Pink Floyd - The Wall
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Free Music Notes for The Wall
Free Music Review: All alone, or in twos, the ones who really love you, walk along outside the Wall...
Hit: 5 Stars
What can be said about the Wall that can do this masterpiece justice? It is arguably the last classic Pink Floyd album that we were blessed with (The Final Cut is fairly average) and the boys certainly saved the best till last
There is no need for me to detail the progression of the album and the story it tells through the songs; many reviewers before me have done wonderful synopses of the 'concept' behind this album. Instead I will simply say what makes it so wonderful
The Wall should be approached as it pertains to be; a conceptual work that tells a story. I think what touches people so much about the Wall is its application to all our lives. Sure, we aren't all rockstars whose fathers died in the war and whose mothers were overprotective etc, BUT the Wall means so much more than that
The inner struggle and despair that this album chronicles can apply to all of us; the dichotomy between the outward manifestation of a person, and his inner thoughts and feelings. How many of us have felt the need to be strong and outwardly stable, when everything on a personal level was weak and flimsy? How many of us have got to a point in our lives when we can look at ourselves and say 'do I really like what I have become?', and then despair of the things we cannot change?
The Wall can apply to all of those things; it's really a question of what each person can read into it in their own way. THIS is part of the masterpiece that is The Wall
Common criticisms of this album focus on the sometimes weak nature of many of the individual tracks. This is difficult to counter itself, since many of the tracks are short, connecting pieces, designed to facilitate the transition from one subject to another. Examples are songs such as 'The Happiest days of our lives', and 'empty spaces', but many of these are not 'bad' songs. They aren't designed to be exceptional, complex or with great hook lines. They're really transitional pieces, weak on their own, but necessary to enable the story to progress
The Wall isn't really an album of songs, like most albums are. They aren't designed to be taken purely on their own, or at face value. Some songs may seem musically limited, or even weak on their own ('stop' comes to mind), but the purpose of The Wall was not to give an album of stand alone songs, but to convey a story of isolation and alienation. To that end, it is a VERY successful album, and a monumental achievement in rock history. PRobably the greatest concept album ever.
That being said, there is the odd song that is musically unattractive. 'Don't leave me now' springs to mind; it is perhaps painful to listen to at times; Roger Waters' wails, though heartfelt, can be excruciating to the unprepared. I remember listening to The Wall in a friend's car, and when that song came on his brother, who had not minded the other songs, yelled numerous expletives and changed the track. This may be indicative of Roger Waters' singing at times; painful. BUT this is not necessarily a bad thing; while he does not have a pretty voice, unlike David Gilmour whose voice is very sweet and melodic, Roger has an emotion and feeling that is hard to emulate. Such songs are designed to convey the despair etc felt by the main character in the story of the Wall. To that end, songs like 'Dont leave me now' do achieve their objective; just don't show them to anybody you're trying to get to buy the album in isolation.
While the album should definitely be taken as a whole, there is the odd song that works well in isolation. Comfortably numb, Hey You, ANother Brick in the WAll pt 2, Run Like Hell and Mother are perhaps the most obvious. These are great tracks that showcase musical genius. Alongside other, perhaps musically weaker tracks that perform an important role in filling out the story and conveying the emotion of it, they make the Wall an excellent album that is worthy of its position as (I think third) best selling album ever
BUY IT
Free Music Review: Floyd's Double Concept Album
Hit: 5 Stars
When this album was released, the disagreements in creativity between Floyd's members seemed to be at it's highest. Bassist Roger Waters seemed to exert more control over the creativity, and as a result, shut out many ideas from the other members.THE WALL (1979) is a concept album based on a character named Pink, whose turbulent circumstances are loosely based around events in the lives of former Floyd frontman Syd Barret (e.g. "Nobody Home," etc.) and Roger Waters. Roger himself was particularly the one most affected by Syd Barrett's mental decline, and it's effects can be heard throughout the album.
There are some rather conflicting thoughts regarding this album, especially from guitarist/vocalist David Gilmour. He has stated that creating THE WALL was a painful experience, as well as stating that he thought overall, the album came out good, but it lacked the soul of earlier efforts. While this indeed is a brilliant album, I can't help but feel just as ambivalent as he does about the album.
