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The Wall is the eleventh studio album by English rock band Pink Floyd, released 30 November 1979 on Harvest and Columbia Records. It is a rock opera that explores Pink, a jaded rockstar whose eventual self-imposed isolation from society is symbolized by a wall. The album was a commercial success, topping the US charts for 15 weeks, and reaching number three in the UK. It initially received mixed reviews from critics, many of whom found it overblown and pretentious, but later came to be considered one of the greatest albums of all time.
Pink Floyd – The Wall is a 1982 British live action/adult animated surrealism musical psychological drama film directed by Alan Parker, based on the 1979 Pink Floyd album The Wall. The screenplay was written by Pink Floyd vocalist and bassist Roger Waters.
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- Pink Floyd – Another Brick In The Wall (Part 1) 3:45; Pink Floyd – In The Flesh? 3:20; Pink Floyd – The Thin Ice. 2:30 Pink Floyd - Another Brick In The Wall, Part Two (Official Music Video). 26 x File, MP3, Album, Reissue, Remastered, 320kbps. Style: Psychedelic Rock, Arena Rock, Prog.
Listen To Pink Floyd The Wall Album Free
Bassist Roger Waters conceived The Wall during Pink Floyd’s 1977 In The Flesh tour, modeling the character of Pink after himself and former bandmate Syd Barrett. Recording spanned from December 1978 to November 1979. Producer Bob Ezrin helped to refine the concept and bridge tensions during recording, as the band were struggling with personal and financial issues at the time. The Wall is the last album to feature Pink Floyd as a quartet; keyboardist Richard Wright was fired by Waters during production, but stayed on as a salaried musician. Three singles were issued from the album: “Another Brick in the Wall, Part 2” (the band’s only US number-one single), “Run Like Hell“, and “Comfortably Numb“. From 1980 to 1981, Pink Floyd performed the full album on a tour that featured elaborate theatrical effects.
The Wall was adapted into a 1982 feature film of the same name and remains one of the best-known concept albums. The album has sold more than 24 million copies, is the second best-selling in the band’s catalog, and is one of the best-selling of all time. Some of the outtakes from the recording sessions were later used on the group’s next album, The Final Cut (1983). In 2000 it was voted number 30 in Colin Larkin‘s All Time Top 1000 Albums. In 2003, Rolling Stone listed The Wall at number 87 on its list of the “500 Greatest Albums of All Time“. From 2010 to 2013, Waters staged a new Wall live tour that became the highest-grossing tour by a solo musician.
Pink Floyd’s In the Flesh Tour was their first playing in large stadiums. Bassist and songwriter Roger Waters recalled: “I disliked it intensely because it became a social event rather than a more controlled and ordinary relationship between musicians and an audience … The front sixty rows seemed to be screaming and shouting and rocking and swaying and not really listening to anything. And those further back could see bugger-all anyway.” Some audience members set off firecrackers, leading Waters to stop playing and scold them. In July 1977, on the final date at the Montreal Olympic Stadium, a group of noisy and excited fans near the stage irritated Waters so much that he spat at one of them. Guitarist David Gilmour refused to perform a final encore and sat at the soundboard, leaving the band, with backup guitarist Snowy White, to improvise a slow, sad 12-bar blues, which Waters announced to the audience as “some music to go home to”. That night, Waters spoke with music producer Bob Ezrin and Ezrin’s psychiatrist friend about the alienation he was experiencing. He articulated his desire to isolate himself by constructing a wall across the stage between the performers and the audience. He said, “I kept saying to people on that tour, ‘I’m not really enjoying this … there is something very wrong with this.’
While Gilmour and Wright were in France recording solo albums, and drummer Nick Mason was busy producing Steve Hillage‘s Green, Waters began to write material. The spitting incident became the starting point for a new concept, which explored the protagonist’s self-imposed isolation after years of traumatic interactions with authority figures and the loss of his father as a child. The Wall would study the performer’s psychological separation from the audience, using a physical structure as a metaphorical and theatrical device.
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In July 1978, Pink Floyd reconvened at Britannia Row Studios, where Waters presented two new ideas for concept albums. The first was a 90-minute demo with the working title Bricks in the Wall. The second was about a man’s dreams across one night, and dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity. The band chose the first option. The second option eventually became Waters’s first solo album, The Pros and Cons of Hitch Hiking.[14]
By September, Pink Floyd was experiencing financial difficulties and urgently needed to produce an album to make money. Financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million, up to £19.1 million in contemporary value, of the group’s money in high-risk venture capital to reduce their tax liabilities. The strategy failed when many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 percent. “We made Dark Side and it looked as if we’d cracked it,” recalled Waters. “Then suddenly these bastards had stolen it all. It looked as if we might be faced with huge tax bills for the money that had been lost. Eighty-three per cent was a lot of money in those days and we didn’t have it.” Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds. “By force of necessity, I had to become closely involved in the business side,” remarked Gilmour, “because no one around us has shown themselves sufficiently capable or honest to cope with it, and I saw with Norton Warburg that the shit was heading inexorably towards the fan. They weren’t the first crooks we stupidly allied ourselves with. Ever since then, there’s not a penny that I haven’t signed for. I sign every cheque and examine everything.”
