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 footno.