½ One of the most surreal movies I've ever seen in my life. The story is a little hard to understand at times, especially when it comes to distinguishing what is going on in the real world or Pink's mind. However, if you like Pink Floyd music, this movie will certainly be a treat. The animation sequences are the best parts of this film, they are technically impressive and fit the disturbing look of the movie and the music. My favorite parts of the film are the 'Another Brick in the Wall Pt. 2' school scene and 'The Trial' at the film's climax. ½ I've been a fan of Pink Floyd since I was a kid, and this musical set to the brilliant music of Pin Floyd's album The Wall is stunning.

Pink Floyd: The Wall (1982). Rated R for Graphic Sexuality, Violence, Drug Usage, Disturbing Images, and Some Language. Live action: Edit. A couple instances of nudity throughout the film but they are always. After the judge orders the wall to be torn down, he 'defecates'. Kinda gross, but brief. Note this scene is. Pink Floyd's The Wall is a splendidly engrossing, self-indulgent rock & roll movie.

The Wall is an eccentric concept, and in pure Pink Floyd fashion delivers masterful images set to a lavish storyline about a depressed rock star named Pink. The Wall is a film that should only be viewed by fans of the band, as the film follows the story of the album. The images are superbly well drawn and the sequences are very memorable. As a fan of the album, I was stunned at what I watched.

The result is a near flawless musical set to one of Rock's greatest concept albums. This film is fairly simple, but set to the epic songs; it elevates the film to an entire level of musical. This isn't Grease; this is a true musical, with music that's from the heart. The cast do a fine job and there are some good performances in this film. But with every musical, The Wall is strong on music and not dialogue. You end up not caring because the film is so engrossing and compelling that it doesn't matter what's going on.

I feel that Pink Floyd's music has always been hypnotic and intelligent. This musical is most certainly that, it hypnotizes you and takes you on an interesting journey where the lead character, Pink builds 'The Wall' a metaphor for isolation. Pink seeks to isolate himself from the world, his pain, his fans and fame, and 'The Wall' continues to build. This is a stunning musical set to brilliant music. The story of a depressed, self-loathing rock star, told as a long, grandiose, surrealistic movie video. Roger Waters lyrics for 'The Wall' are whiny, pretentious, muddled, and occasionally brilliant, which could be said of this entire production: it's uneven but there are many indelible, grotesque moments, and it's hard to take your eyes off the screen. Gerald Scarfe's brilliant, nightmarish animations---birds turning into warplanes, flowers mating and eating each other, marching fascist hammers---are the high point.

• ' / ' Released: 23 November 1979 • ' / ' Released: 17 April 1980 • ' / ' Released: 23 June 1980 The Wall is the eleventh by English band. It was released as a on 30 November 1979, by in the United Kingdom and by in the United States. It received an initially mixed critical response, though was commercially successful, reaching number 3 on the, and topping the chart for 15 weeks. The album is considered one of the most recognisable. It is the band's second best selling album (after ) and one of the.

In 1982, it was adapted into a. Bass guitarist and lyricist conceived the album as a during Pink Floyd's 1977, when his frustration with the audience became so acute that he spat on them.

Its story, which follows themes of abandonment and personal isolation, explores Pink, a character whom Waters modeled after himself and the band's original leader. Pink's life begins with the loss of his father during the, and continues with abuse from his schoolteachers, an overprotective mother, and the breakdown of his marriage; all contribute to his eventual self-imposed isolation from society, represented by a metaphorical wall. The band, who were then struggling with personal and financial difficulties, supported the idea.

Waters enlisted an outside collaborator, Canadian producer, due to his need for somebody who he felt was 'musically and intellectually' similar to himself, as well as a helping hand for the cumbersome amount of material that was written. Recording lasted from December 1978 to November 1979, with stops in France, England, New York, and Los Angeles. Waters' song ' became the band's first and only chart-topper when released as the album's lead single. Two songs co-written by guitarist, ' and ', were also issued as singles. The Wall remains the last studio album released with the of Waters, Gilmour, keyboardist, and drummer. Wright was unceremoniously fired from the band by Waters during its production, but stayed as a salaried musician, performing with Pink Floyd on their.

