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MacX YouTube Downloader. Microsoft Office YTD Video Downloader. Adobe Photoshop CC. VirtualDJ Avast Free Security. WhatsApp Messenger. Talking Tom Cat. Clash of Clans. Subway Surfers. TubeMate 3. Google Play. The Best Black Friday deals. Do not shrug off this album. The sound quality is great as well, studio quality on most of the songs except for "Mother," where a faint humming can be heard.
All in all, it's just as good if not better than the studio version of "The Wall. Even though the audio quality probably isn't quite what The Wall is, or perhaps even the best that a live concert recording could be, the quality of the performance itself is absolutely stunning, and even makes up for the loud analogue hiss on "Nobody Home".
In fact, the band's keyboardist Richard WRIGHT had been cut out of the proceedings early on, and even forced to relinquish his position as a full member of the band. On ITAOT, although the personal problems were undiminished, it's clear that the band is functioning much more like a band than on the studio album, and this makes each rendition spring to life. In spite of all that was happening to him, WRIGHT works well with a second keyboardist and with the entire band to create moments of stunning beauty.
As I purchased this album only a few months after , the song took on a much more personal meaning, and in that ending, WRIGHT somehow offered through his music both the opportunity to mourn, and a small bit of hope for the future.
Even now this part can still bring me to tears. In fact, that entire section seems more like the chaotic part of "A Saucerful of Secrets" than anything. Finally, the interviews and pictures are well worth having, both in the original and limited editions the latter which I highly suggest. This is truly THE definitive version of The Wall , and were it not for the recording flaws, I would award it the full five stars. The Wall Live " is not just simply "The Wall" music live, but a testament to what it was like to be at the travelling "The Wall" stage show.
Besides being a huge musical phenomenon Top 5 selling record of all time! His idea of building a wall between the band and the audience was the whole basis for writing all these angst-filled tunes in the first place. To see it performed live must have been something. Ironically, WATERS' first vision for the stage show involved a simulated 'bombing' of the audience hence the plane screaming across the stage.
But unfortunately for Roger, and fortunately for New Yorkers, Angelinos and Londoners, killing paying audience members was, and still is, frowned upon. The live music itself is generally better than its original studio versions. On that, most reviewers agree. They are integral parts of the Live stage show, that were never intended to be on the studio album. These two songs were necessarily added in order to give the roadies more time to build the actual wall in front of the audience before the first half of the show ended.
A masterpiece of live music. Highly recommended. The first disc opens with a live addition of a Master of Ceremonies who makes an introduction before both In the Flesh pieces.
It gives a more official atmosphere to the performance, until the group purposely interrupt him to begin the piece. Highlights of the first half include extended soloing from Gilmour during Another Brick in the Wall Part 2 and Mother which are both played wonderfully, despite Another Brick being not one of my favorite Pink Floyd pieces. After the song ends, it allows for a brief pause and Roger to speak to the audience briefly.
It reiterates many of the themes in the first half of the show and is actually a pretty cool instrumental bit. The second disc doesn't have really any added numbers, but the additions to Comfortably Numb which must have been a memorable moment for those who watched it, as Gilmour would climb to the top of the large wall on the stage and have the lights cast a gigantic shadow over the crowd as he belted out arguably his greatest guitar solo ever.
Run Like Hell also gets a nice synthesizer excursion and Rick Wright really comes out of his own on this piece. The version of Outside the Wall also gets a nice extension as well, with all the members coming out and playing acoustic instruments to help bring the entire show to a close. Sonically, the overall mix of this album as with most Pink Floyd albums is great and there's enough light shed on all the musicians and the vocals which are the focal point of the album itself are for the most part pretty good.
If you're a fan of live albums and really loved The Wall, then this album is for you. If you didn't like the Wall in the first place, this won't convert you to like it.
I still think, though, that this live album is a better representation of what The Wall was than what the studio album did. But that's just a matter of opinion. I have never understood although some research work why this album was released so late. It was actually released for the twentieth anniversary of these sets of concerts. Due to the grandiosity of the performance, it was performed only thirty times or so.
