Album Storylines

"Time" by ELO is one of the greatest concept albums in the history of ever. If you don't just use it for background music while you're cleaning the house or smth, if you actually listen to the words, you will hear a really good story.

The Darkness' Permission To Land can be interpreted as a rock-star's rise to fame and the trials and errors that he goes through.

• Black Shuck: First hit, exploiting british mythology to gain a large audience.
• Get Your Hands Off My Woman: He's famous, and he has a girlfriend who decides to go off one night with another man. Rock-star sees her in other guy's arms, fights him.
• Growing On Me: Genital Herpes.
• I Believe In A Thing Called Love: Meets who he considers his soulmate, someone who energises him.
• Love Is Only a Feeling: The girl ends up leaving, and he reminds himself that he shouldn't let these sorts of things get to him.
• Giving Up: The Rockstar realizes he's doing way too many drugs, and decides to quit.
• Stuck In A Rut: Exactly What It Says on the Tin
• Friday Night: The Rockstar meets an old friend of his, making him long for his younger days.
• Love On The Rocks With No Ice: His third relationship is going flat, and he's dissatisfied with his girlfriend.
• Holding My Own: After his band leave him, he decides to go solo. Alternatively, he denounces all women and resigns himself to masturbation.

I'm not quite sure what it's specifically supposed to be but "Ashore the Celestial Burden" by Dark Millennium reads to me like some mythic deconstruction of Christianity from the view of a believer viewing it through the lens of strange esoteric methodology.

"Testimony of the Ancients" by Pestilence was about a man attempting to discover the grand metaphysical truths underlying reality only to discover some horrid eldritch secret and then being condemned to the he of the lesser Christian god who is ironically powerless against whatever exactly he has seen.

edited 24th Aug '12 11:51:59 PM by StillbirthMachine

I love doing this. Trouble is, it usually doesn't work out the way you'd like.

Anyway, the one that's worked the best for me so far is Beatles for Sale, which I already posted about in The Beatles' WMG page.

Otherwise, I envision In the Court of the Crimson King as a sort of story:

• "21st Century Schizoid Man" is a revelation of the horrors of mankind, leading to a retreat into fantasy;
• "I Talk to the Wind" is the link between the two worlds, as we hear the wandering "late man" talk of simpler ways we have left behind;
• "Epitaph" is a Heroic BSoD in which we realize there is no hope for our species, so we wander off in search of a better reality;
• "Moonchild" is pure mysticism and fantasy. The atmosphere and extended jamming makes it clear that we are now in a dream world, but the soothing outro shows that we are at peace with our new reality;
• "The Court of the Crimson King" is the final embrace of the new reality. We are treated to all the decadence of the court, and although the horrors of the real world are shown to us (in metaphors), we are nonetheless completely bowled over by the awesome power of this new King.