The live performances, which were, featured elaborate theatrical effects. Some of the album's themes would be continued in the band's next album, (1983), which contained some outtakes from The Wall. By 1999, the album had sold over 23 million -certified units (11.5 million albums), making it the. In 2003, placed The Wall at number 87 on its list of '. Contents • • • • • • • • • • • • • • • • Background [ ] Pink Floyd's was their first playing in large stadiums. 'I disliked it intensely,' recalled Waters, '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.' During the tour, several shows were affected by audience members setting off firecrackers, which infuriated Waters, often leading him to stop playing and scold those responsible. In July 1977, on the final date at the, a small group of noisy and excited fans near the stage irritated Waters to such an extent that he spat at one of them.

He was not the only band member to feel disaffected at the show: guitarist refused to perform the band's usual encores (' and '), leaving the band, with backup guitarist, to improvise a slow, sad, which Waters described as 'some music to go home to'. Later that night, returning from hospital after an injury sustained to his foot while play-fighting backstage with manager, Waters spoke with music producer, and a friend of Ezrin's, a psychiatrist sharing their car, about the feelings of alienation he was experiencing on the tour. He articulated his desire to isolate himself by constructing a wall across the stage between the performers and the audience. He later said, 'I loathed playing in stadiums.

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 was busy producing 's, Waters began to write new 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 young child. To execute The Wall concept was to attempt to analyse the performer's psychological separation from the audience, using a physical structure as a metaphorical and theatrical device. In July 1978 the band reconvened at, 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, a project about a man's dreams across one night that dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity. The first option was chosen by the group for the new Pink Floyd project and the second idea eventually became Waters's first solo effort, a concept album titled. By September, the band was experiencing financial difficulties. Financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million (up to £17.4 million in contemporary value ) of the group's money in high-risk to reduce their. The strategy failed as many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 percent. 'We made 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,' recalled 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.'

The band thus urgently needed to produce an album to make money. And because the project's 26 tracks presented a challenge greater than the band's previous albums, 'Waters decided to bring in an outside producer and collaborator.' He later said, 'I needed a collaborator who was musically and intellectually in a similar place to where I was.' Producer Bob Ezrin had worked with,, and, as well as producing 's.

At the suggestion of Waters's then-girlfriend, who had worked as Ezrin's secretary, the band hired him to co-produce the album. From the start, Waters made it very clear who was in charge: 'You can write anything you want.

Just don't expect any credit'. Ezrin, Waters, and Gilmour read Waters's concept, keeping what they liked, and discarding what they thought was not good enough. Railroad Earth Amen Corner Rar Extractor. Waters and Ezrin worked mostly on the story, improving the concept. A 40-page script was presented to the rest of the band, with positive results: '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, or gestalt character named Pink.

Engineer Nick Griffiths later said of the Canadian producer, 'Ezrin was very good in The Wall, because he did manage to pull the whole thing together. He's a very forceful guy.

Mujhe Naulakha Manga De Video Download Hd there. 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's material, with Gilmour co-writing ', 'Run Like Hell', and 'Young Lust', and Ezrin co-writing 'The Trial'. Concept and storyline [ ].

The disco beat used in 'Another Brick in the Wall Part 2' presented a marked change from Pink Floyd's previous releases. [ ] Problems playing this file? The Wall is a rock opera that explores abandonment and isolation, symbolised by a metaphorical wall. The songs create an approximate storyline of events in the life of the protagonist, Pink (who we are introduced to in the songs ' and '), a character based on as well as Roger Waters, whose father was killed during the Second World War. Pink's father also dies in a war ('), which is where Pink starts to build a metaphorical 'wall' around him. Pink is oppressed by his overprotective mother (') and tormented at school by tyrannical, abusive teachers (').

