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The Wall

August 23, 2023

This article is about the Pink Floyd album. For the film based on the album, see Pink Floyd – The Wall. For other uses, see Wall (disambiguation).

The Wall is the eleventh studio album by the English progressive rock band Pink Floyd, released on 30 November 1979 by Harvest/EMI and Columbia/CBS Records. It is a rock opera that explores Pink, a jaded rock star whose eventual self-imposed isolation from society forms a figurative wall. The album was a commercial success, topping the US charts for 15 weeks and reaching number three in the UK. It initially received mixed reviews from critics, many of whom found it overblown and pretentious, but later received accolades as one of the greatest albums of all time.

The Wall
Original cover. Black or red text reading "Pink Floyd The Wall" was stickered on top of the original 1979 physical releases (as were some CD reissues and all 2016 vinyl rereleases).
Studio album by
Pink Floyd
Released30 November 1979 (1979-11-30)
RecordedDecember 1978 – November 1979
Studio
Genre
Length80:42
Label
Producer
Pink Floyd chronology
Animals
(1977) 		The Wall
(1979) 		A Collection of Great Dance Songs
(1981)
Singles from The Wall
  1. "Another Brick in the Wall, Part 2"
    Released: 23 November 1979
  2. "Run Like Hell"
    Released: April 1980
  3. "Comfortably Numb"
    Released: 23 June 1980

Bassist Roger Waters conceived The Wall during Pink Floyd's 1977 In the Flesh tour, modelling the character of Pink after himself and Pink Floyd's former songwriter Syd Barrett. Recording spanned from December 1978 to November 1979. Producer Bob Ezrin helped to refine the concept and bridge tensions during recording, as the band members were struggling with personal and financial issues at the time. The Wall was the last album to feature Pink Floyd as a quartet; keyboardist Richard Wright was fired by Waters during production but stayed on as a salaried musician.

Three singles were issued from the album: "Another Brick in the Wall, Part 2" (Pink Floyd's only UK and US number-one single), "Run Like Hell", and "Comfortably Numb". From 1980 to 1981, Pink Floyd performed the full album on a tour that featured elaborate theatrical effects. In 1982, The Wall was adapted into a feature film for which Waters wrote the screenplay.

The Wall is one of the best-known concept albums.[4] With over 30 million copies sold, it is the second best-selling album in the band's catalogue (behind The Dark Side of the Moon), the best selling double-album of all time,[5] and one of the best-selling albums of all time overall.[6] Some of the outtakes from the recording sessions were used on the group's next album, The Final Cut (1983). In 2000, it was voted number 30 in Colin Larkin's All Time Top 1000 Albums.[7] In 2003, 2012, and 2020, it was included in Rolling Stone's lists of the greatest albums of all time.[8] From 2010 to 2013, Waters staged a new Wall live tour that became one of the highest-grossing tours by a solo musician.

Background

 
The album's concept was born out of an altercation with audience members at the Montreal Olympic Stadium (pictured in 2006).

In 1977, Pink Floyd played the In the Flesh tour. Bassist and singer-songwriter Roger Waters despised the experience, feeling the audience was not listening and that many were too far away to see the band. He said: "It became a social event rather than a more controlled and ordinary relationship between musicians and an audience."[9] Some audience members set off firecrackers, leading Waters to stop playing and scold them. On 6 July 1977, the final date at the Montreal Olympic Stadium, a group of noisy and excited fans near the stage irritated Waters so much that he spat on one of them.[10]

Guitarist and singer-songwriter David Gilmour refused to perform a final encore and sat at the soundboard,[11] leaving the band, with backup guitarist Snowy White, to improvise a slow, sad 12-bar blues, which Waters announced to the audience as "some music to go home to".[12][13] That night, Waters spoke with producer Bob Ezrin and Ezrin's psychiatrist friend about the alienation and despair he was experiencing. He articulated his desire to isolate himself by constructing a wall across the stage between the band and the audience.[14]

While Gilmour and Wright were in France recording solo albums, and drummer Nick Mason was busy producing Steve Hillage's Green, Waters began to write material.[15] 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 child.[13]

In July 1978, Pink Floyd reconvened at Britannia Row Studios, where Waters presented two new ideas for concept albums. The first was a 90-minute demo with the working title Bricks in the Wall.[16] The second was about a man's dreams across one night, and dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity.[17] The band chose the first option; the second eventually became Waters's first solo album, The Pros and Cons of Hitch Hiking (1984).[16]

By September, Pink Floyd were having financial problems and urgently needed to produce an album to make money.[18] The financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million, up to £20.1 million in contemporary value,[19] of the group's money in high-risk venture capital to reduce their tax liabilities. The strategy failed when many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 per cent. Waters said: "Eighty-three per cent was a lot of money in those days and we didn't have it."[20] Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds.[21][nb 1] Gilmour said he became closely involved in the business side of Pink Floyd afterwards: "Ever since then, there's not a penny that I haven't signed for. I sign every cheque and examine everything."[20]

To help manage the project's 26 tracks, Waters decided to bring in an outside producer and collaborator,[16] feeling he needed "a collaborator who was musically and intellectually in a similar place to where I was".[22] They hired Ezrin at the suggestion of Waters's then-wife Carolyne Christie, who had worked as Ezrin's secretary.[18] Ezrin had previously worked with Alice Cooper, Lou Reed, Kiss, and Peter Gabriel.[23] From the start, Waters made it clear who was in charge, telling him: "You can write anything you want. Just don't expect any credit."[24]

Ezrin and Gilmour reviewed Waters's concept, discarding what they thought was not good enough. Waters and Ezrin worked mostly on the story, improving the concept.[25] Ezrin presented a 40-page script to the rest of the band, with positive results. He recalled: "The next day at the studio, we had a table read, like you would with a play, but with the whole of the band, and their eyes all twinkled, because then they could see the album."[22] Ezrin broadened the storyline, distancing it from the autobiographical work Waters had written and basing it on a composite character named Pink.[26] Engineer Nick Griffiths later said: "Ezrin was very good in The Wall, because he did manage to pull the whole thing together. He's a very forceful guy. There was a lot of argument about how it should sound between Roger and Dave, and he bridged the gap between them."[27] Waters wrote most of the album, with Gilmour co-writing "Comfortably Numb", "Run Like Hell", and "Young Lust",[28] and Ezrin co-writing "The Trial".[25]

Concept and storyline

 
Another Brick in the Wall, Pt. 2
The disco beat used in "Another Brick in the Wall Part 2" presented a marked change from Pink Floyd's previous releases.[citation needed]
Problems playing this file? See media help.

The Wall is a rock opera[29] that explores abandonment and isolation, symbolized by a wall. The songs create a storyline of events in the life of Pink, a character based on Waters and Pink Floyd's former frontman Syd Barrett.[30][31] The album includes several references to Barrett, including "Nobody Home", which hints at his condition during Pink Floyd's abortive US tour of 1967, with lyrics such as "wild, staring eyes", "the obligatory Hendrix perm" and "elastic bands keeping my shoes on". "Comfortably Numb" was inspired by Waters' injection with a muscle relaxant to combat the effects of hepatitis during the In the Flesh tour in Philadelphia.[32]

Plot

Pink is a depressed rock star. He imagines a crowd of fans entering one of his concerts, and a flashback on his life up to that point begins. In the flashback, it is revealed that his father was killed defending the Anzio bridgehead during World War II ("In the Flesh?", "When the Tigers Broke Free" (movie only)). Pink's mother raises him alone ("The Thin Ice"), and with the death of his father, Pink starts to build a metaphorical wall around himself ("Another Brick in the Wall, Part 1"). Growing older, Pink is tormented at school by tyrannical, abusive teachers ("The Happiest Days of Our Lives"), and memories of these traumas become metaphorical "bricks in the wall" ("Another Brick in the Wall, Part 2").

 
The death of Pink's father during the Battle of Anzio (pictured) forms the backdrop of the story.

Now an adult, Pink remembers his oppressive and overprotective mother ("Mother") and his upbringing during the Blitz ("Goodbye Blue Sky"). Pink soon marries, and after more "bricks" are created through more trauma, he is preparing to complete his "wall" ("Empty Spaces"). While touring in the United States, he seeks casual sex with a woman to relieve the tedium of touring, though in making a phone call home, he learns of his wife's infidelity ("Young Lust"). He brings a groupie back to his hotel room, only to trash it in a violent fit of rage, terrifying her out of the room ("One of My Turns"). Depressed, Pink thinks about his wife, and feels trapped in his room ("Don't Leave Me Now"), and he dismisses every traumatic experience he has ever had as even more "bricks" in the metaphorical wall while rejecting human contact and medication ("Another Brick in the Wall, Part 3"). Pink's wall is now finished, completely isolating himself from the outside world ("Goodbye Cruel World").

Immediately after the wall's completion, Pink questions his decisions ("Hey You") and locks himself in his hotel room ("Is There Anybody Out There?"). Beginning to feel depressed, Pink turns to his possessions for comfort ("Nobody Home"), and yearns for the idea of reconnecting with his personal roots ("Vera"). Pink's mind flashes back to World War II, with the people demanding that the soldiers return home ("Bring the Boys Back Home"). Returning to the present, Pink's manager and roadies have busted into his hotel room, where they find him unresponsive. A paramedic injects him with drugs to enable him to perform ("Comfortably Numb").

The drugs kick in, resulting in a hallucinatory on-stage performance ("The Show Must Go On") where he believes that he is a fascist dictator, and that his concert is a Neo-Nazi rally, at which he sets brownshirt-like men on fans that he considers unworthy ("In the Flesh"). He proceeds to attack ethnic minorities ("Run Like Hell"), and then holds a rally in suburban London, symbolising his descent into insanity ("Waiting for the Worms"). Pink's hallucination then ceases, and he begs for everything to stop ("Stop"). Tormented with guilt, Pink places himself on trial for "showing feelings of an almost human nature" before his inner judge orders him to "tear down the wall" ("The Trial"). This is the opening of Pink to the outside world ("Outside the Wall").

The album turns full circle with its closing words "Isn't this where...", the first words of the phrase that begins the album, "...we came in?", with a continuation of the melody of the last song hinting at the cyclical nature of Waters' theme, and that the existential crisis at the heart of the album will never truly end.[33]

Production

Recording

The Wall was recorded in several locations. In France, Super Bear Studios was used between January and July 1979, and Waters recorded his vocals at the nearby Studio Miraval. Michael Kamen supervised the orchestral arrangements at CBS Studios in New York, in September.[34] Over the next two months the band used Cherokee Studios, Producers Workshop and The Village Recorder in Los Angeles. A plan to work with the Beach Boys at the Sundance Productions studio in Los Angeles was cancelled.[35][36]

James Guthrie, recommended by previous Floyd collaborator Alan Parsons, arrived early in the production process.[37] He replaced engineer Brian Humphries, who was emotionally drained by his five years with the band.[38] Guthrie was hired as a co-producer, but was initially unaware of Ezrin's role: "I saw myself as a hot young producer ... When we arrived, I think we both felt we'd been booked to do the same job."[39] The early sessions at Britannia Row were emotionally charged, as Ezrin, Guthrie and Waters each had strong ideas about the direction the album would take. Relations within the band were at a low ebb, and Ezrin became an intermediary between Waters and the rest of the band.[40]

As Britannia Row was initially regarded as inadequate for The Wall, the band upgraded much of its equipment,[41] and by March another set of demos was complete. However, their former relationship with NWG placed them at risk of bankruptcy, and they were advised to leave the UK by no later than 6 April 1979, for a minimum of one year. As non-residents they would pay no UK taxes during that time, and within a month all four members and their families had left. Waters moved to Switzerland, Mason to France, and Gilmour and Wright to the Greek Islands. Some equipment from Britannia Row was relocated in Super Bear Studios near Nice.[27][42] Gilmour and Wright were both familiar with the studio and enjoyed its atmosphere, having recorded solo albums there. While Wright and Mason lived at the studio, Waters and Gilmour stayed in nearby houses. Mason later moved into Waters's villa near Vence, while Ezrin stayed in Nice.[43]

Ezrin's poor punctuality caused problems with the tight schedule dictated by Waters.[44] Mason found Ezrin's behaviour "erratic", but used his elaborate and unlikely excuses for his lateness as ammunition for "tongue-in-cheek resentment".[43] Ezrin's share of the royalties was less than the rest of the band and he viewed Waters as a bully, especially when Waters mocked him by having badges made that read NOPE (No Points Ezrin), alluding to his lesser share.[44] Ezrin later said he had had marital problems and was not "in the best shape emotionally".[44]

 
Waters' relationship with Richard Wright (pictured in 2006) collapsed during production, leading to Wright's firing.

