This album represents Roger Waters' peak as a singer (again he is the primary lead vocalist), songwriter, and conceptualist, as he dominates the proceedings even more than on Animals, though Gilmour still sings (the vocal contrasts between his smoothly pleasant voice and Waters' slightly hysterical high-pitched screams and whines is fascinating throughout), co-wrote three of the album's signature songs, plays quite a few classic guitar parts and solos, and in general helped shape the music. So did producer Bob Ezrin, who my guess is largely responsible for the album's stadium sized sound, increased theatricality (particularly "Vera/Bring The Boys Back Home" and "The Trial"), and bevy of studio musicians used, including guitarist Lee Ritenour, drummer Jeff Porcaro, Ezrin himself, and too many others to mention. Michael Kamen is on board to oversee the orchestrations, whereas actual band members Mason and especially Wright were being increasingly marginalized, with the latter actually quitting the band during the sessions, so at odds with Waters was he at the time. Whatever Waters' methods, you certainly couldn't argue with the results, as The Wall was a worldwide smash that sold countless millions and even contained a chart topping hit single ("Another Brick In The Wall: Part 2") as well as several other enduring radio tracks ("Mother“, "Empty Spaces/Young Lust“, "Hey You“, "Comfortably Numb“, "Run Like Hell"). As for the album's storyline, which for the most part consists of flashbacks, you can read about it on wikipedia, which does a pretty good job of summarizing what it's about, because it's the music that most mesmerizes me. For one thing, the alternately lovely and deliberately ugly sounding music is actually varied (not typically a Pink Floyd strength!), with stadium sized anthems, acoustic folk, piano pop, disco beats, creamy Beach Boys-styled harmonies, sad and lonely dirges, and Gilbert & Sullivan-esque operettas all occupying center stage at certain points. The band also cunningly uses special effects (dramatic airplane and helicopter noises, television smashings, megaphone shouted vocals, etc.) better than ever, while other songs are more simply executed but are equally moving and disturbing diatribes that describe the factors that have helped cause our young narrator’s troubled psyche. In fact, the whole thing is a tour-de-force, with one magnificent song after another, even though many of the “songs” are merely short segues (or reprises) that are equally necessary parts to telling the overall story. Indeed, despite the inclusion of the amazing aforementioned popular songs, not to mention superb album tracks like "In The Flesh" (both versions), "The Thin Ice“, "Goodbye Blue Sky“, and "The Show Must Go On“, among others, like all of Pink Floyd’s albums The Wall simply must be taken as a whole in order to get the full effect. That effect is wonderfully depressing and awfully addictive, and though some have criticized Waters for rock star whining, songs such as “Nobody Home” convincingly detail the at-times lonely lifestyle that accompanies long fatigue-filled stays on the road away from fan adulation and family. As for highlights, there are a few things that stand out, such as the children's choir on "Another Brick In The Wall: Part 2“, which is also enhanced by Gilmour's elegant, liquid-like guitar solo. When Gilmour's guitar solo comes in on "Mother“, it's simply a great rock n' roll moment, and the entirety of "Hey You" is wonderfully atmospheric and dramatic. And what can I say about "Comfortably Numb" beyond that it is simply THE Pink Floyd song? A true Gilmour/Waters collaboration like in the old days, what stands out most to me on this epic song are Gilmour's velvety smooth vocals singing Waters' wonderfully evocative and poetic lyrics; the orchestration is lovely, and of course the song climaxes with Gilmour's monumental guitar solo which is among the all time best, while Mason's explosive drum punctuations are incredibly powerful as well. Granted, there are some who consider songs such as "Don't Leave Me Now" and "Goodbye Cruel World" to be hopelessly dreary to the point of self-parody, and other songs such as "One Of My Turns," "Waiting For The Worms," and especially "The Trial" to be silly and over the top, and I can see where they're coming from. That said, I get a kick out of every single note on the album, virtually all of which I committed to memory long ago (so you might want to simply dismiss this review as the unobjective droolings of an admitted fanboy; your call). A hugely popular album with the stoner set, as with precursors such as Tommy and Quadrophenia, The Wall was also made into a strange movie, this one starring future Live Aid organizer Bob Geldoff. Ensconsed within a simple yet effective cover that brings to mind The White Album (another obvious precursor), The Wall was Waters’ most magnificent triumph and Pink Floyd’s last true moment of greatness together, though they would record one more album before the acrimonious breakup of the Roger Waters-led version of the band.
Rating: A+