All of these become metaphorical 'bricks in the wall' ('). The protagonist eventually becomes a rock star, his relationships marred by infidelity, drug use, and outbursts of violence. He finally becomes married and is about to complete his 'wall' ('). He suddenly scares his wife away by trashing the house (').

As his marriage crumbles ('), he dismisses everyone he's known as 'just bricks in the wall' (') and finishes building his wall ('), completing his isolation from human contact. Hidden behind his wall, Pink becomes severely depressed (') and starts to lose all faith ('). In order to get him to perform, a doctor medicates him ('). This results in a hallucinatory on-stage performance where he believes that he is a performing at concerts similar to rallies ('), at which he sets -like men on fans he considers unworthy ('). Upon realizing the horror of what he has done ('), Pink becomes overwhelmed and wishes for everything around him to cease ('). Showing human emotion, he is tormented with guilt and places himself on trial ('), his inner judge ordering him to 'tear down the wall', opening Pink to the outside world (').

The album turns full circle with its closing words 'Isn't this where.' , the first words of the phrase that begins the album, '. , with a continuation of the melody of the last song hinting at the cyclical nature of Waters' theme. The album includes several references to former band member, including ', which hints at his condition during Pink Floyd's abortive US tour of 1967, with lyrics such as 'wild, staring eyes', 'the obligatory Hendrix perm' and 'elastic bands keeping my shoes on'.

'Comfortably Numb' was inspired by Waters's injection with a to combat the effects of during the In the Flesh Tour, while in Philadelphia. Production [ ] Recording [ ] The album was recorded in several locations. In France, Super Bear Studios was used between January and July 1979, with Waters recording his vocals at the nearby.

Supervised the orchestral arrangements at in New York, in September. Over the next two months the band used, Producers Workshop and in Los Angeles. A plan to work with the at the Sundance Productions studio in Los Angeles was cancelled.

For a week in November they worked at the Producers Workshop., recommended by previous Floyd collaborator, arrived early in the production process. He replaced Brian Humphries, emotionally drained by his five years with the band. Guthrie was hired as a co-producer, but was initially unaware of Ezrin's role: 'I saw myself as a hot young producer. When we arrived, I think we both felt we'd been booked to do the same job.'

The early sessions at Britannia Row were emotionally charged, as Ezrin, Guthrie and Waters each had strong ideas about the direction the album would take. Relations within the band were at a low ebb, and Ezrin's role expanded to that of an intermediary between Waters and the rest of the band.

As Britannia Row was initially regarded as inadequate for The Wall the band upgraded much of its equipment, and by March another set of demos were complete. However, their former relationship with NWG placed them at risk of bankruptcy, and they were advised to leave the UK by no later than 6 April 1979, for a minimum of one year. As during that time, and within a month all four members and their families had left.

Waters moved to Switzerland, Mason to France, and Gilmour and Wright to the. Some equipment from Britannia Row was relocated in Super Bear Studios near. Gilmour and Wright were each familiar with the studio and enjoyed its atmosphere, having recorded there during the production of their solo albums.

While Wright and Mason lived at the studio, Waters and Gilmour stayed in nearby houses. Mason later moved into Waters's villa near, while Ezrin stayed in Nice. Listeners voted 'Comfortably Numb's two guitar solos the greatest of all time. Problems playing this file? Mason's early drum sessions were performed in an open space on the top floor of. The 16-track recordings from these sessions were mixed down and copied onto a 24-track master, as guide tracks for the rest of the band to play to.

This gave the engineers greater flexibility, but also improved the audio quality of the final mix as the original 16-track drum recordings were finally synced to the 24-track master, and the duplicated guide tracks removed. Ezrin later related the band's alarm at this method of working – they apparently viewed the erasure of material from the 24-track master as 'witchcraft'. While at Super Bear studios Waters agreed to Ezrin's suggestion that several tracks, including 'Nobody Home', 'The Trial' and 'Comfortably Numb', should have an orchestral accompaniment., who had previously worked with, was booked to oversee these arrangements, which were performed by musicians from the and Orchestras, and a choir from the.