More problems became apparent when Waters's relationship with Wright broke down. The band were rarely in the studio together. Ezrin and Guthrie spliced Mason's previously recorded drum tracks together, and Guthrie worked with Waters and Gilmour during the day, returning at night to record Wright's contributions. Wright, worried about the effect that the introduction of Ezrin would have on band relationships, was keen to have a producer's credit on the album; their albums since More (1969) had credited production to "Pink Floyd".[45] Waters agreed to a trial period with Wright producing, after which he was to be given a producer's credit, but after a few weeks he and Ezrin expressed dissatisfaction with Wright's methods. A confrontation with Ezrin led to Wright working only at nights. Gilmour also expressed his annoyance, complaining that Wright's lack of input was "driving us all mad".[46] Ezrin later reflected: "it sometimes felt that Roger was setting him up to fail. Rick gets performance anxiety. You have to leave him alone to freeform, to create ..."[46]

Wright was troubled by a failing marriage and the onset of depression, exacerbated by his non-residency. While the other band members brought their children, Wright's children were older and could not join as they were attending school; he said he missed them "terribly".[47] The band's holidays were booked for August, after which they were to reconvene at Cherokee Studios in Los Angeles, but Columbia offered the band a better deal in exchange for a Christmas release of the album. Waters increased the band's workload accordingly, booking time at the nearby Studio Miraval.[48] He also suggested recording in Los Angeles ten days earlier than agreed, and hiring another keyboardist to work alongside Wright, whose keyboard parts had not yet been recorded. Wright, however, refused to cut short his family holiday in Rhodes.[49]

Accounts of Wright's subsequent departure from the band differ. In his autobiography, Inside Out, Mason says that Waters called the band's manager, Steve O'Rourke, who was travelling to the US on the QE2, and told him to have Wright out of the band by the time Waters arrived in LA to mix the album.[50] In another version recorded by a later historian of the band, Waters called O'Rourke and asked him to tell Wright about the new recording arrangements, to which Wright responded: "Tell Roger to fuck off".[51] Wright denied this, stating that the band had agreed to record only through the spring and early summer, and that he had no idea they were so far behind schedule. Mason later wrote that Waters was "stunned and furious",[48] and felt that Wright was not doing enough.[48] Gilmour was on holiday in Dublin when he learnt of Waters's ultimatum, and tried to calm the situation. He later spoke with Wright and gave him his support, but reminded him about his minimal contributions.[52] Waters, however, insisted that Wright leave, or he would refuse to release The Wall. Several days later, worried about their financial situation and the failing interpersonal relationships within the band, Wright quit. News of his departure was kept from the music press.[53] Although his name did not appear on some editions of the album (it does appear on the UK gatefold sleeve),[54][55] he was employed as a session musician on the band's subsequent tour.[56]

By August 1979, the running order was largely complete. Wright completed his duties at Cherokee Studios aided by session musicians Peter Wood and Fred Mandel, and Jeff Porcaro played drums in Mason's stead on "Mother".[55] Mason left the final mix to Waters, Gilmour, Ezrin and Guthrie, and travelled to New York to record his debut solo album, Nick Mason's Fictitious Sports.[57] In advance of its release, technical constraints led to some changes to the running order and content of The Wall, with "What Shall We Do Now?" replaced by the similar but shorter "Empty Spaces", and "Hey You" being moved from the end of side three to the beginning. With the November 1979 deadline approaching, the band left the inner sleeves of the album unchanged.[58]

Instrumentation

 
Comfortably Numb
Planet Rock listeners voted "Comfortably Numb"'s two guitar solos the greatest of all time.[59]
Problems playing this file? See media help.

Mason's early drum sessions were performed in an open space on the top floor of Britannia Row Studios. The 16-track recordings from these sessions were mixed down and copied onto a 24-track master, as guide tracks for the rest of the band to play to. This gave the engineers greater flexibility,[nb 2] but also improved the audio quality of the mix, as the original 16-track drum recordings were synced to the 24-track master and the duplicated guide tracks removed.[60] Ezrin later related the band's alarm at this method of working – they apparently viewed the erasure of material from the 24-track master as "witchcraft".[40]

While at Super Bear studios, Waters agreed to Ezrin's suggestion that several tracks, including "Nobody Home", "The Trial" and "Comfortably Numb", should have an orchestral accompaniment. Michael Kamen, who had previously worked with David Bowie, was booked to oversee these arrangements, which were performed by musicians from the New York Philharmonic and New York Symphony Orchestras, and a choir from the New York City Opera.[61] Their sessions were recorded at CBS Studios in New York without Pink Floyd present. Kamen eventually met the band once recording was complete.[62]

I think things like 'Comfortably Numb' were the last embers of mine and Roger's ability to work collaboratively together.

David Gilmour[63]

"Comfortably Numb" has its origins in Gilmour's debut solo album, and was the source of much argument between Waters and Gilmour.[27] Ezrin claimed that the song initially started life as "Roger's record, about Roger, for Roger", but he thought that it needed further work. Waters changed the key of the verse and added more lyrics to the chorus, and Gilmour added extra bars for the line "I have become comfortably numb". Gilmour's "stripped-down and harder" recording was not to Waters's liking; Waters preferred Ezrin's "grander Technicolor, orchestral version". Following a major argument in a North Hollywood restaurant, the two compromised; the song's body included the orchestral arrangement, with Gilmour's second and final guitar solo standing alone.[63]

Sound design

Ezrin and Waters oversaw the capture of the album's sound effects. Waters recorded the phone call used on the original demo for "Young Lust", but neglected to inform its recipient, Mason, who assumed it was a prank call and angrily hung up.[64] A real telephone operator was also an unwitting participant.[65] The call references Waters' viewpoint of his bitter 1975 divorce from first wife Judy.[66] Waters also recorded ambient sounds along Hollywood Boulevard by hanging a microphone from a studio window. Engineer Phil Taylor recorded some of the screeching tyre noises on "Run Like Hell" from a studio car park, and a television set being destroyed was used on "One of My Turns". At Britannia Row Studios, Nick Griffiths recorded the smashing of crockery for the same song.[67] Television broadcasts were used, and one actor, recognising his voice, accepted a financial settlement from the group in lieu of legal action against them.[68]

 
The Trial
The album culminates with Pink's internal trial, leading to the collapse of his 'wall'
Problems playing this file? See media help.

The maniacal schoolmaster was voiced by Waters, and actress Trudy Young supplied the groupie's voice.[67] Backing vocals were performed by a range of artists, although a planned appearance by the Beach Boys on "The Show Must Go On" and "Waiting for the Worms" was cancelled by Waters, who instead settled for Beach Boy Bruce Johnston and Beach Boys touring musician Toni Tennille.[69]

Ezrin's suggestion to release "Another Brick in the Wall, Part 2" as a single with a disco-style beat did not initially find favour with Gilmour, although Mason and Waters were more enthusiastic. Waters opposed releasing a single, but became receptive once he listened to Ezrin and Guthrie's mix. With two identical verses the song was felt to be lacking, and so a copy was sent to Griffiths in London with a request to find children to perform several versions of the lyrics.[61] Griffiths contacted Alun Renshaw, head of music at the nearby Islington Green school, who was enthusiastic, saying: "I wanted to make music relevant to the kids – not just sitting around listening to Tchaikovsky. I thought the lyrics were great – 'We don't need no education, we don't need no thought control ...' I just thought it would be a wonderful experience for the kids."[70]

Griffiths first recorded small groups of pupils and then invited more, telling them to affect a Cockney accent and shout rather than sing. He multitracked the voices, making the groups sound larger, before sending his recordings back to Los Angeles. The result delighted Waters, and the song was released as a single, becoming a Christmas number one.[71] There was some controversy when the British press reported that the children had not been paid for their efforts; they were eventually given copies of the album, and the school received a £1,000 donation (£5,000 in contemporary value[19]).[72]

Artwork and packaging

The album's cover art is one of Pink Floyd's most minimal – a white brick wall and no text. Waters had a falling out with Hipgnosis designer Storm Thorgerson a few years earlier when Thorgerson had included the cover of Animals in his book The Work of Hipgnosis: 'Walk Away René'. The Wall is therefore the first album cover of the band since The Piper at the Gates of Dawn not to be created by the design group.[73] Issues of the album would include the lettering of the artist name and album title by cartoonist Gerald Scarfe, either as a sticker on sleeve wrapping or printed onto the cover itself, in either black or red. Scarfe, who had previously created animations for the band's "In the Flesh" tour, also created the LP's inside sleeve art and labels of both vinyl records of the album, showing the eponymous wall in various stages of construction, accompanied by characters from the story. The drawings would be translated into dolls for The Wall Tour, as well as into Scarfe's animated segments shown during the tour and the film based on the album. It is notable that the stadium drawn in the inner sleeve looks a lot like the Montreal Olympic Stadium where the album's concept happens to find its origin. It seems plausible that the artist was inspired by the stadium's appearance in 1977 and its inclined tower which was completed only at a third of its projected (and present) height, reminiscent of the many "towers" pictured in the artist's stadium.[74][75]

Release and reception

When the completed album was played for an assembled group of executives at Columbia's headquarters in California, several were reportedly unimpressed by what they heard.[85] Matters had not been helped when Columbia Records offered Waters smaller publishing rights on the grounds that The Wall was a double album, a position he did not accept. When one executive offered to settle the dispute with a coin toss, Waters asked why he should gamble on something he owned. He eventually prevailed.[57] The record company's concerns were alleviated when "Another Brick in the Wall Part 2" reached number one in the UK, US, Norway, Portugal, West Germany and South Africa.[85] It was certified platinum in the UK in December 1979, and platinum in the US three months later.[86] In Germany, the album reached the one million sales mark within three months of its release.[87] In Canada, the album had sold 830,000 copies by January 1981.[88]

The Wall was released in the UK and in the US on 30 November 1979.[nb 3] Coinciding with its release, Waters was interviewed by veteran DJ Tommy Vance, who played the album in its entirety on BBC Radio 1.[73] Critical opinion of its content was mixed.[89] Reviewing for Rolling Stone in February 1980, Kurt Loder hailed it as "a stunning synthesis of Waters's by now familiar thematic obsessions" that "leaps to life with a relentless lyrical rage that's clearly genuine and, in its painstaking particularity, ultimately horrifying."[90] By contrast, The Village Voice critic Robert Christgau regarded it as "a dumb tribulations-of-a-rock-star epic" backed by "kitschy minimal maximalism with sound effects and speech fragments",[91] adding in The New York Times that its worldview is "self-indulgent" and "presents the self-pity of its rich, famous and decidedly post-adolescent protagonist as a species of heroism".[92] Melody Maker declared, "I'm not sure whether it's brilliant or terrible, but I find it utterly compelling."[93]

Nevertheless, the album topped the Billboard charts for 15 weeks,[94] selling over a million copies in its first two months of sales[89] and in 1999 was certified 23× platinum.[nb 4][95] It remains one of the best-selling albums of all time in the US,[86][95] between 1979 and 1990 selling over 19 million copies worldwide.[96] The Wall is Pink Floyd's second-best selling album after 1973's The Dark Side of the Moon.