First, off, it's been stated many times that this is largely a Roger Waters work, and the unison of the band cannot be seen on this work. There are no lovely, ethereal, reflective Rick Wright keyboard tracks (or his vocals for that matter), none of the Mason/Wright/Gilmour contributions - in short, not much collectivity in general. Gilmour wrote roughly two or three tracks on the album, but otherwise, it's mostly the product of Waters, and as a result, it's difficult to see this as a Floyd album - in a collective sense of the word. This may be the main reason why I considered this album strong lyrically, but spotty, inconsistent and dry on a musical level for many years. I realize that anytime a concept album is present, the lyrics are usually the focal point, and basing a strong opinion on the music shouldn't mean much. But, unfortunately, I have to enjoy both aspects of a concept album strongly, for me to consider it an all-around classic.
Over the years, my opinions have changed, and I enjoy the album much more than I did in the past. Of course, comparisons between this album and Floyd's earlier albums should probably be avoided, but are nearly inevitable, since Floyd has such a strongly dedicated following, and has had so for many years. Perhaps, if there had been no A SAUCERFUL OF SECRETS (1968), no MEDDLE (1971), no DARK SIDE OF THE MOON (1973) or no WISH YOU WERE HERE (1975), this album wouldn't draw so much controversy (in both a positive and negative sense). On a positive, each of these albums didn't have the grandiosity in theme, soundscape, and didn't have the compelling theme of alienation that many of us humans can relate to (with the exception of DSOTM.) This, along with most of the fairly accessible tracks (I consider this album possibly the most mainstream-friendly of these) may have been the two main contributing factors of this album's overwhelming success. However, in the negative sense, it would seem like a drying-up in creativity. When listening to Floyd's albums in chronological order, and this album being their culmination in creativity (excluding THE FINAL CUT), it's hard not to see Floyd slipping quite a bit, which is what I've basically witnessed in Floyd ever since DSOTM came along (even though I enjoy each of the albums Floyd made between DSOTM and this album.) However, as stated above, if none of those earlier Floyd albums were to exist, this album would probably come the closest it can to being unanimous in it's classic status (not that it already hasn't.)
From the grandiose, megalomaniacal David Bowie-meets-Queen-meets film score hard rock/metal strains of the opening "In The Flesh?" to the maniacal, orchestrated "The Trial," this album is a journey through alienation, depression, frustration, anger and many other dark areas of the human psyche. It's disturbing, poignant and rewarding all at once. Enjoy.
Also recommended: THE WALL (the film) and BEHIND THE WALL (a Floyd documentary.)
Free Music Review: "How shall I fill the final places? How should I complete the wall...?"
Hit: 5 Stars
"The Wall" is one of Pink Floyd's most succesful albums, and was even made into a movie. As a result of the latter, many fans or researchers have mixed the themes of the movie and the album together. Roger Waters said in an interview that the album's autobiographical nature (which was what the movie centered on) was strictly secondary to the theatrical purpose the album had. It was inspired when Pink Floyd performed before a crowd that seemed to have no interest in what was going on. Fires were being started, beer cans thrown, people screaming - imagine going to your film debut and some idiot talking back to the characters. Roger Waters was so angered he actually spat at a fan and walked off stage. This inspired the idea of not only isolating yourself from your fans, (as Waters' felt like he was doing) but from your entire realm of consciousness - shutting yourself off from life. Why blame yourself? That hurts too much - blame others. Use them as the bricks in your wall to shut yourself off.
The album, nearly an hour and a half long, nearly tells an entire tale the whole way through. It follows our "narrator" from his birth through his young life and into his rock 'n roll career. Unable to cope with emotional pain and anguish, he builds a wall within himself, the first brick laid through the grief of his father's death, the next through his cruel teachers who berate and belittle him, and several more from his mother, who not only controls him but influences him by adding more fears and pains to his psyche. One of the final bricks is laid by his wife - and though many people assume that the wife is entirely to blame for leaving him, remember the lyrics of "Don't Leave Me Now" (which were edited a little in the movie):
I need you, babe
To put through the shredder
In front of my friends
...
How could you go?