Their sessions were recorded at CBS Studios in New York, although Pink Floyd were not present. Kamen eventually met the band once recording was complete. ” David Gilmour 'Comfortably Numb' has its origins in Gilmour's debut solo album, and was the source of much argument between Waters and Gilmour.

Ezrin claimed that the song initially started life as 'Roger's record, about Roger, for Roger', although he thought that it needed further work. Waters rewrote the song and added more lyrics for the chorus, but his 'stripped-down and harder' recording was not to Gilmour's liking.

The guitarist preferred Ezrin's 'grander Technicolor, orchestral version', although Ezrin preferred Waters's version. Following a full-scale argument in a restaurant, the two compromised; the song's body eventually included the orchestral arrangement, with Gilmour's second and final guitar solo standing alone. Sound design [ ] Ezrin and Waters oversaw the capture of the sound effects used on the album. Waters recorded the phone call used on the original demo for ', but neglected to inform its recipient, Mason, who assumed it was a prank call and angrily hung up. The call references Waters' viewpoint of his bitter 1975 divorce from first wife Judy.

Waters also recorded ambient sounds along by hanging a microphone from a studio window. Engineer Phil Taylor recorded some of the screeching tyre noises on 'Run Like Hell' from a studio car park, and a television set being destroyed was used on '. At Britannia Row Studios, Nick Griffiths recorded the smashing of crockery for the same song. Television broadcasts were used, and one actor, recognising his voice, accepted a financial settlement from the group in lieu of legal action against them. The album culminates with Pink's internal trial, leading to the collapse of his 'wall' Problems playing this file?

The maniacal schoolmaster was voiced by Waters, and actress supplied the 's voice. Backing vocals were performed by a range of artists, although a planned appearance by the on 'The Show Must Go On' and 'Waiting for the Worms' was cancelled by Waters, who instead settled for Beach Boy and. Ezrin's suggestion to release ' as a single with a disco-style beat did not initially find favour with Gilmour, although Mason and Waters were more enthusiastic. Waters was opposed to the idea of releasing a single at all, but became more receptive once he listened to Ezrin and Guthrie's mix of the song. With two identical verses the song was felt to be lacking, and so a copy was sent to Griffiths in London with a request to find children to perform several versions of the lyrics.

Griffiths contacted Alun Renshaw, head of music at the nearby Islington Green school, who was enthusiastic about the idea, saying: 'I wanted to make music relevant to the kids – not just sitting around listening to Tchaikovsky. I thought the lyrics were great – 'We don't need no education, we don't need no thought control.' I just thought it would be a wonderful experience for the kids.' Griffiths first recorded small groups of pupils and then invited more in, telling them to affect a accent and shout rather than sing. He multitracked the voices, making the groups sound much larger than they were, before sending his recordings back to Los Angeles. The result was that Waters was 'beaming', and the song was released, becoming a Christmas number one hit.

There was some controversy when the British press reported that the children had not been paid for their efforts; they were eventually given copies of the album, and the school received a £1,000 donation (£4,000 in contemporary value ). Artwork and packaging [ ] The album's cover art is one of Pink Floyd's most minimal – a white brick wall and no text. Waters had a falling out with designer a few years earlier when Thorgerson had included the cover of in his book Walk Away Rene. The Wall is therefore the first album cover of the band since not to be created by the design group. Issues of the album would include the now-famous handwritten lettering of the artist name and album title by cartoonist, either as a sticker on sleeve wrapping or printed onto the cover itself, in either black or red. Scarfe, who had previously done animated segments for the band's, also did the LP's inside sleeve art and labels of both vinyl records of the album, showing the eponymous wall in various stages of construction, accompanied by characters from the story.