Engineer James Guthrie's efforts were rewarded in 1980 with a Grammy award for Best Engineered Recording (non-classical), and the album was nominated for the Grammy Award for Album of the Year.[97] Rolling Stone placed it at number 87 on its 500 Greatest Albums of All Time list in 2003,[98] maintaining the rating in a 2012 revised list,[99] although this was updated to 129 with the list's 2020 revision.[8] Based on such rankings, the aggregate website Acclaimed Music lists The Wall as the 166th most acclaimed album in history.[100] The album was also included in the book 1001 Albums You Must Hear Before You Die.[101]

The Wall, said Billy Corgan at his induction of the Floyd into the Rock and Roll Hall of Fame, was "at my tender age of fourteen… too creepy, too intense, too nihilistic. And, of course, these are all the things that I believe in now… But at twenty-eight years old, it's one of the bravest records I've ever heard. And I really can't point to anything else that's ever summed up everything that's fucked up about life; everything that's fucked up about rock. It takes on politics, hero worship, rock 'n' roll, and our desires to connect with the universe, all in one fell swoop. It really, truly, is an amazing testament to how far they were willing to go to reach the outer limits of what's important."[102]

"The Wall is stupefyingly good," Waters declared in 1992. "Christ, what a brilliant idea that was. It holds together so well… And of course Dave's musical influence on that was considerable. Despite what has happened between us since then, I still have great respect for him as a guitarist."[103]

Reissues

A 1994 digitally remastered CD version manufactured in China omits "Young Lust", but retains a composition credit for Waters/Gilmour in the booklet.[104] The album was reissued in three versions as part of the Why Pink Floyd...? campaign, which featured a massive restoration of the band's catalogue with remastering by producer James Guthrie: in 2011, a "Discovery" edition, featuring the remastered version with no extras; and in 2012, both the "Experience" edition, which adds a bonus disc of unreleased material and other supplementary items, and the "Immersion" version, a seven-disc collection that also adds video materials.[105][106] The album was reissued under the Pink Floyd Records label on 26 August 2016 along with The Division Bell.

Tour

The Wall Tour opened at the Los Angeles Memorial Sports Arena on 7 February 1980. As the band played, a 40-foot (12 m) wall of cardboard bricks was gradually built between them and the audience. Several characters were realised as giant inflatables, including a pig, replete with a crossed hammers logo.[107] Scarfe was employed to produce a series of animations to be projected onto the wall.[107] At his London studio, he employed a team of 40 animators to create nightmarish visions of the future, including a dove of peace, a schoolmaster, and Pink's mother.[108]

For "Comfortably Numb", while Waters sang his opening verse, Gilmour waited in darkness at the top of the wall, standing on a flight case on casters, held steady by a technician, both precariously balanced atop a hydraulic platform. On cue, bright blue and white lights would suddenly illuminate him.[109] At the end of the concert, the wall collapsed, revealing the band.[110] Along with the songs on the album, the tour featured an instrumental medley, "The Last Few Bricks", played before "Goodbye Cruel World" to allow the construction crew to complete the wall.[111]

During the tour, band relationships dropped to an all-time low; four Winnebagos were parked in a circle, with the doors facing away from the centre. Waters used his own vehicle to arrive at the venue, and stayed in separate hotels from the rest of the band. Wright, returning as a salaried musician, was the only member of the band to profit from the tour, which lost about £400,000.[56]

Adaptations

 
Waters (in spotlight), dressed in military attire, performing at The Wall – Live in Berlin, 1990

A film adaptation, Pink Floyd – The Wall, was released by Metro-Goldwyn-Mayer in July 1982.[40] It was written by Waters and directed by Alan Parker, with Bob Geldof as Pink. It used Scarfe's animation alongside actors, with little conventional dialogue.[112] A modified soundtrack was created for some of the film's songs.[113]

On 21 July 1990, Waters and producer Tony Hollingsworth created The Wall – Live in Berlin, staged for charity at a site once occupied by part of the Berlin Wall.[114] In the concert, great artists of the 80's played at the concert, such as Scorpions, Cyndi Lauper, Sinéad O'Connor, Ute Lemper, Tim Curry, Van Morrison, Bryan Adams and many more artists. The concert was broadcast on television in 52 countries, and was later released as a video and album at the end of that same year, although they omitted the song "Outside the Wall" and instead played "The Tide Is Turning", a song from Roger Waters' 1987 solo album Radio K.A.O.S. In 2003, the album was remastered and for the first time, the video was released on DVD.

In 2000, Pink Floyd released Is There Anybody Out There? The Wall Live 1980–81, which contains portions of various live shows from the Wall Tour, but mainly the shows in the Earls Court in London.[115] In 2012, it was remastered and released on The Wall "Immersion" Box-Set as an extra.

Beginning in 2010[116] and with dates lasting into 2013, Waters performed the album worldwide on his tour, The Wall Live.[117] This had a much wider wall, updated higher quality projected content and leading-edge projection technology. Gilmour and Mason played at one show in London at The O2 Arena.[118] A film of the live concert, Roger Waters: The Wall, was released in 2015.[119]

In 2016, Waters adapted The Wall into an opera, Another Brick in the Wall: The Opera with contemporary classical composer Julien Bilodeau. It premiered at Opéra de Montréal in March 2017, and was produced by Cincinnati Opera in July 2018.[120] It is orchestrated for a score of eight soloists, 48 chorus members, and a standard 70-piece operatic orchestra.[121]

In 2018, a tribute album The Wall [Redux] was released, with individual artists covering the entire album. This included Melvins' version of "In The Flesh?",[122] Pallbearer covering "Run Like Hell", former Screaming Trees' singer Mark Lanegan covering "Nobody Home" and Church of the Cosmic Skull reworking "The Trial".[123][124]

On September 19, 2019, Channel Awesome's internet series, Nostalgia Critic released a music video review of the album called Nostalgia Critic's The Wall, featuring Corey Taylor and Rob Scallon.[125] The album and video received overwhelmingly poor reviews from viewers and critics.[126]

Track listing

All tracks written by Roger Waters, except where noted.

Side one
No.TitleLead vocalsLength
1."In the Flesh?"Waters3:16
2."The Thin Ice"
2:27
3."Another Brick in the Wall, Part 1"Waters3:11
4."The Happiest Days of Our Lives"Waters1:46
5."Another Brick in the Wall, Part 2"
  • Waters
  • Gilmour
3:59
6."Mother"
  • Waters
  • Gilmour
5:32
Total length:20:11
Side two
No.TitleMusicLead vocalsLength
1."Goodbye Blue Sky" Gilmour2:45
2."Empty Spaces" Waters2:10
3."Young Lust"Waters, GilmourGilmour3:25
4."One of My Turns" Waters3:41
5."Don't Leave Me Now" Waters4:08
6."Another Brick in the Wall, Part 3" Waters1:18
7."Goodbye Cruel World" Waters1:16
Total length:18:43
Side three
No.TitleMusicLead vocalsLength
1."Hey You" 
  • Gilmour
  • Waters
4:40
2."Is There Anybody Out There?" 
  • Waters
  • Gilmour
2:44
3."Nobody Home" Waters3:26
4."Vera" Waters1:35
5."Bring the Boys Back Home" Waters1:21
6."Comfortably Numb"Gilmour, Waters
  • Waters
  • Gilmour
6:23
Total length:20:09
Side four
No.TitleMusicLead vocalsLength
1."The Show Must Go On" Gilmour1:36
2."In the Flesh" Waters4:15
3."Run Like Hell"Gilmour, Waters
  • Waters
  • Gilmour
4:20
4."Waiting for the Worms" 
  • Waters
  • Gilmour
4:04
5."Stop" Waters0:30
6."The Trial"Waters, Bob EzrinWaters5:13
7."Outside the Wall" Waters1:41
Total length:21:39 (80:42)

Personnel

Pink Floyd[127]

  • Roger Waters – vocals, bass guitar (1-5, 8, 10, 12, 13, 15, 19, 21), EMS VCS 3 synthesizer (1, 7, 8, 11, 16, 21, 23), acoustic guitar (6, 17), electric guitar (12),[128] sleeve design, co-production
  • David Gilmour – vocals, electric (1-6, 8–12, 14, 15, 19, 21–23, 25) and acoustic guitars (6, 7, 14, 17, 19, 20), bass guitar (6, 7, 9, 11, 14, 16, 17, 19, 20, 22, 23, 25), Prophet-5 (2, 7, 8, 19, 23) and ARP Quadra synthesizers (8, 21), co-production
  • Nick Mason – drums and percussion (except 3, 6–8, 13, 16, 17, 24, 26)
  • Richard Wright – piano (2, 8, 11, 25), Hammond organ (2, 4, 5, 9–11, 13, 14, 19, 22, 23), Prophet-5 (1, 3–5, 7, 10–13, 15–17, 20, 22), ARP Quadra (14) and Minimoog synthesizers (3), Fender Rhodes (14) and Wurlitzer electric pianos (9), clavinet (4)

Additional musicians

  • Bruce Johnston – backing vocals[129] (1, 20, 21, 23)
  • Toni Tennille – backing vocals (1, 20, 21, 23)
  • Joe Chemay – backing vocals (1, 20, 21, 23)
  • Jon Joyce – backing vocals (1, 20, 21, 23)
  • Stan Farber – backing vocals (1, 20, 21, 23)
  • Jim Haas – backing vocals (1, 20, 21, 23)
  • Bob Ezrin – production, piano (6, 10, 16, 20, 23, 24), Hammond organ and harmonium (6), Prophet-5 synthesizer (15, 20, 21), orchestral arrangement and music on "The Trial", backing vocals on "Waiting for the Worms"
  • James Guthrie – percussion on "The Happiest Days of our Lives", ARP Quadra synthesizer on "Empty Spaces" and "In The Flesh", sound effects on "Hey You" and "Run Like Hell", co-producer, engineer
  • Jeff Porcaro – drums on "Mother"
  • Children of Islington Green School – vocals on "Another Brick in the Wall Part II"
  • Joe Porcaro[130] – snare drums on "Bring the Boys Back Home"
  • Lee Ritenour – rhythm guitar on "One of My Turns", additional acoustic guitar on "Comfortably Numb"
  • Joe (Ron) di Blasi – classical guitar on "Is There Anybody Out There?"
  • Fred Mandel – Hammond organ on "In The Flesh?" and "In the Flesh"
  • Bobbye Hall – congas and bongos on "Run Like Hell"
  • Frank Marocco – concertina on "Outside the Wall"
  • Larry Williams – clarinet on "Outside the Wall"
  • Trevor Veitch – mandolin on "Outside the Wall"
  • New York Orchestra – orchestra (tracks 16, 17, 18, 25)
  • New York Opera – choral vocals on "Bring the Boys Back Home"
  • Vicki Brown and Clare Torry (credited simply as "Vicki & Clare") – backing vocals on "The Trial"
  • Harry Waters – child's voice on "Goodbye Blue Sky"
  • Chris Fitzmorris – male telephone voice
  • Trudy Young – voice of the groupie
  • Phil Taylor – sound effects

