Disco de Pink Floyd: “Wall”

My main purpose in purchasing this CD was for the bonus material. However, the Experience Version contains three CDs, not four as stated by Amazon. Furthermore, this edition contains twenty-seven demos on one disc, not thirty-five demos over two discs. So, unless Amazon is selling a special edition (I did extensive research in deciding whether to purchase this or the $119 Immersion version, and did not see any mention of this anywhere), this version contains three CDs.

Discs 1 and 2 are the 2011 James Guthrie remasters of the album. Disc 3 contains 27 demos, all of which are "band" demos rather than Roger or David's "home demos." Since the demos were my main interest and reason for buying this, I will address that topic first. The Immersion version does contain two CDs worth of demos, containing a total of 64. Since I do not have that version, I will not address whether I am lacking anything essential by not having the 37 additional demos that appear on that version. Based on my research I am not. At least 22 of the 37 demos on Immersion are excerpts of Roger's home recordings totaling about 15 minutes. Two others are David's demos of "Comfortably Numb" and "Run Like Hell." Other than that, the remainder appear to be additional band demos at various stages of development, all of which appear in at least one form or another on Experience. The actual demos themselves are titled "Work in Progress" and are aimed at giving a glimpse into how the project came to its final form. My interest was more in hearing alternate versions of songs and the two songs that did not make the album. In my opinion, except for completists, the Experience version does a good job at this. The two titles that did not make the album are "Teacher Teacher (later appearing as "The Hero's Return" a B side from the "Final Cut.") and "Sexual Revolution," (later re-worked as "4:41 a.m.") from Roger's "Pros and Cons of Hitchhiking." The remaining 25 demos range from interesting to "I only need to hear this once." Probably the most interesting item here is "The Doctor" which is an early version of "Comfortably Numb." The sound quality of the demos varies from mediocre to passable. In my estimation, there are probably no more than ten that are substantial and that I will listen to again. After listening to all 27 (totaling 75:04) minutes, I cannot imagine listening to another disc of demos. Therefore, for my purpose, I think the Experience Edition was the appropriate choice. Please note, I am merely comparing the Immersion and Experience versions for demos. There are numerous other reasons one might wish to purchase the 7 disc Immersion set.

As far as the Discs 1 and 2, I will not comment on the music because it has all been said before. The album is a classic. The main issue here is the quality of the remastering. I compared my copy from the "Shine On" box to this on high end equipment and honestly could not hear any dramatic difference between the two. The 2011 remaster sounded slightly less bass heavy, slightly louder, and the vocals and drums appeared to be more upfront in the mix. However, I had to strain to hear this and the difference was very slight.

Like the other "Experience Editions" ("Dark Side" and "Wish You Were Here"), "The Wall" is packaged in a cardboard case. The booklet is similar to the LP in attempting to recreate the artwork and handwritten lyrics. However, no information is provided regarding history, guest musicians, etc.

So how do I rate this? I give it four stars. Five stars for Discs 1 and 2 and three stars for Disc 3. I think it is the weakest of the three expanded albums from the series because it has the least essential bonus material. There is also less of difference in sound quality, which is excellent, over the earlier remasters. This is likely due to the fact it is a newer release and always had excellent fidelity.

If you are interested in getting a new copy of "The Wall" with an extra disc of material you probably won't listen to more than a few times, this is a great purchase. If you have either of the previous two "Wall" remasters, there is no substantial difference in sound here. If you merely want a new copy without the extra disc, the standard 2011 remaster is the best option. If you have the money and can spring for the Immersion Version, I would say go for it. It is the most complete version of this classic album available at this time. However, I do want to stress again that the Experience Version contains 3 CDs with 27 demos on Disc 3. Anyone interested in more than this must purchase the Immersion Version.

I bought "The Wall" LP the week it was issued. A long winter followed, and sometimes three and four feet of snow were drifted up against my doors. I spent many winter hours drinking hot coffee and listening to "The Wall", many times over. As much as I enjoy the warm, smooth sound of a well-mastered LP, the 2011 CD remaster of "The Wall" might sound even better. The remastered sound is warm, open and natural...it does not sound digital, it sounds like a "perfect" LP, without the small "clicks" and "snaps" that even the best LP always have.

The CD also comes with a small booklet with the production credits, and hand-written (albeit unreadable) lyric sheets. A plus, compared with a MP3 version of the album.

Why buy the 2011 remastered CD? Well, I can't find my older versions...are they in a closet? The new CD is in my CD player right now. But, you really need to buy two or three copies...none of the teenagers in your family have heard "The Wall"...a massive gap in their music education. Save them from "Lady Gaga"...give them "The Wall" for their birthday or Christmas.

