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692 of 712 people found the following review helpful:
5.0 out of 5 stars
Inside The Floyd's Wall, October 30, 2002
"The Wall," Pink Floyd's 1979 concept album about a rock star's mental breakdown, is a towering monster. It's an album with SO many audio, lyrical, musical & emotional nooks and crannies contained within, that one listen simply will not cut it. "The Wall" is not just an album to listen to, it's an album to be *explored*. It was inspired by then-bandleader Roger Waters' own mental collapse at the end of the Floyd's tour for the "Animals" album. Due to the grind of the mammoth stadium tour for "Animals," and sickened by seeing his own band, in his opinion, become part of the rock business "circus," Waters was mentally & emotionally exhausted beyond comprehension. At the final gig in Montreal, Waters finally snapped, spitting in the face of a young fan sitting up front. Coming home to England to recover, Waters finally decided to exorcise his demons by writing a conceptual piece about his disgust with his life as a rock star, and he began building "The Wall"....With the bulk of the double-album composed by Waters (with a few co-writing contributions from guitarist David Gilmour & producer Bob Ezrin), "The Wall" tells the story of a rock star named Pink and his downward spiral into madness, and all the things in his life that led him there: his father killed in the war when he was only a baby ("Another Brick In The Wall Part 1"), being smothered by his overbearing mother ("Mother"), subjected to abuse at school ("The Happiest Days Of Our Lives"/"Another Brick In The Wall Part 2"), and later, the pressures of his rock-star lifestyle ("One Of My Turns") and the breakdown of his marriage ("Don't Leave Me Now"). Quite simply, "The Wall" is a rock masterwork, and arguably Roger Waters' greatest achievement as a composer. However, to think of the album simply as a "Roger Waters production" would be wrong. Though Waters IS, indeed, the main architect of "The Wall," bravely wearing his heart on his sleeve with his powerful songwriting and tortured singing (not to mention playing a mean bass throughout), the album still would not be what it is without the excellent contributions of guitarist/vocalist David Gilmour, who also shines on tracks like the smash hit, "Another Brick In The Wall Part 2" (featuring his most famous guitar solo ever recorded with the band), "Goodbye Blue Sky," "Young Lust," "Hey You" and "Comfortably Numb" (featuring yet another classic Gilmour guitar solo). Keyboardist Richard Wright & drummer Nick Mason are, admittedly, dwarfed somewhat on "The Wall" by the inclusion of various session players (that's Jeff Porcaro playing drums on "Mother," to name one example). Still, Mason & Wright appear often enough, and they make their contributions count. The production on "The Wall" is also astounding---from the great stereophonic mix of the tunes themselves, to the treasure trove of sound effects & voices (such as fighter planes, helicopters, objects being smashed, singing schoolchildren, a telephone operator, a TV set playing "Gomer Pyle," and on and on), "The Wall" is truly a listening *experience*. Thankfully, Roger Waters, having left Pink Floyd in 1983, is living quite comfortably these days, no longer bothered by his rock star demons, and he continues to make great music on his own (he's also much more appreciative of his live audiences these days, thank goodness). Obviously for Waters, making "The Wall" was much-needed therapy. For Pink Floyd, "The Wall" became one of the group's biggest best-sellers, second only to "Dark Side Of The Moon." For the listener, "The Wall" is a spellbinding musical journey. It's music is at turns beautiful, haunting, and unquestionably powerful, and it's story is an absolutely gripping one. "The Wall" is a timeless, undisputed Pink Floyd classic.
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36 of 37 people found the following review helpful:
5.0 out of 5 stars
......we came in?, June 5, 2000
Wow......If anyone could sum up this album in one word, that would be it. 'The Wall' is not only the ultimate Pink Floyd album(in my opinion, at least), it is the most creative and awe-inspring recording probably ever. From the explosive opening guitar riff of "In The Flesh?" to the final harmonies of "Outside The Wall", 'The Wall' takes the most extensive journey of the mind, heart and soul of any rock album ever made. With the excellent production of Bob Ezrin (who also produced KISS' classic 'Destroyer'), to the legendary David Gilmour and of course, the brainchild of the whole thing, Roger Waters, The Floyd told the story of a man who was at war his whole life with one person - himself. From the death of his father in WWII, his overprotective mother, his superstardom as a rock musician and the excess which accompanied it, his unfaithful wife, his inability to cope with the rest of the world, and finally, his freefall into insanity, no other recording in history has come as close to telling an actual story so completely and masterfully, in just the confines of music. While experiencing 'The Wall', one can't help but feel the angst of "Another Brick In The Wall Part 2", the confusion of "Empty Spaces", the uncontrollable rage of "One Of My Turns", the hopelessness of "Goodbye Cruel World", and the guilt of "The Trial". This album never fails to get my emotions going, and one of the unique qualities 'The Wall' has, it that one discovers something new in it with each listen. The outstanding production covered all the bases; there are hidden messages behind every background noise, spoken phrase, etc., to help bring the entire plot together. This is without a doubt my favorite album out of my entire catalog, and something I can never let sit long enough to collect any dust. So, in closing, sit back with an open ear, an open mind, take the time to listen to all of the lyrics, and enjoy arguably the best album of all time. Isn't this where......