The drawings would be translated into dolls for The Wall Tour, as well as into Scarfe's animated segments for the film based on the album. Release and reception [ ] Professional ratings Review scores Source Rating 9/10 8/10 B− When the completed album was played for an assembled group of executives at Columbia's headquarters in California, several were reportedly unimpressed by what they heard. Matters had not been helped when offered Waters smaller publishing rights on the grounds that The Wall was a double album, a position he did not accept. When one executive offered to settle the dispute with a coin toss, Waters asked why he should gamble on something he owned.

He eventually prevailed. The record company's concerns were alleviated when 'Another Brick in the Wall Part 2' reached number one in the UK, US, Norway, Portugal, Israel, West Germany and South Africa. It was platinum in the UK in December 1979, and platinum in the US three months later. The Wall was released in the UK and in the US on 30 November 1979. Coinciding with its release, Waters was interviewed by veteran DJ, who played the album in its entirety on. Critical opinion of its content was mixed, ranging from critic 's 'a dumb tribulations-of-a-rock-star epic' backed by 'kitschy minimal maximalism with sound effects and speech fragments', and Rolling Stone writer 's 'a stunning synthesis of Waters's by now familiar thematic obsessions', to Melody Maker's 'I'm not sure whether it's brilliant or terrible, but I find it utterly compelling.' Nevertheless, the album topped the Billboard charts for 15 weeks, selling over a million copies in its first two months of sales and in 1999 was certified 23x platinum.

It remains one of the of all time in the US, between 1979 and 1990 selling over 19 million copies worldwide. The Wall is Pink Floyd's second best selling album after 1973's. Engineer James Guthrie's efforts were rewarded in 1980 with a award for Best Engineered Recording (non-classical). According to, The Wall is the 145th most ranked record on critics' all-time lists. Placed it at number 87 on its list in 2003.

Reissues [ ] A 1994 digitally remastered CD version manufactured in China omits 'Young Lust', but retains a composition credit for Waters/Gilmour in the booklet. The album was reissued in three versions as part of the campaign, which featured a massive restoration of the band's catalogue with remasterings by producer: in 2011, a 'Discovery' edition, featuring the remastered version with no extras; and in 2012, both the 'Experience' edition, which adds a bonus disc of unreleased material and other supplementary items, and the 'Immersion' version, a seven-disc collection that also adds video materials. Then again, the album was reissued under the label on 26 August 2016 along with. Film, concert, and other adaptations [ ]. Waters, dressed in military attire, performing at, 1990 During each performance of the band's subsequent, a 40-foot (12 m) high wall of cardboard bricks was gradually built between the band and audience. Gaps allowed the spectators to view various scenes in the story, as Scarfe's animations were projected onto the completed parts of the wall.

Several characters from the story were realised as giant inflatables, including a pig, replete with a crossed hammers logo. The tour opened at the on 7 February 1980. One of its more notable elements was the band's performance of 'Comfortably Numb'. While Waters sang his opening verse in front of the wall, Gilmour waited in darkness at the top of the wall, for his cue.

When it came, bright blue and white lights would suddenly illuminate him, astonishing the audience. Gilmour stood on a on casters, held steady by a technician, both precariously balanced atop a tall hydraulic platform.

At the end of the concert, the wall was made to collapse, once again revealing the band. Along with the songs in the album, the tour featured an instrumental medley, ', which was played before 'Goodbye Cruel World' to allow the construction crew to complete the scenographic wall. Scarfe was employed to produce a series of animations for The Wall.

At his studio in London he employed a team of 40 animators to create a series of nightmarish visions of the future, including a dove of peace exploding to reveal an eagle, a schoolmaster, and Pink's mother. During the tour, relationships within the band were at an all-time low; four were parked in a circle, with the doors facing away from the centre.

Waters remained isolated, using his own vehicle to arrive at the venue, and stayed in separate hotels from the rest of the band. Wright, returning to perform his duties as a salaried musician, was the only member of the band to profit from the venture, which lost about £400,000.