To help manage the project’s 26 tracks, Waters decided to bring in a producer and collaborator, feeling he needed “a collaborator who was musically and intellectually in a similar place to where I was.” At the suggestion of Waters’s then-girlfriend Carolyne Christie, who had worked as the secretary to producer and musician Bob Ezrin, the band hired him on. Ezrin had worked with Alice Cooper, Lou Reed, Kiss, and Peter Gabriel. From the start, Waters made it clear who was in charge, telling him: “You can write anything you want. Just don’t expect any credit.”
Ezrin and Gilmour reviewed Waters’s concept, discarding what they thought was not good enough. Waters and Ezrin worked mostly on the story, improving the concept. Ezrin presented a 40-page script to the rest of the band, with positive results. He recalled: “The next day at the studio, we had a table read, like you would with a play, but with the whole of the band, and their eyes all twinkled, because then they could see the album.” Ezrin broadened the storyline, distancing it from the autobiographical work Waters had written, and instead basing it on a composite character named Pink. Engineer Nick Griffiths later said: “Ezrin was very good in The Wall, because he did manage to pull the whole thing together. He’s a very forceful guy. There was a lot of argument about how it should sound between Roger and Dave, and he bridged the gap between them.” Waters wrote most of the album, with Gilmour co-writing “Comfortably Numb“, “Run Like Hell“, and “Young Lust“, and Ezrin co-writing “The Trial“.
Pink Floyd’s the Wall is one of the most intriguing and imaginative albums in the history of rock music. Since the studio album’s release in 1979, the tour of 1980-81, and the subsequent movie of 1982, the Wall has become synonymous with, if not the very definition of, the term “concept album.” Aurally explosive on record, astoundingly complex on stage, and visually dynamic on the screen, the Wall traces the life of the fictional protagonist, Pink Floyd, from his boyhood days in post-World-War-II England to his self-imposed isolation as a world-renowned rock star, leading to a climax that is as cathartic as it is destructive.
From the outset, Pink’s life revolves around an abyss of loss and isolation. Born during the final throes of a war that claimed the lives of nearly 300,000 British soldiers – Pink’s father among them – to an overprotective mother who lavishes equal measures of love and phobia onto her son, Pink begins to build a mental wall between himself and the rest of the world so that he can live in a constant, alienated equilibrium free from life’s emotional troubles. Every incident that causes Pink pain is yet another brick in his ever-growing wall: a fatherless childhood, a domineering mother, an out-of-touch education system bent on producing compliant cogs in the societal wheel, a government that treats its citizens like chess pieces, the superficiality of stardom, an estranged marriage, even the very drugs he turns to in order to find release. As his wall nears completion – each brick further closing him off from the rest of the world – Pink spirals into a veritable Wonderland of insanity. Yet the minute it’s complete, the gravity of his life’s choices sets in. Now shackled to his bricks, Pink watches helplessly (or perhaps fantasizes) as his fragmented psyche coalesces into the very dictatorial persona that antagonized the world during World War II, scarred his nation, killed his father, and, in essence, affected his life from birth. As much as this story tips toward nihilistic victimhood, there also runs a strong existentialist countercurrent in which freedom cannot be separated from personal responsibility. The narrative culminates in a mental trial as theatrically rich as the greatest stage shows, with Pink’s tale ending with a message that is as enigmatic and circular as the rest of his life. Whether it is ultimately viewed as a cynical story about the futility of life, or a hopeful journey of metaphoric death and rebirth, the Wall is certainly a musical milestone worthy of the title “art.”
As with most art, Pink Floyd’s concept album is a combination of imagination and the author’s own life. The album germinated during the band’s 1977 Animals tour when frontman Roger Waters, growing disillusioned with stardom and the godlike status that fans grant to rock stars like himself, spit in the face of an overzealous concert-goer. Horrified by his disenchantment, Waters began drawing from the well of his alienation as well as the loss of his own father during World War II to flesh out the fictional character of Pink. The wild stories surrounding Pink Floyd’s original frontman, Syd Barrett – including his drugged-out escapades and subsequent withdrawal from the world – provided Waters with further inspiration for the moody rock-star. The contributions of bandmates David Gilmour, Nick Mason, and Richard Wright provided the final brush strokes for a contemporary anti-hero – a modern, existential Everyman struggling to find, or arguably lose, self and meaning in a century fragmented by war.
A Quick Note About the Lyrics:
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Because bassist Roger Waters and guitarist David Gilmour traded lead vocalist duties throughout 70’s-era Pink Floyd, I’ve received many e-mails over the years asking me to clarify the main singer of each particular song in the Wall. To this end, the singer’s name will be bracketed next to the sections of song that he sings. For example:
[David Gilmour]
Of course mama’s gonna help build a wall.
Bob Ezrin
[Roger Waters]
Mother, do you think she’s good enough for me?
Pink Floyd Wall Full Album
In this lyric taken from the song “Mother,” David Gilmour sings the line “Of course mama’s gonna help build a wall,” while Roger Waters sings the following line, “Mother, do you think she’s good enough for me?”, and so on. On songs with only one singer, the vocalist is listed in brackets at the top of the lyrics.