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169 of 195 people found the following review helpful:
5.0 out of 5 stars
How can you have any pudding if you don't eat your meat?, March 2, 2005
Actually if I were going to go beyond the idea of a concept album with "The Wall" I would be more inclined to call it an oratorio, similar to Jethro Tull's "Thick as a Brick" or "Passion Play," rather than a rock opera like "Jesus Christ Superstar" or the Who's "Tommy." That is because the over riding unity of the songs in "The Wall" is thematic rather than narrative in nature. The bleak double album is Roger Waters' meditation on the walls human beings build up to ensure their survival in the post-modern world. It is also something of a departure from the group's previous albums, most notably "The Dark Side of the Moon" and "Wish You Were Here," it that the group's signature cosmic rock sound is giving way to some more traditional pop music sensibilities. The compelling electronics and other special effects that had become key components of Pink Floyd's music, and which put "Dark Side of the Moon" on the chart for literally years, now takes a back seat to the themes and lyrics (although there are still some choice moments, such as when Gomer Pyle shows up on "Nobody Home").
The "story," such as it is, concerns a rock star named Pink (no subtlety here, boys and girls), who is disgusted with the lesser human being he has become as a result of his celebrity. The key song in the album is "Comfortably Numb" (co-written by lead guitarist Dave Gilmour), which is one of the classic rock songs about alienation, although obviously the title begs to have it labeled a song about intoxication by the drug on your choice. But the context for lyrics such as "You are only coming through in waves/Your lips move, but I can't hear what you're saying" is clearly about the despair of being disconnected from humanity. It is also a lament about the lose of childhood, which remains in Waters' vision the time when we are at our best as human beings:
When I was a child I caught a fleeting glimpse
Out of the corner of my eye
I turned to look but it was gone
I cannot put my finger on it now
The child is grown, the dream is gone
I have become comfortably numb
The music for "Comfortably Numb" is both operatic and eerie, a paradox that is nonetheless accurate. The relentlessly depressing picture of a rock star's life would have you worrying about the mental health of Roger Waters if it were not for the suspicion he is writing as much about the life in general and former Pink Floyd lead guitarist and main songwriter Syd Barrett as it is an attempt at catharsis by Waters after spitting on a fan during a concert for daring to applaud during an acoustic number. I always was struck by the start of "Mother," with one of the very best examples of a caesura with the extremely effective pause between the first line, "Mother, do you think they'll drop the bomb?" and the second, "Mother, do you think they'll like this song?" There is a world of meaning in the vocal silence there that I have never forgotten.
There are two pitfalls to "The Wall." The first is that Pink Floyd released a rare single with "Another Brick in the Wall, Part 2," which mean that school children rebelling against the system now had something to sing throughout the year while waiting for the end of the year to do Alice Cooper's "Schools Out." Consequently, in the popular consciousness "The Wall" was boiled down to the following potent lyrics:
We don't need no education
We don't need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.
Yet taken in its totality it can hardly be said that the primary purpose of this double-album was an attack on the educational system in England. In song after song the "character" is blaming others for his troubles, so it is not surprising that teachers end up on that list. But the success of the single made it seem this was what the whole thing was all about. For that matter, there are more songs concerned with the threat of nuclear destruction ("Mother," "Goodbye Blue Skies") than education. By the time you through Waters' paranoia over Great Britain becoming fascist ("Run Like Hell") the whole indictment of education seems like just another, well, you know what (which would be the point, right?).
The second concern is that the disparity between the highs and lows on this album are rather substantial. It is rather like sitting through an opera and some of recitatives (e.g., "Goodbye Cruel World") to get to the arias (e.g., "Hey You"). The best tracks on this album are as pretty good, but you still have to sit through some less than stellar sections (e.g., "One of My Turns"). The loose narrative is not enough to help us connect the dots and I suspect it is only by really getting totally into the album and trying to achieve consubstantiality with the creative vision of Roger Waters that you can really make sense of it all. This is why the production values of "The Wall" as performed by Pink Floyd in concert tended to replace the psychological dimensions of listening to it in the dark in your room.
The key thing here is that there are moments in "The Wall" that match its ambition. The sum is greater than the total of the parts, but there is certainly nothing wrong with that being the case.
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