Scarfe's animations were also to have been used in based on the album, accompanied by live concert footage, but the latter proved too impractical to film. Agreed to direct the film that bandmate had written, which kept the animated sequences but also used professional actors in each scene, with no dialogue. Took the role of Pink. A modified soundtrack was also created for some of the film's songs. Was released in July 1982.

In 1990 Waters and producer created, staged for charity at a site once occupied by part of the. Beginning in 2010 and with dates lasting into 2013, Waters performed the album worldwide on his tour,. This had a much wider wall, updated higher quality projected content and leading-edge projection technology.

Gilmour and Mason played at one show in London. A film of the live concert, titled, was released in 2015. In 2016, began adapting The Wall into an opera called with contemporary classical composer Julien Bilodeau. It premiered at in March 2017, and will be produced by in the summer of 2018. It is orchestrated for a score of eight soloists, 48 chorus members, and a standard 70-piece operatic orchestra.

Track listing [ ] All tracks written by, except where noted. Title Lead vocals Length 1. ' Waters 3:16 2. • – backing vocals • – backing vocals • – backing vocals • Jon Joyce – backing vocals • Stan Farber – backing vocals • – backing vocals • – piano, Hammond organ, synthesizers, reed organ, backing vocals • – percussion; synthesizer; sound effects • – drums on 'Mother' • Children of – vocals on 'Another Brick in the Wall Part II' •, Blue Ocean & 34 others – snare drums on 'Bring the Boys Back Home' • – rhythm guitar on 'One of My Turns', additional acoustic guitar on 'Comfortably Numb' • Joe (Ron) di Blasi – classical guitar on 'Is There Anybody Out There?' • – Hammond organ on 'In The Flesh?'

And 'In the Flesh' • – congas; bongos on 'Run Like Hell' • – concertina on 'Outside the Wall' • Larry Williams – clarinet on 'Outside the Wall' • Trevor Veitch – mandolin on 'Outside the Wall' • New York Orchestra – orchestra • New York Opera – choral vocals • and (credited simply as 'Vicki & Clare') – backing vocals • – child's voice on 'Goodbye Blue Sky' • Chris Fitzmorris – male telephone voice • Trudy Young – voice of the groupie • Phil Taylor – sound effects Production. • Pink Floyd eventually sued NWG for £1 million, accusing them of fraud and negligence. NWG collapsed in 1981. Fled to Spain, Norton Warburg Investments (a part of NWG) was renamed to Waterbrook, and many of its holdings were sold at a loss.

Andrew Warburg was jailed for three years upon his return to the UK in 1987. • As well as being more flexible, repeated replay of magnetic tape can, over time, reduce the quality of the recorded material. • EMI Harvest SHVL 822 (double album) • As a double album 23x platinum signifies sales of 11.5 million. • EMI Harvest HAR 5194 (7' single) • Columbia 1-11187 (7' single) • Columbia 1-11265 (7' single) Footnotes. • (2008), Comfortably Numb – The Inside Story of Pink Floyd (1st US paperback ed.), Cambridge, Massachusetts: Da Capo Press, • Fitch, Vernon; Mahon, Richard (2006), (1st US hardcover ed.), St. • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Milwaukee: Hal Leonard Corporation, • Fitch, Vernon (2001), Pink Floyd: The Press Reports 1966–1983, Ontario: Collector's Guide Publishing Inc, • Fricke, David (December 2009), 'Roger Waters: Welcome to My Nightmare.

Behind The Wall', Mojo, London: Emap Metro, 193: 68–84 • Hiatt, Brian (September 2010), 'Back to The Wall', Rolling Stone, 1114: 50–57 • MacDonald, Bruno (1997), Pink Floyd: through the eyes of. The band, its fans, friends, and foes, New York: Da Capo Press, • Mabbett, Andy (2010), Pink Floyd The Music and the Mystery, London: Omnibus Press, External links [ ] Wikiquote has quotations related to.