The first set of shows started in in L. In the show moved to Dortmund from February 21 to It ended up again at Earls Court in London from June 13 to The show will be a financial disaster since Roger did not want to play in stadiums any longer. Wright being the only one to make money out of this, since he was paid at an agreed fee which has not been revealed on a performance basis. I have always had difficulties and still do to enter into this rock opera as it was the use to call such effort in those days.
It is based on Roger's personal experience. From the very beginning of the studio project, it was decided to have a tour and a movie produced The Who did this with "Tommy" as well. Is it the studio work or this live album : my opinion does not change a lot.
This dark and pessimistic adventure has never brought me a lot of joy on the contrary of "The Lamb" and "Tommy". But this is personal feeling. The live albums I like the most I have made this remark already in some reviews of live albums from the Tull are the ones that have been recorded in the same venue.
With this one, we have a kaleidoscope of bit and bites from different concerts although most comes from the Earl's Court's ones - but I was never able to identify which track was recorded when and where as if the band would like to prevent this. The origin of the project are well-known, so I will not cover these. Maybe provide some comments from the inside. Let's first start with the creator of the project.
Roger : "A good deal of the creative impulse for The Wall derived from my disillusionment with rock shows in vast open-air football stadiums. In the days prior to Dark Side of the Moon the excitement of a Pink Floyd performance lay in a certain intimacy of connection between the audience and the band. It was magical.
By the late Seventies that magic and opportunity had vanished, crushed, as I saw it, by the dead weight of numbers - the sheer incoherent scale of those stadium events". I had to get all that stuff out or spend the rest of my life as that man in black off to the side at the party, apparently aloof behind dark glasses and cigarette, but in reality scared to death of any ordinary human encounter".
About the shows, David will say : "For me, the best bit of The Wall was standing on top of it. We were a few songs into the second half of the show. The band had been bricked in, the audience left to confront a vast, blank barrier. Then, a trick of the light, there I was, 30 feet up, with the heat of four enormous spotlights at my back, throwing my shadow as far as I could see over the audience while I belted out the solo to one of the best pieces of music I'd ever written: "Comfortably Numb".
The demo had to be turned into an album, the album into a split second show and the show into a film - all at the same time. For the upcoming live performances, I took the role of musical director: choosing and rehearsing the extra musicians, then keeping them up to scratch.
For the recordings, I switched between producing and writing. And, of course, playing the guitar and singing". Nick : "I have to say that the show itself was ground-breaking. Most rock 'n' roll is conducted on the basis that there are various personalities in a band who want to show off onstage. There's nothing wrong with that, but Pink Floyd was always more interested in theatrical presentation than in promoting, as stage personalities, its individual members.
This subordination of the band into images which relate to the music was always a feature of our work and The Wall in performance was the summit of that development". Rick : "I wasn't keen on Roger's idea for The Wall show when he first presented it.
I felt that building a wall on stage would deliberately exclude the audience and this infringed my conception of what a rock 'n' roll show was essentially about. As his plans developed and he introduced elements into the show which would directly appeal to the audience such as Gerald Scarfe's animation and the wall collapsing at the end , my fears no longer applied.
In fact, I could see that the show was going to be a very powerful visual experience, as well as a musical one". What we learn here, is that even if there were lots of tension within the band, each member was quite supporting the project. As for the studio work, I will rate this effort with three stars. Is it any better than the studio album?
My initial reaction was yes, and after repeated listens, yes again. Still, I find myself skipping many of the what I consider sub-par selections. What makes this performance better than the studio version was Roger Waters interactions with the audience. He sounds as if he is really enjoying himself on this recording.
The other thing I noticed was more musical development and a stronger Richard Wright influence in the performance he left during the studio sessions, but was part of the tour. I would say if Wright and Waters could have gotten along better, Wright's contribution to the music on the studio version would have really been beneficial.
I guess I never realized this before until I heard this live rendering. Even though Wright played more of a backing role in the band, unlike Gilmour and Waters, there is no doubt in my mind now that Wright was a key ingredient of the Pink Floyd sound.
I'm still going to have to give this three stars, because it just isn't enough for me to justify a four-star rating. Essential for Pink Floyd fans. For others, first get their masterpieces, then you might want to seek this one out. And yes, it really is better than the studio version.
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