What does it sound like?:
Roger Waters’ Us and Them tour traversed the globe over 2017-18, this particular show being filmed in Amsterdam in the summer of 2018. It’s a combination of the old Pink Floyd favourites from DSOTM, WYWH, Animals and The Wall combined with a handful of songs from his last album, 2017’s Is This The Life We Really Want. As you’d expect, Waters has assembled a cast of top of the range musicians for his band, and a huge amount of money, reputedly four million dollars, was spent on the spectacular stage set, sound, lights and visuals, all of which are absolutely state of the art. Waters politics aren’t everyone’s cup of tea, but he certainly puts his views over with conviction and really wears his heart on his sleeve. Many will probably have watched this show when it was broadcast on Sky Arts last weekend – the DVD adds an interesting but all too brief behind the scenes documentary, appropriately entitled A Fleeting Glimpse, plus two further songs from the show, Smell The Roses and, inevitably, Comfortably Numb. It’s a shame they couldn’t fit Smell The Roses into the main body of the film/album as it’s one of the best songs from his last record – I would have much preferred that to, say, Wish You Were Here, which feels rather shoehorned into proceedings because it’s so well known rather than because it fits in with the show’s overall theme. Indeed, I think familiarity has, over the years, taken the edge off a lot of the material from DSOTM, WYWH and The Wall – great songs, but how many times can you hear them before they lose their impact and rather pass you by? In fact, the highlights of this show are the two less often performed pieces from Animals, Dogs and Pigs, which both get very fiery outings. If you’re a Floyd or Waters fan then you’ll relish this release – if you’re on the fence then I suggest you still take a look, as rock shows don’t get more spectacular than this.
What does it all *mean*?
Waters is never short of a big idea or overarching theme to link his songs in a grand design to get his point across. I just wish the show had featured more from his last, excellent, couple of solo albums and less of the no doubt crowd pleasing, but sometimes rather stale now, Floyd classics of yesteryear
Goes well with…
Exploring the Spotify playlist Waters recently posted on social media of all his recorded songs, both with Pink Floyd and solo,
Release Date:
Out now
Might suit people who like…
Bread and circuses! This is a great souvenir of the show, and who knows, with the postponement of this summer’s planned This Is Not A Drill dates, which have still to be rescheduled, and with Waters now 77 years old, we may not see him tour on this scale again.
And he mimes his vocals, right?
Not on the many occasions I’ve seen him, no.
I loved the film, especially, as you say, the Animals songs. But I definitely had the impression there was some lip-syncing going on. Not that it bothers me – spectacular show.
Think again
Hilarious!
Yep
Oh that’s great…is this a generally known thing about his shows??
In some circles, in his case a microphone malfunction is if it switches on accidentally…
I saw the Wall live film with the road trip to Anzio which was excellent. Out little art cinema has great sound {loud) and it was tip top. The Wall is awesome give or take the odd track.
The Wall is one of the best 10 albums ever made.
Correction: The Wall is one of the best 5 albums ever made
Just needs When The Tigers Broke Free added to make it even perfecter
(certainly the best Floyd elpee, despite what popular opinion says)
It was incorporated into the reissue of The Final Cut, and fits in nicely into that album’s narrative. One of Floyd’s most underrated records.
It is very good – but I always see it as a Roger Waters solo album
The Wall, Final Cut and Pros and Cons of hitchhiking are Waters imperious trilogy
It would make a good EP. Weakest 70s album released after Meddle for me
Pros and Cons was suggested by Waters to Floyd at the same time as The Wall (both were works in progress). The band preferred The Wall – it was a clearer story and better mapped out than Pros and Cons at the time.
And in the end. I’ve never understood what Pros & Cons is about. But it’s a great album nonetheless. Of the three, it’s the one I listen to most.
Ah, then you need to track down a copy of The Final Cut In The Wall. Someone has expanded The Wall by including tracks from the film, tracks from The Final Cut, alternative versions of The Wall tracks and longer live versions. It increases the length of the album by around 50 minutes, but it’s a great listen. And like the film, it starts with the first part of When the Tigers Broke Free with the second part following a bit later.
I’ll add my voice to those choosing The Wall as one of their all time top 10 albums. I can still remember hearing it for the first time. The only Pink Floyd album I’d heard beforehand was Ummagumma, which was a tough listen for a 13 year old in the early 80s. I knew Another Brick in the Wall Part 2 of course, but the rest was all new to me. I borrowed it from the library and had nearly worn it out by the time I returned it.
Reasons I am agree:
1. Its concept strikes me as extremely ambitious in scope, essentially examining in depth what it means to be Roger Waters.