Production

  • Michael Kamen – orchestral arrangement on "Is There Anybody Out There?" and "Comfortably Numb"
  • Nick Griffiths – engineer
  • Patrice Quef – engineer
  • Brian Christian – engineer
  • Rick Hart – engineer
  • Doug Sax – mastering at The Mastering Lab
  • John McClure - engineer
  • Phil Taylor – sound equipment
  • Gerald Scarfe – sleeve design
  • Krieg Wunderlich – remastering on Mobile Fidelity Sound Lab 24kt gold CD[131]
  • Doug Sax, James Guthrie – 1994 remastering at The Mastering Lab[132]
  • James Guthrie, Joel Plante – 2011 remastering at das boot recording[129]

Charts

Singles

Chart performance for singles from The Wall
Date Single Chart Position Source
23 November 1979 "Another Brick in the Wall (Part 2)" UK Top 40 1 [nb 5][196]
7 January 1980 "Another Brick in the Wall (Part 2)" US Billboard Pop Singles 1 [nb 6][86]
9 June 1980 "Run Like Hell" US Billboard Pop Singles 53 [nb 7][86]
March 1980 "Another Brick in the Wall (Part 2)" Norway's single chart 1 [197]

Certifications and sales

Certifications and sales for The Wall
Region Certification Certified units/sales
Argentina (CAPIF)[198] Platinum 60,000^
Australia (ARIA)[199]
DVD 		11× Platinum 165,000^
Australia (ARIA)[201] 11× Platinum 800,000[200]
Brazil — 110,000[202]
Brazil (Pro-Música Brasil)[203]
DVD 		Platinum 50,000*
Canada (Music Canada)[204] 2× Diamond 2,000,000^
Denmark (IFPI Danmark)[205] 6× Platinum 120,000‡
France (SNEP)[206] Diamond 1,000,000*
France (SNEP)[207]
video 		2× Platinum 40,000*
Germany (BVMI)[209] 4× Platinum 2,100,000[208]
Germany (BVMI)[210]
video 		2× Platinum 100,000^
Greece (IFPI Greece)[211] Platinum 100,000^
Hong Kong (IFPI Hong Kong)[212] Platinum 20,000*
Italy (FIMI)[213]
sales of Parlophone edition since 2009 		5× Platinum 250,000‡
Italy (FIMI)[214]
sales of Harvest edition since 2009 		Platinum 60,000*
Italy
DVD 2006 sales 		— 15,000[215]
Netherlands (NVPI)[216]
EMI Records Holland B.V. edition 		Platinum 100,000^
Netherlands (NVPI)[217]
Sony BMG edition 		Gold 50,000^
New Zealand (RMNZ)[218] 14× Platinum 210,000^
Poland (ZPAV)[219]
DVD 		Platinum 10,000*
Poland (ZPAV)[220]
2011 release 		2× Platinum 40,000‡
Poland (ZPAV)[221] Platinum 70,000*
Portugal (AFP)[222] Gold 20,000^
Spain (PROMUSICAE)[223] Platinum 100,000^
Switzerland (IFPI Switzerland)[225] 2× Platinum 250,000[224]
United Kingdom (BPI)[226]
sales of Parlophone edition – 2011–2022 		3× Platinum 900,000‡
United Kingdom (BPI)[227]
sales of Harvest edition in 1979 		Platinum 300,000^
United Kingdom (BPI)[228]
video 		5× Platinum 250,000*
United States (RIAA)[229]
certified sales 1979–1999 		23× Platinum 11,500,000^
United States
Nielsen sales 1991–2008 		— 5,220,000[230]
Summaries
Worldwide — 30,000,000[6]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

See also

References

Notes

  1. ^ Pink Floyd eventually sued NWG for £1 million, accusing them of fraud and negligence. NWG collapsed in 1981. Andrew Warburg fled to Spain, Norton Warburg Investments (a part of NWG) was renamed to Waterbrook, and many of its holdings were sold at a loss. Andrew Warburg was jailed for three years upon his return to the UK in 1987.[21]
  2. ^ As well as being more flexible, repeated replay of magnetic tape can, over time, reduce the quality of the recorded material.
  3. ^ EMI Harvest SHDW 411 (double album)[86]
  4. ^ As a double album 23× platinum signifies sales of 11.5 million.
  5. ^ EMI Harvest HAR 5194 (7" single)
  6. ^ Columbia 1-11187 (7" single)
  7. ^ Columbia 1-11265 (7" single)

Footnotes

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Bibliography

  • Blake, Mark (2008), Comfortably Numb – The Inside Story of Pink Floyd (1st US paperback ed.), Cambridge, Massachusetts: Da Capo Press, ISBN 978-0-306-81752-6
  • Fitch, Vernon; Mahon, Richard (2006), Comfortably Numb: A History of "The Wall": Pink Floyd 1978–1981 (1st US hardcover ed.), St. Petersburg, Florida: PFA Publishing, ISBN 978-0-9777366-0-7, from the original on 8 February 2011, retrieved 21 December 2010
  • Mason, Nick (2005), Philip Dodd (ed.), Inside Out: A Personal History of Pink Floyd (UK paperback ed.), London: Phoenix, ISBN 978-0-7538-1906-7
  • Povey, Glenn (2007), Echoes (1st UK paperback ed.), London: Mind Head Publishing, ISBN 978-0-9554624-0-5, from the original on 18 April 2021, retrieved 11 October 2020
  • Bench, Jeff; O'Brien, Daniel (2004), Pink Floyd's The Wall: In the Studio, On Stage and on Screen (UK paperback ed.), London: Reynolds and Hearn, ISBN 978-1-903111-82-6
  • Scarfe, Gerald (2010), The Making of Pink Floyd: The Wall (1st US paperback ed.), New York: Da Capo Press, ISBN 978-0-306-81997-1, from the original on 7 July 2017, retrieved 20 August 2012
  • Schaffner, Nicholas (1991), Saucerful of Secrets (UK paperback ed.), London: Sidgwick & Jackson, ISBN 978-0-283-06127-1
  • Simmons, Sylvie (December 1999), "Pink Floyd: The Making of The Wall", Mojo, London: Emap Metro, vol. 73, pp. 76–95

Further reading

  • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Milwaukee: Hal Leonard Corporation, ISBN 978-0-634-03286-8
  • Fitch, Vernon (2001), Pink Floyd: The Press Reports 1966–1983, Ontario: Collector's Guide Publishing Inc, ISBN 978-1-896522-72-2
  • Fricke, David (December 2009), "Roger Waters: Welcome to My Nightmare ... Behind The Wall", Mojo, London: Emap Metro, vol. 193, pp. 68–84
  • Hiatt, Brian (September 2010), "Back to The Wall", Rolling Stone, vol. 1114, pp. 50–57
  • MacDonald, Bruno (1997), Pink Floyd: through the eyes of ... the band, its fans, friends, and foes, New York: Da Capo Press, ISBN 978-0-306-80780-0
  • Mabbett, Andy (2010), Pink Floyd The Music and the Mystery, London: Omnibus Press, ISBN 978-1-84938-370-7

External links

  •   Quotations related to The Wall at Wikiquote
  • The Wall at Discogs (list of releases)

