makes you take notice of what they offer.
Whether you like it hard and fast or slow and relaxed, Up All Night is an album well worth listening to.