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. 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."Īt the suggestion of Waters's then-girlfriend, Lady Carolyne Christie, who had worked as Bob Ezrin's secretary, the band hired him to co-produce the album. He had worked with Alice Cooper, Lou Reed and Kiss and he produced Peter Gabriel's debut solo album. From the start, Waters left Ezrin in no doubt as to who was in charge: "You can write anything you want. Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds. The band thus urgently needed to produce an album to make money.
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The strategy failed as many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 per cent. 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, The Pros and Cons of Hitch Hiking.īy September, the band were experiencing financial difficulties. Financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million (up to £16.5 million in contemporary value) of the group's money in high-risk venture capitalto reduce their tax liabilities. In July 1978 the band reconvened at Britannia Row Studios, where Waters presented two new ideas for concept albums. 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. there is something very wrong with this.'" While Gilmour and Wright were in France recording solo albums, and Nick Mason was busy producing Steve Hillage's Green, 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. I kept saying to people on that tour, 'I'm not really enjoying this. 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. Later that night, while returning from hospital to treat an injury sustained to his foot while play-fighting backstage with manager Steve O'Rourke, Waters spoke with music producer Bob Ezrin, and a friend of Ezrin's, a psychiatrist sharing their car, about the feelings of alienation he was experiencing on the tour. Pink Floyd's In the Flesh Tour was their first playing in large stadiums, and in July 1977-on the final date at the Montreal Olympic Stadium-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 who felt disaffected at the show, as guitarist David Gilmour refused to perform the band's usual encores ("Money" and "Us and Them"), leaving the rest of the band, with backup guitarist Snowy White, to improvise a slow, sadtwelve-bar blues, which Waters described as "some music to go home to". Rolling Stone magazine placed The Wall at number 87 on its list of The 500 Greatest Albums of All Time. The album was one of the best selling of 1980, and by 1999 it had sold over 23 million RIAA certified units (11.5 million albums) in the United States.
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Wright left the band during its production but remained as a salaried musician, performing with Pink Floyd during the Wall tour.
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The Wall features a harsher and more theatrical style than Pink Floyd's previous albums. Waters conceived the album during Pink Floyd's 1977 In the Flesh Tour, when his frustration with the audience became so acute that he imagined a wall between the audience and the stage.
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Pink's life begins with the loss of his father during the Second World War 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 album is a rock opera that follows Pink, a character bassist and lyricist Roger Waters modeled after himself and the band's original leader, Syd Barrett. As with Pink Floyd's previous three albums, The Wall is a concept albumand explores themes of abandonment and personal isolation.