August 23, 2023
wall, this, article, about, pink, floyd, album, film, based, album, pink, floyd, other, uses, wall, disambiguation, eleventh, studio, album, english, progressive, rock, band, pink, floyd, released, november, 1979, harvest, columbia, records, rock, opera, that,. This article is about the Pink Floyd album For the film based on the album see Pink Floyd The Wall For other uses see Wall disambiguation The Wall is the eleventh studio album by the English progressive rock band Pink Floyd released on 30 November 1979 by Harvest EMI and Columbia CBS Records It is a rock opera that explores Pink a jaded rock star whose eventual self imposed isolation from society forms a figurative wall The album was a commercial success topping the US charts for 15 weeks and reaching number three in the UK It initially received mixed reviews from critics many of whom found it overblown and pretentious but later received accolades as one of the greatest albums of all time The WallOriginal cover Black or red text reading Pink Floyd The Wall was stickered on top of the original 1979 physical releases as were some CD reissues and all 2016 vinyl rereleases Studio album by Pink FloydReleased30 November 1979 1979 11 30 RecordedDecember 1978 November 1979StudioBritannia Row London Super Bear Nice Miraval Correns 30th Street New York Producers Workshop Los Angeles Cherokee Hollywood GenreProgressive rock 1 art rock 2 progressive pop 3 Length80 42LabelHarvest EMI Columbia CBSProducerBob Ezrin David Gilmour James Guthrie Roger WatersPink Floyd chronologyAnimals 1977 The Wall 1979 A Collection of Great Dance Songs 1981 Singles from The Wall Another Brick in the Wall Part 2 Released 23 November 1979 Run Like Hell Released April 1980 Comfortably Numb Released 23 June 1980Bassist Roger Waters conceived The Wall during Pink Floyd s 1977 In the Flesh tour modelling the character of Pink after himself and Pink Floyd s former songwriter Syd Barrett Recording spanned from December 1978 to November 1979 Producer Bob Ezrin helped to refine the concept and bridge tensions during recording as the band members were struggling with personal and financial issues at the time The Wall was the last album to feature Pink Floyd as a quartet keyboardist Richard Wright was fired by Waters during production but stayed on as a salaried musician Three singles were issued from the album Another Brick in the Wall Part 2 Pink Floyd s only UK and US number one single Run Like Hell and Comfortably Numb From 1980 to 1981 Pink Floyd performed the full album on a tour that featured elaborate theatrical effects In 1982 The Wall was adapted into a feature film for which Waters wrote the screenplay The Wall is one of the best known concept albums 4 With over 30 million copies sold it is the second best selling album in the band s catalogue behind The Dark Side of the Moon the best selling double album of all time 5 and one of the best selling albums of all time overall 6 Some of the outtakes from the recording sessions were used on the group s next album The Final Cut 1983 In 2000 it was voted number 30 in Colin Larkin s All Time Top 1000 Albums 7 In 2003 2012 and 2020 it was included in Rolling Stone s lists of the greatest albums of all time 8 From 2010 to 2013 Waters staged a new Wall live tour that became one of the highest grossing tours by a solo musician Contents 1 Background 2 Concept and storyline 2 1 Plot 3 Production 3 1 Recording 3 2 Instrumentation 3 3 Sound design 4 Artwork and packaging 5 Release and reception 6 Reissues 7 Tour 8 Adaptations 9 Track listing 10 Personnel 11 Charts 11 1 Weekly charts 11 2 Year end charts 12 Certifications and sales 13 See also 14 References 15 External linksBackground Edit The album s concept was born out of an altercation with audience members at the Montreal Olympic Stadium pictured in 2006 In 1977 Pink Floyd played the In the Flesh tour Bassist and singer songwriter Roger Waters despised the experience feeling the audience was not listening and that many were too far away to see the band He said It became a social event rather than a more controlled and ordinary relationship between musicians and an audience 9 Some audience members set off firecrackers leading Waters to stop playing and scold them On 6 July 1977 the final date at the Montreal Olympic Stadium a group of noisy and excited fans near the stage irritated Waters so much that he spat on one of them 10 Guitarist and singer songwriter David Gilmour refused to perform a final encore and sat at the soundboard 11 leaving the band with backup guitarist Snowy White to improvise a slow sad 12 bar blues which Waters announced to the audience as some music to go home to 12 13 That night Waters spoke with producer Bob Ezrin and Ezrin s psychiatrist friend about the alienation and despair he was experiencing He articulated his desire to isolate himself by constructing a wall across the stage between the band and the audience 14 While Gilmour and Wright were in France recording solo albums and drummer Nick Mason was busy producing Steve Hillage s Green Waters began to write material 15 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 child 13 In July 1978 Pink Floyd reconvened at Britannia Row Studios where Waters presented two new ideas for concept albums The first was a 90 minute demo with the working title Bricks in the Wall 16 The second was about a man s dreams across one night and dealt with marriage sex and the pros and cons of monogamy and family life versus promiscuity 17 The band chose the first option the second eventually became Waters s first solo album The Pros and Cons of Hitch Hiking 1984 16 By September Pink Floyd were having financial problems and urgently needed to produce an album to make money 18 The financial planners Norton Warburg Group NWG had invested 1 3 3 3 million up to 20 1 million in contemporary value 19 of the group s money in high risk venture capital to reduce their tax liabilities The strategy failed when many of the businesses NWG invested in lost money leaving the band facing tax rates potentially as high as 83 per cent Waters said Eighty three per cent was a lot of money in those days and we didn t have it 20 Pink Floyd terminated their relationship with NWG demanding the return of uninvested funds 21 nb 1 Gilmour said he became closely involved in the business side of Pink Floyd afterwards Ever since then there s not a penny that I haven t signed for I sign every cheque and examine everything 20 To help manage the project s 26 tracks Waters decided to bring in an outside producer and collaborator 16 feeling he needed a collaborator who was musically and intellectually in a similar place to where I was 22 They hired Ezrin at the suggestion of Waters s then wife Carolyne Christie who had worked as Ezrin s secretary 18 Ezrin had previously worked with Alice Cooper Lou Reed Kiss and Peter Gabriel 23 From the start Waters made it clear who was in charge telling him You can write anything you want Just don t expect any credit 24 Ezrin and Gilmour reviewed Waters s concept discarding what they thought was not good enough Waters and Ezrin worked mostly on the story improving the concept 25 Ezrin presented a 40 page script to the rest of the band with positive results He recalled The next day at the studio we had a table read like you would with a play but with the whole of the band and their eyes all twinkled because then they could see the album 22 Ezrin broadened the storyline distancing it from the autobiographical work Waters had written and basing it on a composite character named Pink 26 Engineer Nick Griffiths later said Ezrin was very good in The Wall because he did manage to pull the whole thing together He s a very forceful guy There was a lot of argument about how it should sound between Roger and Dave and he bridged the gap between them 27 Waters wrote most of the album with Gilmour co writing Comfortably Numb Run Like Hell and Young Lust 28 and Ezrin co writing The Trial 25 Concept and storyline Edit Another Brick in the Wall Pt 2 source source track The disco beat used in Another Brick in the Wall Part 2 presented a marked change from Pink Floyd s previous releases citation needed Problems playing this file See media help The Wall is a rock opera 29 that explores abandonment and isolation symbolized by a wall The songs create a storyline of events in the life of Pink a character based on Waters and Pink Floyd s former frontman Syd Barrett 30 31 The album includes several references to Barrett including Nobody Home which hints at his condition during Pink Floyd s abortive US tour of 1967 with lyrics such as wild staring eyes the obligatory Hendrix perm and elastic bands keeping my shoes on Comfortably Numb was inspired by Waters injection with a muscle relaxant to combat the effects of hepatitis during the In the Flesh tour in Philadelphia 32 Plot Edit Pink is a depressed rock star He imagines a crowd of fans entering one of his concerts and a flashback on his life up to that point begins In the flashback it is revealed that his father was killed defending the Anzio bridgehead during World War II In the Flesh When the Tigers Broke Free movie only Pink s mother raises him alone The Thin Ice and with the death of his father Pink starts to build a metaphorical wall around himself Another Brick in the Wall Part 1 Growing older Pink is tormented at school by tyrannical abusive teachers The Happiest Days of Our Lives and memories of these traumas become metaphorical bricks in the wall Another Brick in the Wall Part 2 The death of Pink s father during the Battle of Anzio pictured forms the backdrop of the story Now an adult Pink remembers his oppressive and overprotective mother Mother and his upbringing during the Blitz Goodbye Blue Sky Pink soon marries and after more bricks are created through more trauma he is preparing to complete his wall Empty Spaces While touring in the United States he seeks casual sex with a woman to relieve the tedium of touring though in making a phone call home he learns of his wife s infidelity Young Lust He brings a groupie back to his hotel room only to trash it in a violent fit of rage terrifying her out of the room One of My Turns Depressed Pink thinks about his wife and feels trapped in his room Don t Leave Me Now and he dismisses every traumatic experience he has ever had as even more bricks in the metaphorical wall while rejecting human contact and medication Another Brick in the Wall Part 3 Pink s wall is now finished completely isolating himself from the outside world Goodbye Cruel World Immediately after the wall s completion Pink questions his decisions Hey You and locks himself in his hotel room Is There Anybody Out There Beginning to feel depressed Pink turns to his possessions for comfort Nobody Home and yearns for the idea of reconnecting with his personal roots Vera Pink s mind flashes back to World War II with the people demanding that the soldiers return home Bring the Boys Back Home Returning to the present Pink s manager and roadies have busted into his hotel room where they find him unresponsive A paramedic injects him with drugs to enable him to perform Comfortably Numb The drugs kick in resulting in a hallucinatory on stage performance The Show Must Go On where he believes that he is a fascist dictator and that his concert is a Neo Nazi rally at which he sets brownshirt like men on fans that he considers unworthy In the Flesh He proceeds to attack ethnic minorities Run Like Hell and then holds a rally in suburban London symbolising his descent into insanity Waiting for the Worms Pink s hallucination then ceases and he begs for everything to stop Stop Tormented with guilt Pink places himself on trial for showing feelings of an almost human nature before his inner judge orders him to tear down the wall The Trial This is the opening of Pink to the outside world Outside the Wall The album turns full circle with its closing words Isn t this where the first words of the phrase that begins the album we came in with a continuation of the melody of the last song hinting at the cyclical nature of Waters theme and that the existential crisis at the heart of the album will never truly end 33 Production EditRecording Edit The Wall was recorded in several locations In France Super Bear Studios was used between January and July 1979 and Waters recorded his vocals at the nearby Studio Miraval Michael Kamen supervised the orchestral arrangements at CBS Studios in New York in September 34 Over the next two months the band used Cherokee Studios Producers Workshop and The Village Recorder in Los Angeles A plan to work with the Beach Boys at the Sundance Productions studio in Los Angeles was cancelled 35 36 James Guthrie recommended by previous Floyd collaborator Alan Parsons arrived early in the production process 37 He replaced engineer Brian Humphries who was emotionally drained by his five years with the band 38 Guthrie was hired as a co producer but was initially unaware of Ezrin s role I saw myself as a hot young producer When we arrived I think we both felt we d been booked to do the same job 39 The early sessions at Britannia Row were emotionally charged as Ezrin