Wish You Were Here So, so you think you can tell Heaven from Hell, Blue skys from pain. Can you tell a green field From a cold steel rail? A smile from a veil? Do you think you can tell? And did they get you to trade Your heros for ghosts? Hot ashes for trees? Hot air for a cool breeze? Cold comfort for change? And did you exchange A walk on part in the war For a lead role in a cage? How I wish, how I wish you were here. We're just two lost souls Swimming in a fish bowl, Year after year, Running over the same old ground. What have we found? The same old fears. Wish you were here.

His guess was confirmed when they approached the well-built harbour of a prosperous town and saw the banners flying from the bastions of the citadel. After the sultry heat of Zarzis, the sailors’ hearts were lifted and refreshed by the airy music reaching their ears as they pulled in towards the marble wharf. Only when they docked did they realise that they were listening to the sound of the breeze strumming through countless wind-harps and chiming among webs and lattices of translucent shell. It felt as though the wind that had blown them there was now celebrating their arrival.

We have all lived through that shriveling moment when a parent walks into a room and repeats, with sardonic disbelief, a couplet picked up from the stereo or the TV. 'What does that mean, then?' my mother asked me during Top of the Pops. "Get it on / Bang a gong"? How long did it take him to think of that, do you reckon?' And the correct answer - 'Two seconds, and it doesn't matter' - is always beyond you, so you just tell her to shut up, while inside you're hating Marc Bolan for making you like him even though he sings about getting it on and banging gongs.

Or maybe memories are like karaoke - where you realize up on the stage, with all those lyrics scrawling across the screen's bottom, and with everybody clapping at you, that you didn't even know the lyrics to your all-time favourite song. Only afterwards, when someone else is up on stage humiliating themselves amid the clapping and laughing, do you realize that what you liked most about your favourite song was precisely your ignorance of its full meaning - and you read more into it than maybe existed in the first place. I think it's better not to know the lyrics to your life.

So in this Hemisphere when the moon goes down, I sit in one of those all-night-into-mornings cafes, watching short short skies below the skyscrapers and low-rises and sense the big turntables turning and the roadies setting up from stadium to stadium from L.A. to New York and all north and south and east and west and in between – and i know there must be a lot of kids who aren't sleeping but listening to their muse – iPad-ing and YouTubing...and the final shore ain't no shore at all but a long ether cable cyperspacing us together – cutting the continent in half.

You know what punk is? a bunch of no-talent guys who really, really want to be in a band. Nobody reads music, nobody plays the mandolin, and you're too dumb to write songs about mythology or Middle-earth. So what's your style? Three chords, cranked out fast and loud and distorted because your instruments are crap and you can't play them worth a damn. And you scream your lungs out to cover up the fact that you can't sing. It should suck, but here's the thing - it doesn't. Rock and roll can be so full of itself, but not this. It's simple and angry and raw.

It's like this when you fall hard for a musician. It's a crush with religious overtones. You listen to the songs and you memorize the words and the notes and this is a form of prayer. You attend the shows and this is the liturgy. You're interested in relics -- guitar picks, set lists, the sweaty napkin applied to His brow. You set up shrines in your room. It's not just about the music. It's about who you are when you listen to the music and who you wish to be and the way a particular song can bridge that gap, can make you feel the abrupt thrill of absolute faith.

Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.

Jesus! it is the name which moves the harps of heaven to melody. Jesus! the life of all our joys. If there be one name more charming, more precious than another, it is this name. It is woven into the very warp and woof of our psalmody. Many of our hymns begin with it, and scarcely any, that are good for anything, end without it. It is the sum total of all delights. It is the music with which the bells of heaven ring; a song in a word; an ocean for comprehension, although a drop for brevity; a matchless oratorio in two syllables; a gathering up of the hallelujahs of eternity in five letters.

Had Kurt Cobain not committed suicide in 1994, would his genius have survived the continuous incisions of a media that was only too proud of its ability to chisel away at his fragile psyche in the years before he decided that he'd had enough off their invasions? And, had Jimi Hendrix not passed way in 1970, would he, too have eventually fallen into decline, first equalled, then eclipsed by the brilliant wave of new guitarists: Robin Trower, Ritchie Blackmore, Mick Ronson, who emerged during the early 1970s? In death, Hendrix led by example: in life he could have been left for the dead.

Music in the church ought to be much more than an emotional stimulant. In fact, this means music and preaching should have the same aim. Both properly pertain to the proclamation of God's Word. Preaching is properly seen as an aspect of or worship. And conversely, music is properly seen as an aspect of the ministry of the Word, just like preaching. Therefore the songwriter ought to be skilled in Scripture and as concerned for theological precision as the preacher. Even more so, because the songs he writes are likely to be sung again and again (unlike a sermon that is preached only once).

It's a strange feeling, when you hear a good piece of music. It starts out kind of shaky, this hot, heavy knot in your chest. At first it's tiny, like a spot of light in a dark room, but then it builds, pouring through you. And the next thing you know, everything from your forehead down to your fingers and toes is on fire. You feel like the hot, heavy knot in your chest is turning into a bubble. It's full of everything good in the world, and if you don't do something--if you don't run or dance or shout to everyone in the world about this music you've just heard--it'll explode.

To JaneThe keen stars were twinkling,And the fair moon was rising among them,Dear Jane.The guitar was tinkling,But the notes were not sweet till you sung themAgain.As the moon's soft splendourO'er the faint cold starlight of HeavenIs thrown,So your voice most tenderTo the strings without soul had then givenIts own.The stars will awaken,Though the moon sleep a full hour laterTo-night;No leaf will be shakenWhilst the dews of your melody scatterDelight.Though the sound overpowers,Sing again, with your dear voice revealingA toneOf some world far from ours,Where music and moonlight and feelingAre one.

Paris Hilton came in the store occasionally and one day asked me for the song, "Bette Davis Eyes". I found it for her and she proceeded to the front to pay and as the cashier was ringing her up, she was putting on blush. I guess because there was a slew a paparazzi photographers in the parking lot waiting for her to leave the store. It was insane. What is she famous for anyway? I didn't get it then and I still don't get it now. I guess it doesn't matter what I think, I'm just a broke bum living in his van and she's a bazillionaire that people want to take a picture of, I guess she wins!

It is tempting to look upon England as a sort of musical Australia, an island culture inhabited by, and sustaining, its own insular fauna – musical kangaroos, koalas, and platypuses. That, however, would be very much to exaggerate England's musical isolation or independence. It is also a considerable exaggeration to view the English preference for thirds as something altogether alien or opposed to continental practice, as if only in remote geographical corners (and behind closed doors, among consenting adults) could harmonies unsanctioned by Pythagoras or the Musica enchiriadis be furtively enjoyed.