The vision may have been all Waters, but the execution of The Wall needed Pink Floyd for its success. Featuring an array of guest musicians, the show approximates the musical intensity of the original 1980 tour-but nothing, of course, can substitute for the incredible energy of the original four members of the band playing together. See the full concert video of that show below. But long before the current incarnation of the enduringly classic album and live spectacle, he brought a revival of The Wall to Berlin in 1990 to commemorate the fall of that city’s literal wall eight months earlier. In fact, since 2010, he’s been touring his version of the stage show, and has produced a documentary of its revival. Waters’ relationship with The Wall defined the rest of his career after he left Pink Floyd in 1986. He talks about the album’s genesis, and breaks down the meaning of each song at length. The final piece of behind-the-scenes making of The Wall we bring you is the BBC Radio interview, above, that Waters’ gave in 1979. The legendary stage show drew together an even larger pool of talent, such as political cartoonist Gerald Scarfe, whose animations were projected on a giant cardboard wall that slowly came down over the course of the concert. He presented the almost-fully formed album (minus the few collaborations with Gilmour like “Comfortably Numb”) to the band and producer Bob Ezrin, who described it as “Roger’s own project and not a group effort.” That may be so in its composition, but the final recording is a glorious group effort indeed, showcasing each member’s particular musical personality, as well as those of a host of guest musicians. ![]() ![]() Before recording, Pink Floyd had just come off a huge stadium tour on which the Waters experienced a sense of loathing and. As of 2016, the album has been re-released on Pink Floyd Records (distributed by Sony Music) with different artwork on the CD compared to the Discovery edition from 2011 and 36 plus years on is still the best album of the 1976-83 phase of Pink Floyd (the Roger Waters power trip). The project grew out of a collection of demos Waters wrote and recorded on his own. Like ‘Tommy’, ‘The Wall’ is a complete story with a beginning, middle and end (even if the finale alludes to the onset of a vicious cycle) and is a true rock opera that tells a tale of self-imposed alienation. Under it all, the propulsive throb of Roger Waters’ bass-and presiding over it his jaded, nostalgic vision of personal and social alienation.Įxpertly blending personal narrative with trenchant, if at times not particularly subtle, social critique, Waters’ rock opera-and it is, primarily, his-debuted just over 35 years ago on November 30, 1979. ![]() All that it is, but it’s also somber, groovy, even sometimes delicate, harnessing the band’s full range of strengths-David Gilmour’s minimalist funk rhythms and soaring, complex blues leads, Nick Mason’s timpani-like drum fills and thumping disco beats, and Richard Wright’s moody keyboard soundscapes. Opening with maximum fanfare and pomp, and closing with the sound of dive bombers, “ In the Flesh?,” the first track on Pink Floyd’s magnum opus The Wall announces that the two-disc concept album will be big, bombastic, and important.
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