Well, it is a story. Not a particularly enlightening or uplifting story. But it is a coherent story, which is more than I can say about a lot of double-album concept pieces.
However, it is sound advise to not listen to music you don't like.
Well, it is a story. Not a particularly enlightening or uplifting story. But it is a coherent story, which is more than I can say about a lot of double-album concept pieces.
However, it is sound advise to not listen to music you don't like.
Just for fun though, play The Wall starting from the 2nd disc (side 3) to the 1st.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Eloquent responses all...for not listening to the whole album (or any of it if that's your opinion). My point was that the album was conceived as a whole piece (rather than a collection of songs), so it doesn't really make sense to drop half the songs and still call it The Wall, which I think is a lot of what this thread is about (not sure specifically about the people I've quoted).
Ian
Host of the Post-Avant Jazzcore Happy Hour on progrock.com
https://podcasts.progrock.com/post-a...re-happy-hour/
Gordon Haskell - "You've got to keep the groove in your head and play a load of bollocks instead"
I blame Wynton, what was the question?
There are only 10 types of people in the World, those who understand binary and those that don't.
It's been so long since I played it that I've forgotten... do all the pieces (except for flipping the records over) segue into one another?
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
Well, there's sound effects linking some of the songs, but there's quite a few that don't segue directly into the next song. I would describe The Happiest Days Of Our Lives/Another Brick In The Wall to be a segue, for instance. By contrast, In The Flesh? and The Thin Ice has that bit of the baby crying linking the two songs. Young Lust has a cold ending, before we hear the pedal tone that starts off One Of My Turns, with I think the last bit of the telephone conversation in between (for what it's worth, I believe it's been said that was an actual phone call, Bob or Roger placed an actual transatlantic phone call to get that bit, and they had to do it twice, because the first time, the operator didn't give the kind of spontaneous response they were looking for...I wonder if that operator ever found out she ended up on a Pink Floyd record).
thanx for that summary bro... obviously one would have to fade out on the segue if they were to cut a song that was attached
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
indeed... it certainly beats Tommy or The Lamb's storylines (though Tommy's is fairly simple to understand) or TFTO's unintelligible non-concept
of 70's concept double albums, I'd say I prefer Quadrophenia over The Wall, but nothing will ever beat "The Mother Of All Concept albums" , which is a single disc.
Haven't done that with The Wall, but back then I tried listening to The Lamb's second disc alone or even side 4 alone to see if maybe I was weary or overdosed by the time Side 4 happened to come by, but to no avail: except for Slipperman, I find side 4 utterly boring and almost pointless (even in the so called storyline).
Yup, outside of Young Lust (which I surprisingly didn't hear on the radio nearly as much as I would've expected >> probably due to its title), the only one I would still gladly hear from those "hits" is Hey You... the others have been ruined by over-exposure
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BTW, that's the major advantage of CDs over vinyls: no need to do edit CD-r, since the skip track button suffice.
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
It wasn't until the mid-late '80's when I really dug into this as I was at the time a raging metalhead. All the weed I was smoking at the time just wasn't being utilized correctly with Maiden and Metallica Anyway, me and my 'buds' would spend many hours listening to this in basements and around campfires. Great fun and memories! Played it so often that there really isn't any song from it that I'd ever intentionally listen to again filler or non-filler.
"Who would have thought a whale would be so heavy?" - Moe Sizlak
I bought my vinyl from a friend who needed the money. I've played it maybe two. Coversely, I also bought the first bootleg ever to show up from one of the Nassau Coliseum shows and listened to that more than anything.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
So after multiple delays due to visa issues, I finally saw The Wall Extravaganza in Boston a couple of days ago. Must say, I quite enjoyed it. I'm glad I re-listened to the album as a refresher, and the band played the album very faithfully and I thought put on a good show. There were a couple of things I might have done differently from a staging point of view, but musically and sonically it was truly excellent.
One thing I liked was hearing this music played live by a basic rock band (2 guitars, bass, drums, keys, vox and two female backing vocalists). The music definitely had a harder edge than the album, and while they had a lot of ambient effects like the album (TVs in the background, the phone ringing, etc.) that was not as prominent and the music spoke better for itself. For me, the weak moments on the album were the weak moments in the show. Vera/BtBBH still seems out of place to me, overly maudlin, and poorly placed after Nobody Home in terms of pacing. I also got a distinct "Rocky Horror Picture Show" vibe from Show Must Go On and Waiting for the Worms. OK for a rock opera, I guess, but not especially "Floyd-like."
Still, my estimation of this work has only increased after re-listening to the album and seeing this show. Despite some stumbles, it's one of the more cohesive rock operas, and there really is a lot of fabulous music here, though it is a major departure for Pink Floyd and I can see long-time fans of their other stuff not liking this as much. If there's filler, it seems pretty minimal to me and despite not liking a few songs, there's relatively little I'd change.
Bill
Roger Waters turned 80 yesterday! To celebrate, I translated my The Wall review (which, incidentally, I'm quite happy with!) into English. I hope it's of some use to some of you.
https://pienemmatpurot.com/review-pi...the-wall-1979/
Warning: it's a long one!
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
I don't know how you find the time to write all of these multiple and huge reviews. I liked it but I'm not a big fan of The Wall.
What can this strange device be? When I touch it, it brings forth a sound (2112)
I have to be honest, for me most of it is filler. Mostly musically weak and painful to listen to apart from some of the classic tracks. Maybe I'm not a real PF fan though because the only Floyd albums I still love are DSOTM, WYWH, AMLOR & TDB so its just my opinion..
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
The Stalin years
'I would advise stilts for the quagmires"
Isn't the filler the cement that holds the wall together?
Great guitar playing, great orchestration from Kamen, but music that does little for me, and lyrics that just jar, now that I know what a hypocrite Waters is.
I think Waters is staying true to himself.
He maybe inconsistent in his POV (like the fox hunting shit) and have contradictions, but he's certainly not a hypocrit.
I think there are a few fillers (between Hey You & Numb on side 3, for ex) & lengths in there and of course The Wall has been overplayed ad nauseam, which can make some dislike it.
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my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
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