2. Its narrative works and makes sense (unlike, say, Tommy).
3. Some of the songs are excellent. Nobody Home and Hey You are my personal favourites.
4. I enjoy disagreeing with Tiggerlion.
Reasons I am disagree:
1. Many of the songs, although they work within the narrative, don’t work for me as stand alone songs, especially The Trial, but also Empty Spaces, Don’t Leave Me Now, Vera, Bring The Boys Back Home, Stop.
2. Because of the sheer scope of its conceptual ambition it can seem overblown and pompous. The Final Cut also deals with what it means to be Roger Waters, but far more concisely.
3. It’s quite a taxing, demanding listen. Not a carefree chillfest like Dark Side or WYWH. Unlike those albums, The Wall isn’t at all spliff ‘n’ beach friendly.
4. There isn’t a fourth.
Agree on almost all points. A few I don’t know what you’re talking about but that might be the Lagavullen. But tracks like The Trial aren’t supposed to make sense on its own. This is an album you’re supposed to listen to, not hear bits of on shuffle FFS. When I hear the word pompous in this context I hear “daring to take a position on something”. Right on. Why the flip not. Yes it’s claustrophobic and yes it’s dense and traumatised and the sound of a mind in torment. That’s probably why I like it so much at the moment.
BTW I have been listening to Endless River a lot too lately which I remember you advocated. It’s excellent.
You’re right, “pompous” wasn’t the right word. Dunno why I said that. “Bombastic” is what I should have said. The Wall can be accused of being musically bombastic, especially in comparison to the previous albums. But however much I prefer other Floyd albums, I do think The Wall stands out as a truly incredible artistic achievement conceptually, if not always musically.
Up until its later stages The Wall was going to be a triple album – some of the off cuts can be heard on the Immersion box set, others went on The Final Cut and Pros and Cons.
This might have made a fitting alternate end to the album…
Bombastic I would certainly agree!
Is anybody saying Boombastic?
If one thing is missing from The Wall, it’s Shabba Ranks.
Shabba!
I don’t express any opinion on The Wall because I have never heard it. All the Floyd I enjoy was recorded pre Dark Side Of The Moon. If I’m not keen on Wish You Were Here nor Animals, why should I bother with The Wall?
Correction: I do like Endless River as well.
Why should you bother with The Wall? Cos musically it’s a very different record to WYWH and Animals. And conceptually it’s a very different record to anything else ever really. I can’t think of any other album that’s so deep and fascinating and successful in its exploration of its creator’s psyche. And there are some great tunes. And Twang, Uncle Wheaty, Rigid Digit, Bargepole and Paul Wad all think it’s brill. And why willingly deny yourself anything ever?
About 4 great tunes, the rest is pile of dreadful, hectoring, soulless Waters vocals whinging about how unfair life is from the point of a multi millionaire rock star. A horrible, turgid, depressing listen. About 30 Albums released in 1979 (a great year) are better.
Just my opinion (did make no. 54 in our poll though)
Count me in as well, Lodes. While I think DSOTM is the best PF album, The Wall is my favourite PF album, mainly because there’s so much of Waters on it. My younger self was facinated by him – like me, he didn’t get to know his Dad and was an only child – it was interesting to see how this developed into a full-blown self-analysis rock album.
He became a multi-millionaire rock star and I could have as well if I’d bothered to learn an instrument, form a band and write some songs. Also, like Roger, I am a open, warm, sociable fellow.
Not actually a dog then?
If you like Endless River but not Dark Side of The Moon then there is no hope for you and I will never trust any of your reviews ever again! 🙂
Seriously though, it would be a good challenge for you to give The Wall a proper listen and a full review. Give the new releases a break for just one week and immerse yourself in The Wall instead. It would be interesting to hear the view of a mature music fan who has never heard it before. It’s quite an experience.
As to whether it is any good or not, I think it is genius and overblown in equal measure. I’m on the fence (or the wall).
I like Endless River because it reminds me of Obscured By Clouds etc. I recognise DSOTM as an amazing piece of work. I’ve even seen it performed live but that was by accident. I’ve heard it way too many times and grew sick of it. I find the next two albums much too slow and Waters solo work, erm, difficult to wade through.
I might just follow your suggestion with The Wall.
And I don’t like The Wall very much, but have seen it performed live!
The Wall is I think the first album which crosses the line and isn’t really the Floyd playing as a band any more. It is augmented by too many session musicians and orchestras etc, and also too weighted in favour of Waters’ vision, to truly be a democratic effort like the earlier records were.
True but still a great album. Different to the others but that’s ok.
Dear God In Heaven. Set the controls
I assume you are more of an Arnold Layne type of chap then.
Nothing wrong with that.
You assumed right
I could never equate if The Wall was a concept trying to fill a void or a void trying to justify a concept.