Guthrie and Waters each had strong ideas about the direction the album would take Relations within the band were at a low ebb and Ezrin became an intermediary between Waters and the rest of the band 40 As Britannia Row was initially regarded as inadequate for The Wall the band upgraded much of its equipment 41 and by March another set of demos was complete However their former relationship with NWG placed them at risk of bankruptcy and they were advised to leave the UK by no later than 6 April 1979 for a minimum of one year As non residents they would pay no UK taxes during that time and within a month all four members and their families had left Waters moved to Switzerland Mason to France and Gilmour and Wright to the Greek Islands Some equipment from Britannia Row was relocated in Super Bear Studios near Nice 27 42 Gilmour and Wright were both familiar with the studio and enjoyed its atmosphere having recorded solo albums there While Wright and Mason lived at the studio Waters and Gilmour stayed in nearby houses Mason later moved into Waters s villa near Vence while Ezrin stayed in Nice 43 Ezrin s poor punctuality caused problems with the tight schedule dictated by Waters 44 Mason found Ezrin s behaviour erratic but used his elaborate and unlikely excuses for his lateness as ammunition for tongue in cheek resentment 43 Ezrin s share of the royalties was less than the rest of the band and he viewed Waters as a bully especially when Waters mocked him by having badges made that read NOPE No Points Ezrin alluding to his lesser share 44 Ezrin later said he had had marital problems and was not in the best shape emotionally 44 Waters relationship with Richard Wright pictured in 2006 collapsed during production leading to Wright s firing More problems became apparent when Waters s relationship with Wright broke down The band were rarely in the studio together Ezrin and Guthrie spliced Mason s previously recorded drum tracks together and Guthrie worked with Waters and Gilmour during the day returning at night to record Wright s contributions Wright worried about the effect that the introduction of Ezrin would have on band relationships was keen to have a producer s credit on the album their albums since More 1969 had credited production to Pink Floyd 45 Waters agreed to a trial period with Wright producing after which he was to be given a producer s credit but after a few weeks he and Ezrin expressed dissatisfaction with Wright s methods A confrontation with Ezrin led to Wright working only at nights Gilmour also expressed his annoyance complaining that Wright s lack of input was driving us all mad 46 Ezrin later reflected it sometimes felt that Roger was setting him up to fail Rick gets performance anxiety You have to leave him alone to freeform to create 46 Wright was troubled by a failing marriage and the onset of depression exacerbated by his non residency While the other band members brought their children Wright s children were older and could not join as they were attending school he said he missed them terribly 47 The band s holidays were booked for August after which they were to reconvene at Cherokee Studios in Los Angeles but Columbia offered the band a better deal in exchange for a Christmas release of the album Waters increased the band s workload accordingly booking time at the nearby Studio Miraval 48 He also suggested recording in Los Angeles ten days earlier than agreed and hiring another keyboardist to work alongside Wright whose keyboard parts had not yet been recorded Wright however refused to cut short his family holiday in Rhodes 49 Accounts of Wright s subsequent departure from the band differ In his autobiography Inside Out Mason says that Waters called the band s manager Steve O Rourke who was travelling to the US on the QE2 and told him to have Wright out of the band by the time Waters arrived in LA to mix the album 50 In another version recorded by a later historian of the band Waters called O Rourke and asked him to tell Wright about the new recording arrangements to which Wright responded Tell Roger to fuck off 51 Wright denied this stating that the band had agreed to record only through the spring and early summer and that he had no idea they were so far behind schedule Mason later wrote that Waters was stunned and furious 48 and felt that Wright was not doing enough 48 Gilmour was on holiday in Dublin when he learnt of Waters s ultimatum and tried to calm the situation He later spoke with Wright and gave him his support but reminded him about his minimal contributions 52 Waters however insisted that Wright leave or he would refuse to release The Wall Several days later worried about their financial situation and the failing interpersonal relationships within the band Wright quit News of his departure was kept from the music press 53 Although his name did not appear on some editions of the album it does appear on the UK gatefold sleeve 54 55 he was employed as a session musician on the band s subsequent tour 56 By August 1979 the running order was largely complete Wright completed his duties at Cherokee Studios aided by session musicians Peter Wood and Fred Mandel and Jeff Porcaro played drums in Mason s stead on Mother 55 Mason left the final mix to Waters Gilmour Ezrin and Guthrie and travelled to New York to record his debut solo album Nick Mason s Fictitious Sports 57 In advance of its release technical constraints led to some changes to the running order and content of The Wall with What Shall We Do Now replaced by the similar but shorter Empty Spaces and Hey You being moved from the end of side three to the beginning With the November 1979 deadline approaching the band left the inner sleeves of the album unchanged 58 Instrumentation Edit Comfortably Numb source source Planet Rock listeners voted Comfortably Numb s two guitar solos the greatest of all time 59 Problems playing this file See media help Mason s early drum sessions were performed in an open space on the top floor of Britannia Row Studios The 16 track recordings from these sessions were mixed down and copied onto a 24 track master as guide tracks for the rest of the band to play to This gave the engineers greater flexibility nb 2 but also improved the audio quality of the mix as the original 16 track drum recordings were synced to the 24 track master and the duplicated guide tracks removed 60 Ezrin later related the band s alarm at this method of working they apparently viewed the erasure of material from the 24 track master as witchcraft 40 While at Super Bear studios Waters agreed to Ezrin s suggestion that several tracks including Nobody Home The Trial and Comfortably Numb should have an orchestral accompaniment Michael Kamen who had previously worked with David Bowie was booked to oversee these arrangements which were performed by musicians from the New York Philharmonic and New York Symphony Orchestras and a choir from the New York City Opera 61 Their sessions were recorded at CBS Studios in New York without Pink Floyd present Kamen eventually met the band once recording was complete 62 I think things like Comfortably Numb were the last embers of mine and Roger s ability to work collaboratively together David Gilmour 63 Comfortably Numb has its origins in Gilmour s debut solo album and was the source of much argument between Waters and Gilmour 27 Ezrin claimed that the song initially started life as Roger s record about Roger for Roger but he thought that it needed further work Waters changed the key of the verse and added more lyrics to the chorus and Gilmour added extra bars for the line I have become comfortably numb Gilmour s stripped down and harder recording was not to Waters s liking Waters preferred Ezrin s grander Technicolor orchestral version Following a major argument in a North Hollywood restaurant the two compromised the song s body included the orchestral arrangement with Gilmour s second and final guitar solo standing alone 63 Sound design Edit Ezrin and Waters oversaw the capture of the album s sound effects Waters recorded the phone call used on the original demo for Young Lust but neglected to inform its recipient Mason who assumed it was a prank call and angrily hung up 64 A real telephone operator was also an unwitting participant 65 The call references Waters viewpoint of his bitter 1975 divorce from first wife Judy 66 Waters also recorded ambient sounds along Hollywood Boulevard by hanging a microphone from a studio window Engineer Phil Taylor recorded some of the screeching tyre noises on Run Like Hell from a studio car park and a television set being destroyed was used on One of My Turns At Britannia Row Studios Nick Griffiths recorded the smashing of crockery for the same song 67 Television broadcasts were used and one actor recognising his voice accepted a financial settlement from the group in lieu of legal action against them 68 The Trial source source The album culminates with Pink s internal trial leading to the collapse of his wall Problems playing this file See media help The maniacal schoolmaster was voiced by Waters and actress Trudy Young supplied the groupie s voice 67 Backing vocals were performed by a range of artists although a planned appearance by the Beach Boys on The Show Must Go On and Waiting for the Worms was cancelled by Waters who instead settled for Beach Boy Bruce Johnston and Beach Boys touring musician Toni Tennille 69 Ezrin s suggestion to release Another Brick in the Wall Part 2 as a single with a disco style beat did not initially find favour with Gilmour although Mason and Waters were more enthusiastic Waters opposed releasing a single but became receptive once he listened to Ezrin and Guthrie s mix With two identical verses the song was felt to be lacking and so a copy was sent to Griffiths in London with a request to find children to perform several versions of the lyrics 61 Griffiths contacted Alun Renshaw head of music at the nearby Islington Green school who was enthusiastic saying I wanted to make music relevant to the kids not just sitting around listening to Tchaikovsky I thought the lyrics were great We don t need no education we don t need no thought control I just thought it would be a wonderful experience for the kids 70 Griffiths first recorded small groups of pupils and then invited more telling them to affect a Cockney accent and shout rather than sing He multitracked the voices making the groups sound larger before sending his recordings back to Los Angeles The result delighted Waters and the song was released as a single becoming a Christmas number one 71 There was some controversy when the British press reported that the children had not been paid for their efforts they were eventually given copies of the album and the school received a 1 000 donation 5 000 in contemporary value 19 72 Artwork and packaging EditThe album s cover art is one of Pink Floyd s most minimal a white brick wall and no text Waters had a falling out with Hipgnosis designer Storm Thorgerson a few years earlier when Thorgerson had included the cover of Animals in his book The Work of Hipgnosis Walk Away Rene The Wall is therefore the first album cover of the band since The Piper at the Gates of Dawn not to be created by the design group 73 Issues of the album would include the lettering of the artist name and album title by cartoonist Gerald Scarfe either as a sticker on sleeve wrapping or printed onto the cover itself in either black or red Scarfe who had previously created animations for the band s In the Flesh tour also created the LP s inside sleeve art and labels of both vinyl records of the album showing the eponymous wall in various stages of construction accompanied by characters from the story The drawings would be translated into dolls for The Wall Tour as well as into Scarfe s animated segments shown during the tour and the film based on the album It is notable that the stadium drawn in the inner sleeve looks a lot like the Montreal Olympic Stadium where the album s concept happens to find its origin It seems plausible that the artist was inspired by the stadium s appearance in 1977 and its inclined tower which was completed only at a third of its projected and present height reminiscent of the many towers pictured in the artist s stadium 74 75 Release and reception EditProfessional ratingsReview scoresSourceRatingAllMusic 76 The Daily Telegraph 77 Encyclopedia of Popular Music 78 The Great Rock Discography9 10 79 MusicHound Rock 80 Music Story 79 The Rolling Stone Album Guide 81 Smash Hits8 10 82 Sputnikmusic5 5 83 The Village VoiceB 84 When the completed album was played for an assembled group of executives at Columbia s headquarters in California several were reportedly unimpressed by what they heard 85 Matters had not been helped when Columbia Records offered Waters smaller publishing rights on the grounds that The Wall was a double album a position he did not accept When one executive offered to settle the dispute with a coin toss Waters asked why he should gamble on something he owned He eventually prevailed 57 The record company s concerns were alleviated when Another Brick in the Wall Part 2 reached number one in the UK US Norway