When you know how I need you
To beat to a pulp on a Saturday night
Many people lose fathers or family members through wars, but they grow from there. We all have controlling parents, but we grow beyond that. And if there's a stint in the relationship, just remember it's never your fault.
Finally the narrator becomes "comfortabely numb," completely isolated from his past selves and now completely behind his wall, protected the way he wants to be. The stage performance turns into a fascist rally, where fans are singled out and abused. From there the conflict grows, leading to a reconquest of Britain from the undesireables. (on a humorous side note, Waters admitted in "The Wall" DVD commentary that the beginning of his directions in "Waiting for the Worms" started out as directions to minority neighborhoods, then he just started making stuff up from there) At the end of the album the narrator finally realizes how far he's gone, and in an inner trial realizes who is truly at fault. He tears down his wall, and a message is brought forth to all those who think they're alone and need to build other walls.
"The Wall" is without a doubt different from any other album I've listened to. Every track stands fine, either presenting a message, adding to the mood, or just as a great stand-alone song. With some musicals I skip tracks that bore me, but I don't think I've ever done so with "The Wall." One of my favorite tracks is "The Trial" at the very end. (co-written by Bob Ezrin) It was brought to life by Gerald Scarfe in the film, but even just listening to it is a treat. It's like an early Danny Elfman piece, with a carnival-like roller coaster combination of trumpets, tubas, and other wind instruments. Plus, its rather humorous hearing Roger Waters and David Gilmour doing all the voices to characters like the mother and the wife.
There's a lot to reflect on here, even after all these years since the album's release. No one can deny that, even if they haven't built a wall, they've at least laid a brick or two.
Free Music Review: Phenomenal Concept Album Has Yet To Be Topped
Hit: 5 Stars
It's ironic that Pink Floyd's ominous double concept album "The Wall" was released at a time when, to quote drummer Nick Mason, "There was no friendship within the four members." And as Mark Fisher (stage designer for the extravagant live performances of "The Wall") pointed out, "There was this metaphor for the problems in life that arise due to noncommunication being executed by a band that was absolutely failing to communicate [amongst themselves]." But nonetheless, the album is relatively flawless. No artist has done anything quite like it since. Its power, its strength, its gloomy atmosphere all remain one of Pink Floyd's lasting trademarks, and one of the biggest selling albums ever (currently in the top forty highest sellers of all time).
Pink Floyd--always hailed as the perfectors of the concept album--present their most complex story to date; "The Wall" is the story of a pop singer, "And there it ends," says Bob Geldof, who portrayed the character in the film version (the fact that it was turned into a film alone should tell you how phenomenal the record was). Tracing his emotionally damaged life, the album builds the character without missing a detail, although sometimes speeding through things; shortly before the character is born, his father is killed in action in World War II ('Another Brick in the Wall, Part 1'. This is based on a true event that happened to Pink Floyd's principle songwriter Roger Waters). A related 'brick' is the war that left his homeland scarred ('Goodbye Blue Sky'). From there, he is faced with an overprotective mother ('Mother') and a harsh, faceless, cruel life at school ('The Happiest Days of Our Lives', 'Another Brick in the Wall, Part 2'). After growing up, the character becomes a rock star, a desperate attempt at escaping the pain of his childhood. He also gets married, unfortunately to the woman who scars him even further by cheating on him ('One of My Turns', 'Don't Leave Me Now'). Finally, the last few bricks to his metaphorical wall of emotions are added, and he closes himself from the rest of the world ('Another Brick in the Wall, Part 3', 'Goodbye Cruel World').
The second half of the album partly depicts the character in his hotel room, dwelling on his painful past, and unhappy position as a rock star ('Is There Anybody Out There?', 'Nobody Home'). One of the strongest studies of the character is 'Comfortably Numb,' which shows how all of the pain he has endured, added with a drug addiction, has transformed him into an emotionless being. Further expressing this are 'In the Flesh', and 'Waiting For the Worms' which depict how his rock star life and dominating peers have turned him into a fascist, yet still causing him to fear for his life.
Undoubtedly the most powerful piece in "The Wall" is 'The Trial,' which fantastically depicts the character's decision to 'tear down the wall' and face his past, his present, and his future.
