Waters has said that he wrote The Wall about the loss of his own father, but over time, the album has resonated as a meditation on war and loss in general. Both Pink and Tommy are confronted with the difficult reality of life in post-WWII London, and both have to confront the consequences of their parents’ own failings. From the outset, The Wall invites comparison, too, with another famous rock opera, Pete Townshend and The Who’s Tommy. The very first notes of “In the Flesh” serve as a theatrical Overture and the foundation of the concert framework itself, with Pink inviting (or taunting?) the audience to hear his tale. It’s always been among The Wall’s most striking attributes that the concept of building the wall onstage is inherent to the album itself. There’s the familiar Floyd brew of sound effects (chirping birds, crying babies, crowd noises, etc.), brief dialogue snippets, fragmentary songs and big stadium-ready rock anthems. Although the libretto by Waters is more concrete (no pun intended) than in the past, the album’s style is a clear continuation of the sound explored on previous albums. Of course, the music of The Wall is as haunting, narcissistic, exploratory and bold as you remember. Although a surround mix is reportedly in the works for The Wall (and any audio DVD or Blu-Ray release would likely include a high-resolution PCM Stereo track, as well), the lack of one here makes the Immersion Box Set less than definitive. The surround mixes included on DSOTM and WYWH offered the chance to hear these albums in a completely new light, indeed more “immersive” than ever before. What the Immersion box lacks as compared to the two previous sets is any kind of high-resolution mix on DVD or Blu-Ray, and that is the box’s most significant loss. Guthrie’s remastering is again exceptional, bringing out the details in the band’s intricate playing as well as the production of Bob Ezrin, Roger Waters and David Gilmour. The 6-CD/1-DVD The Wall: Immersion (EMI/Capitol 5099902943923) follows the format of the DSOTM and WYWH sets, meaning that it’s equal parts revelatory and head-scratching.Īt the box set’s centerpiece (and also available as a stand-alone 2-CD set and part of a 3-CD Experience Edition) is James Guthrie’s remastering of the original album on two compact discs. It now receives its most grandiose treatment yet via the latest of Pink Floyd’s Immersion box sets. We may never know to what degree Waters was working out his own demons in song, but The Wall has remained potent onstage, on film and on record in the ensuing years.
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He places himself at the center of a hellish trial and finds the inner strength to tear down his wall. Only after an unsettling, violent onstage performance does Pink look inward.
Pink overcomes this to become a rock star, but finds life no easier as an adult, and continues building his wall as each relationship crumbles. The Wall found primary songwriter Roger Waters making his concepts more explicit than ever before in telling the tale of Pink, who endures a traumatic childhood (including a deceased father, an overpowering mother and torment at the hands of his classmates) and builds bricks in his own personal wall with each painful event. The psychedelic Dark Side of the Moon and reflective Wish You Were Here both invited listeners to create their own stories in service of the albums’ impressionistic concepts, largely dealing with isolation and absence. The ever-ambitious group would actually answer that wry question with The Wall, 1979’s sprawling double album. A record executive poses that wry musical question of Pink Floyd in “Have a Cigar,” a brief, humorous respite on the band’s elegiac 1975 album Wish You Were Here.
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