Portugal West Germany and South Africa 85 It was certified platinum in the UK in December 1979 and platinum in the US three months later 86 In Germany the album reached the one million sales mark within three months of its release 87 In Canada the album had sold 830 000 copies by January 1981 88 The Wall was released in the UK and in the US on 30 November 1979 nb 3 Coinciding with its release Waters was interviewed by veteran DJ Tommy Vance who played the album in its entirety on BBC Radio 1 73 Critical opinion of its content was mixed 89 Reviewing for Rolling Stone in February 1980 Kurt Loder hailed it as a stunning synthesis of Waters s by now familiar thematic obsessions that leaps to life with a relentless lyrical rage that s clearly genuine and in its painstaking particularity ultimately horrifying 90 By contrast The Village Voice critic Robert Christgau regarded it as a dumb tribulations of a rock star epic backed by kitschy minimal maximalism with sound effects and speech fragments 91 adding in The New York Times that its worldview is self indulgent and presents the self pity of its rich famous and decidedly post adolescent protagonist as a species of heroism 92 Melody Maker declared I m not sure whether it s brilliant or terrible but I find it utterly compelling 93 Nevertheless the album topped the Billboard charts for 15 weeks 94 selling over a million copies in its first two months of sales 89 and in 1999 was certified 23 platinum nb 4 95 It remains one of the best selling albums of all time in the US 86 95 between 1979 and 1990 selling over 19 million copies worldwide 96 The Wall is Pink Floyd s second best selling album after 1973 s The Dark Side of the Moon Engineer James Guthrie s efforts were rewarded in 1980 with a Grammy award for Best Engineered Recording non classical and the album was nominated for the Grammy Award for Album of the Year 97 Rolling Stone placed it at number 87 on its 500 Greatest Albums of All Time list in 2003 98 maintaining the rating in a 2012 revised list 99 although this was updated to 129 with the list s 2020 revision 8 Based on such rankings the aggregate website Acclaimed Music lists The Wall as the 166th most acclaimed album in history 100 The album was also included in the book 1001 Albums You Must Hear Before You Die 101 The Wall said Billy Corgan at his induction of the Floyd into the Rock and Roll Hall of Fame was at my tender age of fourteen too creepy too intense too nihilistic And of course these are all the things that I believe in now But at twenty eight years old it s one of the bravest records I ve ever heard And I really can t point to anything else that s ever summed up everything that s fucked up about life everything that s fucked up about rock It takes on politics hero worship rock n roll and our desires to connect with the universe all in one fell swoop It really truly is an amazing testament to how far they were willing to go to reach the outer limits of what s important 102 The Wall is stupefyingly good Waters declared in 1992 Christ what a brilliant idea that was It holds together so well And of course Dave s musical influence on that was considerable Despite what has happened between us since then I still have great respect for him as a guitarist 103 Reissues EditA 1994 digitally remastered CD version manufactured in China omits Young Lust but retains a composition credit for Waters Gilmour in the booklet 104 The album was reissued in three versions as part of the Why Pink Floyd campaign which featured a massive restoration of the band s catalogue with remastering by producer James Guthrie in 2011 a Discovery edition featuring the remastered version with no extras and in 2012 both the Experience edition which adds a bonus disc of unreleased material and other supplementary items and the Immersion version a seven disc collection that also adds video materials 105 106 The album was reissued under the Pink Floyd Records label on 26 August 2016 along with The Division Bell Tour EditThe Wall Tour opened at the Los Angeles Memorial Sports Arena on 7 February 1980 As the band played a 40 foot 12 m wall of cardboard bricks was gradually built between them and the audience Several characters were realised as giant inflatables including a pig replete with a crossed hammers logo 107 Scarfe was employed to produce a series of animations to be projected onto the wall 107 At his London studio he employed a team of 40 animators to create nightmarish visions of the future including a dove of peace a schoolmaster and Pink s mother 108 For Comfortably Numb while Waters sang his opening verse Gilmour waited in darkness at the top of the wall standing on a flight case on casters held steady by a technician both precariously balanced atop a hydraulic platform On cue bright blue and white lights would suddenly illuminate him 109 At the end of the concert the wall collapsed revealing the band 110 Along with the songs on the album the tour featured an instrumental medley The Last Few Bricks played before Goodbye Cruel World to allow the construction crew to complete the wall 111 During the tour band relationships dropped to an all time low four Winnebagos were parked in a circle with the doors facing away from the centre Waters used his own vehicle to arrive at the venue and stayed in separate hotels from the rest of the band Wright returning as a salaried musician was the only member of the band to profit from the tour which lost about 400 000 56 Adaptations Edit Waters in spotlight dressed in military attire performing at The Wall Live in Berlin 1990A film adaptation Pink Floyd The Wall was released by Metro Goldwyn Mayer in July 1982 40 It was written by Waters and directed by Alan Parker with Bob Geldof as Pink It used Scarfe s animation alongside actors with little conventional dialogue 112 A modified soundtrack was created for some of the film s songs 113 On 21 July 1990 Waters and producer Tony Hollingsworth created The Wall Live in Berlin staged for charity at a site once occupied by part of the Berlin Wall 114 In the concert great artists of the 80 s played at the concert such as Scorpions Cyndi Lauper Sinead O Connor Ute Lemper Tim Curry Van Morrison Bryan Adams and many more artists The concert was broadcast on television in 52 countries and was later released as a video and album at the end of that same year although they omitted the song Outside the Wall and instead played The Tide Is Turning a song from Roger Waters 1987 solo album Radio K A O S In 2003 the album was remastered and for the first time the video was released on DVD In 2000 Pink Floyd released Is There Anybody Out There The Wall Live 1980 81 which contains portions of various live shows from the Wall Tour but mainly the shows in the Earls Court in London 115 In 2012 it was remastered and released on The Wall Immersion Box Set as an extra Beginning in 2010 116 and with dates lasting into 2013 Waters performed the album worldwide on his tour The Wall Live 117 This had a much wider wall updated higher quality projected content and leading edge projection technology Gilmour and Mason played at one show in London at The O2 Arena 118 A film of the live concert Roger Waters The Wall was released in 2015 119 In 2016 Waters adapted The Wall into an opera Another Brick in the Wall The Opera with contemporary classical composer Julien Bilodeau It premiered at Opera de Montreal in March 2017 and was produced by Cincinnati Opera in July 2018 120 It is orchestrated for a score of eight soloists 48 chorus members and a standard 70 piece operatic orchestra 121 In 2018 a tribute album The Wall Redux was released with individual artists covering the entire album This included Melvins version of In The Flesh 122 Pallbearer covering Run Like Hell former Screaming Trees singer Mark Lanegan covering Nobody Home and Church of the Cosmic Skull reworking The Trial 123 124 On September 19 2019 Channel Awesome s internet series Nostalgia Critic released a music video review of the album called Nostalgia Critic s The Wall featuring Corey Taylor and Rob Scallon 125 The album and video received overwhelmingly poor reviews from viewers and critics 126 Track listing EditAll tracks written by Roger Waters except where noted Side oneNo TitleLead vocalsLength1 In the Flesh Waters3 162 The Thin Ice Waters David Gilmour2 273 Another Brick in the Wall Part 1 Waters3 114 The Happiest Days of Our Lives Waters1 465 Another Brick in the Wall Part 2 Waters Gilmour3 596 Mother Waters Gilmour5 32Total length 20 11 Side twoNo TitleMusicLead vocalsLength1 Goodbye Blue Sky Gilmour2 452 Empty Spaces Waters2 103 Young Lust Waters GilmourGilmour3 254 One of My Turns Waters3 415 Don t Leave Me Now Waters4 086 Another Brick in the Wall Part 3 Waters1 187 Goodbye Cruel World Waters1 16Total length 18 43 Side threeNo TitleMusicLead vocalsLength1 Hey You GilmourWaters4 402 Is There Anybody Out There WatersGilmour2 443 Nobody Home Waters3 264 Vera Waters1 355 Bring the Boys Back Home Waters1 216 Comfortably Numb Gilmour WatersWatersGilmour6 23Total length 20 09 Side fourNo TitleMusicLead vocalsLength1 The Show Must Go On Gilmour1 362 In the Flesh Waters4 153 Run Like Hell Gilmour WatersWatersGilmour4 204 Waiting for the Worms WatersGilmour4 045 Stop Waters0 306 The Trial Waters Bob EzrinWaters5 137 Outside the Wall Waters1 41Total length 21 39 80 42 Personnel EditPink Floyd 127 Roger Waters vocals bass guitar 1 5 8 10 12 13 15 19 21 EMS VCS 3 synthesizer 1 7 8 11 16 21 23 acoustic guitar 6 17 electric guitar 12 128 sleeve design co production David Gilmour vocals electric 1 6 8 12 14 15 19 21 23 25 and acoustic guitars 6 7 14 17 19 20 bass guitar 6 7 9 11 14 16 17 19 20 22 23 25 Prophet 5 2 7 8 19 23 and ARP Quadra synthesizers 8 21 co production Nick Mason drums and percussion except 3 6 8 13 16 17 24 26 Richard Wright piano 2 8 11 25 Hammond organ 2 4 5 9 11 13 14 19 22 23 Prophet 5 1 3 5 7 10 13 15 17 20 22 ARP Quadra 14 and Minimoog synthesizers 3 Fender Rhodes 14 and Wurlitzer electric pianos 9 clavinet 4 Additional musicians Bruce Johnston backing vocals 129 1 20 21 23 Toni Tennille backing vocals 1 20 21 23 Joe Chemay backing vocals 1 20 21 23 Jon Joyce backing vocals 1 20 21 23 Stan Farber backing vocals 1 20 21 23 Jim Haas backing vocals 1 20 21 23 Bob Ezrin production piano 6 10 16 20 23 24 Hammond organ and harmonium 6 Prophet 5 synthesizer 15 20 21 orchestral arrangement and music on The Trial backing vocals on Waiting for the Worms James Guthrie percussion on The Happiest Days of our Lives ARP Quadra synthesizer on Empty Spaces and In The Flesh sound effects on Hey You and Run Like Hell co producer engineer Jeff Porcaro drums on Mother Children of Islington Green School vocals on Another Brick in the Wall Part II Joe Porcaro 130 snare drums on Bring the Boys Back Home Lee Ritenour rhythm guitar on One of My Turns additional acoustic guitar on Comfortably Numb Joe Ron di Blasi classical guitar on Is There Anybody Out There Fred Mandel Hammond organ on In The Flesh and In the Flesh Bobbye Hall congas and bongos on Run Like Hell Frank Marocco concertina on Outside the Wall Larry Williams clarinet on Outside the Wall Trevor Veitch mandolin on Outside the Wall New York Orchestra orchestra tracks 16 17 18 25 New York Opera choral vocals on Bring the Boys Back Home Vicki Brown and Clare Torry credited simply as Vicki amp Clare backing vocals on The Trial Harry Waters child s voice on Goodbye Blue Sky Chris Fitzmorris male telephone voice Trudy Young voice of the groupie Phil Taylor sound effects Production Michael Kamen orchestral arrangement on Is There Anybody Out There and Comfortably Numb Nick Griffiths engineer Patrice Quef engineer Brian Christian engineer Rick Hart engineer Doug Sax mastering at The Mastering Lab John McClure engineer Phil Taylor sound equipment Gerald Scarfe sleeve design Krieg Wunderlich remastering on Mobile Fidelity Sound Lab 24kt gold CD 131 Doug Sax James Guthrie 1994 remastering at The Mastering Lab 132 James Guthrie Joel Plante 2011 remastering at das boot recording 129 Charts EditWeekly charts Edit Weekly chart performance for The Wall Chart 1979 1980 PeakpositionAustralian Albums Kent Music Report 133 1Austrian Albums O3 Austria 134 1Canada Top Albums CDs RPM 135 1Finnish Albums Suomen Virallinen 136 4Dutch Albums Album Top 100 137 1German Albums Offizielle Top 100 138 1Italian Albums Musica e Dischi 139 1New Zealand Albums RMNZ 140 1Norwegian Albums VG lista 141 1Spanish Albums AFE 142 1Swedish Albums Sverigetopplistan 143 1UK Albums OCC 144 3US Billboard 200 145 1Chart 1990 PeakpositionDutch Albums Album Top 100 146 19Chart 2005 2006 PeakpositionAustrian Albums O3 Austria 147 11Belgian Albums Ultratop Flanders 148 85Belgian Albums Ultratop Wallonia 149 81Danish Albums Hitlisten 150 19Finnish Albums Suomen virallinen lista 151 21Italian Albums FIMI 152 13Spanish Albums PROMUSICAE 153 9Swiss Albums Schweizer Hitparade 154 29Chart 2011 2023 PeakpositionAustralian Albums ARIA 155 20Austrian Albums O3 Austria 156 15Belgian Albums Ultratop Flanders 157 44Belgian Albums Ultratop Wallonia 158 20Czech Albums CNS IFPI 159 7Danish Albums Hitlisten 160 10Dutch Albums Album Top 100 161 15Finnish Albums