All of these things form a metaphorical 'brick' in a wall that the character used to fence himself from his feelings, and from the rest of the world. Although "The Wall" is mostly the work of Roger Waters, every contribution from each member of Pink Floyd is key to the album's power--though their contributions were limited; keyboardist Rick Wright was forced out of the band by Waters during the album's production, and drummer Nick Mason was even replaced entirely on one track. And though the tension that surrounded the band at that time is evident, it somehow adds to the gloomy atmosphere of "The Wall", almost strengthening the entire album. Truly ironic. Every piece of the album is necessary in order to tell the story--even the seemingly diminutive and forgettable pieces like 'Vera' or 'Bring the Boys Back Home.' To use a shopworn cliche`, "The Wall" is a masterpiece that was truly ahead of its time. It has yet to be matched, much less topped in quality.
Free Music Review: DELUXE ROCK THEATER FOR THE SENSES
Hit: 5 Stars
The decision for which album to base my first Amazon review on....took awhile. There are literally close to 500 albums that I would like to say something good or bad about. After a little consideration, I figured I'd start at the Top and work my way Down. //Pink Floyd's monstrous epic, The Wall, is THE BEST album ever recorded in any genre, anywhere, EVER. There are many GREAT albums....this happens to be THE BEST one. There are too many 'close second' finalists to even begin mentioning, so don't get miffed over my "Overtly Pretentious Conclusion". If right now your saying something like "Dylan's Blonde on Blonde is better" or "The first Ramones album blows it away" or even worse "Linkin Park rocks, man", you should pull the plug on all Audio Devices at your disposal and take up Calligraphy as a hobby instead. (Music just ain't workin' out for ya.) This is the most ambitious, elaborate and emotional undertaking by any group of musicians since the Classical and Romantic periods. (They, didn't have the benefit of electricity. Doesn't it rule?) // 'The Wall' is the brainchild of ROGER WATERS, one of our planet's most distinctive weavers of melody and lyric. With the creative accompaniment of distinguished guitarist, DAVID GILMOUR, he melds theme, narrative and structure in a way never attempted before - and never since. The result is the most dynamic musical experience known to man.
The album's Protagonist and Antagonist comes to us in the body of one central character - - the infamous 'Pink'. He's not doing so well and he'd be better off if he stayed back at the hotel. But he opted to guide us again, into his bleak world of madness and emotional decay. 'Pink' is a composite of Waters' own life experiences and....more poignantly - - those of former, co-founding bandmate, SYD BARRETT. The unbelievable writing, arrangement and production of the album fluently guides Pink's character arc, as it unfolds and plummets like a fighter pilot. The story follows a semi-linear structure, with flashback sequences interspersed; giving us backstory on Pink's earliest traumatic experiences - - the loss of his father in WWII, an overbearing mother and childhood illness. It achieves all of this masterfully while also exploring themes of Fascism, Racism, Rejection and Social Disenfranchisement.
Novelists have 300 + pages to achieve what Waters conveys to us within the limited narrative structure of music. His chord progressions and lyrics Evoke Imagery and are Heavily Laden with Metaphor. The sound effects and overdubs found throughout the piece, help to create unparalleled Atmosphere and Tone. The lyrics are delivered to us by the dueling pipes of Waters and Gilmour. The two voices accomplish an incredible contrast between opposite, yet harmonious textures. Waters' voice representing the emotionally loaded ego of 'Pink', tinkering on the brink of insanity - - and Gilmour's representing the peace and comfort outside The Wall.
The album is a 26 track, Re-Master-Piece whose smallest achievement is the fact that it has spawned 6 Classic-Rock Radio gems. (When these songs are taken out of the context of the whole symphony, they lose a little something.) I bought this album recently after only hearing it once over the last decade. (It was ridiculously played out in my single-digit and teen years.) It has re-awakened me to the complexity in art that man is capable of realizing. The album's classic status is so legendary that it's almost comical. Yet it's reputation is well deserved. My only grievance with the Remastered edition is that It does not include bonus tracks for "When the Tigers Broke Free" and the superior version of "Empty Spaces" which are both featured in the film version. 28 tracks would not have been overkill - - in this case.