Becoming one of the world's biggest bands had nearly destroyed Pink Floyd. Since the Floyd, a band whom had merrily produced experimental rock all over the musical map, since their writer of fairy tale, psychedelic pop songs, Syd Barrett had become undependable, had become megastars with the release of 1973's Dark Side of the Moon, the intrusive attention they received, the ever growing business aspect of their careers, spite from cult musicians and, depending on who you ask, either Rogers Waters' ego or the band becoming completely dependent on Waters for creative direction saw the friendship between band members dissolve and the loss of fun and enjoyment from making music, problems which fueled two excellent but very bitter, post-Dark Side albums, 1975's Wish You Were Here and 1977's Animals. So one would perhaps think the band's aching was settling in 1978, when they took some time away from each other, allowing David Gilmour to release his self-entitled solo debut and Richard Wright to release his first solo album, Wet Dream, both pretty somber records, while Roger Waters took refuge in a serene log cabin, recording demos for the next Pink Floyd album or a possible solo album.

But such was not the case. As bitter, sorrowful and angry as their past few releases had been, nothing could have prepared fans for the Wall, the album Waters was writing locked inside that cabin. In the guise of a song cycle about a dejected, celebrity rock star who was adored by many but all alone when he really needed someone, 1979's The Wall was a rage filled, autobiographical tour de force that allowed Waters to scream like an animal at his country, his wife, his fans, his self and even his old school teachers. As the record reaches its second disc, (which sees Gilmour, not fading behind Waters without a struggle, delivering a divine guitar solo through the drug filled haze of Comfortably Numb) the story shifts into the ultimate fascist fantasy/parody as the rock star goes off the edge and calls out for more blood and destruction from his fans. Although, at some points the songs get self-indulgent and the story lost, The Wall still stands as the ultimate fists-in-the-air, dark, hard rock fantasy. Even within the ranks of Pink Floyd's acolytes, the album is a cult classic for the more embittered listener.

The album is even a sort of essay on the rock phenomenon. As concerts like Alamont were becoming tragedies, as bands like Black Sabbath and Alice Cooper were accused of enflaming young minds with evil, as stars like Janis Joplin, Jim Morrison and even Floyd's own Syd Barrett seemed bent on self-destruction, the Wall seems to be rock and roll's definitive inward investigation.

Of coarse, the Wall, a double album, colossal stage show featuring an actual 50 foot wall and a motion picture, would lead to more complex money matters, more spite from poorer musicians, more egos clashing (Waters fired keyboard player Rick Wright halfway through recording) and would heighten the attention Floyd received to fascination. Things just got more frustrating for the Floyd causing, depending on who ask, Waters to quit the band or Gilmour and drummer, Nick Mason to dupe Waters into thinking Pink Floyd was over and then stealing the band's name from him in the mid-80s. Still, if you were willing to allow a record to be so completely in your face, 1979's the Wall is an intense and absorbing listen.

Wow......

If anyone could sum up this album in one word, that would be it. 'The Wall' is not only the ultimate Pink Floyd album(in my opinion, at least), it is the most creative and awe-inspring recording probably ever. From the explosive opening guitar riff of "In The Flesh?" to the final harmonies of "Outside The Wall", 'The Wall' takes the most extensive journey of the mind, heart and soul of any rock album ever made. With the excellent production of Bob Ezrin (who also produced KISS' classic 'Destroyer'), to the legendary David Gilmour and of course, the brainchild of the whole thing, Roger Waters, The Floyd told the story of a man who was at war his whole life with one person - himself. From the death of his father in WWII, his overprotective mother, his superstardom as a rock musician and the excess which accompanied it, his unfaithful wife, his inability to cope with the rest of the world, and finally, his freefall into insanity, no other recording in history has come as close to telling an actual story so completely and masterfully, in just the confines of music. While experiencing 'The Wall', one can't help but feel the angst of "Another Brick In The Wall Part 2", the confusion of "Empty Spaces", the uncontrollable rage of "One Of My Turns", the hopelessness of "Goodbye Cruel World", and the guilt of "The Trial". This album never fails to get my emotions going, and one of the unique qualities 'The Wall' has, it that one discovers something new in it with each listen. The outstanding production covered all the bases; there are hidden messages behind every background noise, spoken phrase, etc., to help bring the entire plot together. This is without a doubt my favorite album out of my entire catalog, and something I can never let sit long enough to collect any dust. So, in closing, sit back with an open ear, an open mind, take the time to listen to all of the lyrics, and enjoy arguably the best album of all time.

Isn't this where......

While the cd's have some good tracks on them, this remix of the wall seemed to loose the album.

Any big time Pink Floyd fan will have a hard time listening to this album, as the vocals transmit an entrily different message then the original. The flow from track to track that you found on the original work was also lost.

Those people who have only one or two Floyd cd's might be interested if you like remixed stuff.

Whatever you do, don't buy this CD to add to your Floyd collection... it's not Floyd.