Suomen virallinen lista 162 17French Albums SNEP 163 12German Albums Offizielle Top 100 138 4Hungarian Albums MAHASZ 164 15Irish Albums IRMA 165 38Italian Albums FIMI 166 4New Zealand Albums RMNZ 167 14Norwegian Albums VG lista 168 10Polish Albums ZPAV 169 8Portuguese Albums AFP 170 6Spanish Albums PROMUSICAE 171 15Swedish Albums Sverigetopplistan 172 13Swiss Albums Schweizer Hitparade 173 8UK Albums OCC 174 22US Billboard 200 175 17US Top Rock Albums Billboard 176 26 Year end charts Edit Year end chart performance for The Wall Chart 1980 PositionAustrian Albums O3 Austria 177 1German Albums Offizielle Top 100 178 1New Zealand Albums RMNZ 179 1US Billboard 200 180 1Chart 2010 PositionItalian Albums FIMI 181 91Chart 2012 PositionFrench Albums SNEP 182 157Chart 2018 PositionPortuguese Albums AFP 183 102US Top Rock Albums Billboard 184 98Chart 2019 PositionBelgian Albums Ultratop Wallonia 185 190US Top Rock Albums Billboard 186 62Chart 2020 PositionBelgian Albums Ultratop Flanders 187 195Belgian Albums Ultratop Wallonia 188 195Italian Albums FIMI 189 77US Top Rock Albums Billboard 190 25Chart 2021 PositionBelgian Albums Ultratop Flanders 191 164Italian Albums FIMI 192 81US Top Rock Albums Billboard 193 39Chart 2022 PositionPolish Albums ZPAV 194 96Portuguese Albums AFP 195 6 Singles Chart performance for singles from The Wall Date Single Chart Position Source23 November 1979 Another Brick in the Wall Part 2 UK Top 40 1 nb 5 196 7 January 1980 Another Brick in the Wall Part 2 US Billboard Pop Singles 1 nb 6 86 9 June 1980 Run Like Hell US Billboard Pop Singles 53 nb 7 86 March 1980 Another Brick in the Wall Part 2 Norway s single chart 1 197 Certifications and sales EditCertifications and sales for The Wall Region Certification Certified units salesArgentina CAPIF 198 Platinum 60 000 Australia ARIA 199 DVD 11 Platinum 165 000 Australia ARIA 201 11 Platinum 800 000 200 Brazil 110 000 202 Brazil Pro Musica Brasil 203 DVD Platinum 50 000 Canada Music Canada 204 2 Diamond 2 000 000 Denmark IFPI Danmark 205 6 Platinum 120 000 France SNEP 206 Diamond 1 000 000 France SNEP 207 video 2 Platinum 40 000 Germany BVMI 209 4 Platinum 2 100 000 208 Germany BVMI 210 video 2 Platinum 100 000 Greece IFPI Greece 211 Platinum 100 000 Hong Kong IFPI Hong Kong 212 Platinum 20 000 Italy FIMI 213 sales of Parlophone edition since 2009 5 Platinum 250 000 Italy FIMI 214 sales of Harvest edition since 2009 Platinum 60 000 ItalyDVD 2006 sales 15 000 215 Netherlands NVPI 216 EMI Records Holland B V edition Platinum 100 000 Netherlands NVPI 217 Sony BMG edition Gold 50 000 New Zealand RMNZ 218 14 Platinum 210 000 Poland ZPAV 219 DVD Platinum 10 000 Poland ZPAV 220 2011 release 2 Platinum 40 000 Poland ZPAV 221 Platinum 70 000 Portugal AFP 222 Gold 20 000 Spain PROMUSICAE 223 Platinum 100 000 Switzerland IFPI Switzerland 225 2 Platinum 250 000 224 United Kingdom BPI 226 sales of Parlophone edition 2011 2022 3 Platinum 900 000 United Kingdom BPI 227 sales of Harvest edition in 1979 Platinum 300 000 United Kingdom BPI 228 video 5 Platinum 250 000 United States RIAA 229 certified sales 1979 1999 23 Platinum 11 500 000 United StatesNielsen sales 1991 2008 5 220 000 230 SummariesWorldwide 30 000 000 6 Sales figures based on certification alone Shipments figures based on certification alone Sales streaming figures based on certification alone See also EditList of best selling albums List of best selling albums in Australia List of best selling albums in Canada List of best selling albums in France List of best selling albums in Germany List of best selling albums in New Zealand List of best selling albums in the United States List of diamond certified albums in CanadaReferences EditNotes Pink Floyd eventually sued NWG for 1 million accusing them of fraud and negligence NWG collapsed in 1981 Andrew Warburg fled to Spain Norton Warburg Investments a part of NWG was renamed to Waterbrook and many of its holdings were sold at a loss Andrew Warburg was jailed for three years upon his return to the UK in 1987 21 As well as being more flexible repeated replay of magnetic tape can over time reduce the quality of the recorded material EMI Harvest SHDW 411 double album 86 As a double album 23 platinum signifies sales of 11 5 million EMI Harvest HAR 5194 7 single Columbia 1 11187 7 single Columbia 1 11265 7 single Footnotes Murphy Sean 17 November 2015 The 25 Best Classic Progressive Rock Albums PopMatters Archived from the original on 11 June 2016 Retrieved 7 June 2016 Brown Jake 2011 Jane s Addiction In the Studio SCB Distributors p 9 ISBN 978 0 9834716 2 2 Archived from the original on 19 August 2020 Retrieved 1 November 2016 Breithaupt Don Breithaupt Jeff 2000 Night Moves Pop Music in the Late 70s St Martin s Press p 71 ISBN 978 0 312 19821 3 archived from the original on 22 February 2017 retrieved 12 March 2016 Barker Emily 8 July 2015 23 of the Maddest And Most Memorable Concept Albums NME Archived from the original on 13 January 2017 Retrieved 23 January 2017 Pink Floyd s The Wall The secrets behind 1980 s best selling album loudersound com 3 September 2018 Retrieved 13 February 2022 a b Borrelli Christopher 22 September 2010 How The Wall gets built in the first place Chicago Tribune Archived from the original on 2 November 2013 Colin 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Pink Floyd Chart History Billboard 200 Billboard Retrieved 11 June 2016 Dutchcharts nl Pink Floyd The Wall in Dutch Hung Medien Retrieved 22 June 2016 Austriancharts at Pink Floyd The Wall in German Hung Medien Retrieved 22 June 2016 Ultratop be Pink Floyd The Wall in Dutch Hung Medien Retrieved 22 June 2016 Ultratop be Pink Floyd The Wall in French Hung Medien Retrieved 22 June 2016 Danishcharts dk Pink Floyd The Wall Hung Medien Retrieved 22 June 2016 Pink Floyd The Wall in Finnish Musiikkituottajat IFPI Finland Retrieved 22 June 2016 Italiancharts com Pink Floyd The Wall Hung Medien Retrieved 22 June 2016 Spanishcharts com Pink Floyd The Wall Hung Medien Retrieved 22 June 2016 Swisscharts com Pink Floyd The Wall Hung Medien Retrieved 22 June 2016 Australiancharts com Pink Floyd The Wall Hung Medien Retrieved 9 June 2016 Austriancharts at Pink Floyd The Wall in German Hung Medien Retrieved 9 June 2016 Ultratop be Pink Floyd The Wall in Dutch Hung Medien Retrieved 9 June 2016 Ultratop 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2011 ARIA Charts Accreditations 2014 DVDs PDF Australian Recording Industry Association Retrieved 7 November 2020 The Music Australia Loved Sydney Morning Herald 1 January 2013 Archived from the original on 12 January 2014 ARIA Charts Accreditations 2011 Albums PDF Australian Recording Industry Association Retrieved 7 November 2020 Souza Tarik de 22 April 1983 Balladas De Pink Floyd Contra A Guerra Jornal do Brasil p 40 Archived from the original on 10 November 2020 Retrieved 7 November 2020 In Brazil where the trajectory of the group s recent LPs is a little fluctuating Animals 77 60 000 copies Wish You Were 75 80 000 copies and The Wall 79 110 000 copies Brazilian video certifications Pink Floyd The Wall in Portuguese Pro Musica Brasil Retrieved 26 September 2022 Canadian album certifications Pink Floyd The Wall Music Canada Retrieved 7 November 2020 Danish album certifications Pink Floyd The Wall IFPI Danmark Retrieved 13 April 2021 French album certifications Pink Floyd The Wall in French InfoDisc Retrieved 7 November 2020 SelectPINK FLOYDand clickOK French video certifications Pink Floyd The Wall in French Syndicat National de l Edition Phonographique Retrieved 7 November 2020 Phil Collins Seriously Breaks The Records PDF Music amp Media 15 September 1990 p 1 Retrieved 13 September 2022 Gold Platin Datenbank Pink Floyd The Wall in German Bundesverband Musikindustrie Gold Platin Datenbank Pink Floyd The Wall in German Bundesverband Musikindustrie Retrieved 7 November 2020 Ewbank Alison J Papageorgiou Fouli T 1997 Whose master s voice Door Alison J Ewbank Fouli T Papageorgiou page 78 Greenwood Press ISBN 978 0 313 27772 6 archived from the original on 18 April 2021 retrieved 11 October 2020 IFPIHK Gold Disc Award 1982 IFPI Hong Kong Retrieved 7 November 2020 Italian album certifications Pink Floyd The Wall in Italian Federazione Industria Musicale Italiana Retrieved 20 December 2021 Italian album certifications Pink Floyd The Wall in Italian Federazione Industria Musicale Italiana Retrieved 7 November 2020 Select 2011 in the Anno drop down menu Select The Wall in the Filtra field Select Album e Compilation under Sezione LE CIFRE DI VENDITA 2006 PDF Musica e dischi Archived from the original PDF on 6 January 2014 Dutch album certifications Pink Floyd The Wall in Dutch Nederlandse Vereniging van Producenten en Importeurs van beeld en geluidsdragers Retrieved 7 November 2020 EnterThe Wall in the Artiest of titel box Select 1979 in the drop down menu saying Alle jaargangen Dutch album certifications Pink Floyd The Wall in Dutch Nederlandse Vereniging van Producenten en Importeurs van beeld en geluidsdragers Retrieved 7 November 2020 EnterThe Wall in the Artiest of titel box Select 2006 in the drop down menu saying Alle jaargangen New Zealand album certifications Pink Floyd The Wall Recorded Music NZ Retrieved 7 November 2020 Wyroznienia Platynowe plyty DVD Archiwum Przyznane w 2004 roku in Polish Polish Society of the Phonographic Industry Retrieved 7 November 2020 Wyroznienia Platynowe plyty CD Archiwum Przyznane w 2022 roku in Polish Polish Society of the Phonographic Industry 19 October 2022 Retrieved 19 October 2022 Wyroznienia Platynowe plyty CD Archiwum Przyznane w 2003 roku in Polish Polish Society of the Phonographic Industry 29 October 2003 Retrieved 7 November 2020 Portuguese album certifications Pink Floyd The Wall PDF in Portuguese Associacao Fonografica Portuguesa Retrieved 16 May 2022 Solo Exitos 1959 2002 Ano A Ano Certificados 1979 1990 in Spanish Iberautor Promociones Culturales 2005 ISBN 8480486392 archived from the original on 28 September 2013 retrieved 7 November 2020 Haesler Pierre 23 May 1981 International Imports Sell More EMI Switzerland Is Pushing Local Disks PDF Billboard p 77 via American Radio History The Official Swiss Charts and Music Community Awards Pink Floyd The Wall IFPI Switzerland Hung Medien Retrieved 7 November 2020 British album certifications Pink Floyd The Wall British Phonographic Industry Retrieved 18 November 2022 British album certifications Pink Floyd The Wall British Phonographic Industry Retrieved 7 November 2020 Selectalbumsin the Format field SelectPlatinumin the Certification field TypeThe Wall in the Search BPI Awards field and then press Enter British video certifications Pink Floyd The Wall British Phonographic Industry Retrieved 7 November 2020 American album certifications Pink Floyd The Wall Recording Industry Association of America Retrieved 7 November 2020 Barnes Ken 16 February 2007 Sales questions Pink Floyd USA Today Archived from the original on 18 February 2007 Retrieved 7 November 2020 Bibliography Blake Mark 2008 Comfortably Numb The Inside Story of Pink Floyd 1st US paperback ed Cambridge Massachusetts Da Capo Press ISBN 978 0 306 81752 6 Fitch Vernon Mahon Richard 2006 Comfortably Numb A History of The Wall Pink Floyd 1978 1981 1st US hardcover ed St Petersburg Florida PFA Publishing ISBN 978 0 9777366 0 7 archived from the original on 8 February 2011 retrieved 21 December 2010 Mason Nick 2005 Philip Dodd ed Inside Out A Personal History of Pink Floyd UK paperback ed London Phoenix ISBN 978 0 7538 1906 7 Povey Glenn 2007 Echoes 1st UK paperback ed London Mind Head Publishing ISBN 978 0 9554624 0 5 archived from the original on 18 April 2021 retrieved 11 October 2020 Bench Jeff O Brien Daniel 2004 Pink Floyd s The Wall In the Studio On Stage and on Screen UK paperback ed London Reynolds and Hearn ISBN 978 1 903111 82 6 Scarfe Gerald 2010 The Making of Pink Floyd The Wall 1st US paperback ed New York Da Capo Press ISBN 978 0 306 81997 1 archived from the original on 7 July 2017 retrieved 20 August 2012 Schaffner Nicholas 1991 Saucerful of Secrets UK paperback ed London Sidgwick amp Jackson ISBN 978 0 283 06127 1 Simmons Sylvie December 1999 Pink Floyd The Making of The Wall Mojo London Emap Metro vol 73 pp 76 95 Further reading Di Perna Alan 2002 Guitar World Presents Pink Floyd Milwaukee Hal Leonard Corporation ISBN 978 0 634 03286 8 Fitch Vernon 2001 Pink Floyd The Press Reports 1966 1983 Ontario Collector s Guide Publishing Inc ISBN 978 1 896522 72 2 Fricke David December 2009 Roger Waters Welcome to My Nightmare Behind The Wall Mojo London Emap Metro vol 193 pp 68 84 Hiatt Brian September 2010 Back to The Wall Rolling Stone vol 1114 pp 50 57 MacDonald Bruno 1997 Pink Floyd through the eyes of the band its fans friends and foes New York Da Capo Press ISBN 978 0 306 80780 0 Mabbett Andy 2010 Pink Floyd The Music and the Mystery London Omnibus Press ISBN 978 1 84938 370 7External links Edit Quotations related to The Wall at Wikiquote The Wall at Discogs list of releases Retrieved from https en wikipedia org w index php title The Wall amp oldid 1171776363, wikipedia, wiki, book, books, library,

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