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Depending on one's mood, this is either one of the finest albums ever recorded or an overambitious, self-obsessed, claustrophobia-inducing morass of sound. In reality it is both. Totally apart from any other Pink Floyd record - although their previous album "Animals" set the pace for it - this is almost ninety minutes of Pink Floyd music. The increasingly Mussolini-like figure of Roger Waters resulted in his nasal tones replacing the more mellifluous voice of guitarist David Gilmour on almost all the songs, whilst keyboardist Richard Wright's voice is completely absent from this album. Indeed, such was bassist Waters' dissatisfaction with Wright's playing on this album (his marriage had recently broken up, so his mind was on other things) that he issued the organist with an ultimatum: at the end of the sessions he was to leave the band, or else Waters would not sanction the release of the album. Wright wasn't about to call Waters' bluff, and he actually left the band before the record's completion. Session-man Freddie Mandell was drafted in to play on the album's opener "In The Flesh?" and its counterpart "In The Flesh." Wright returned to the fold when Pink Floyd took "The Wall" on the road in 1980, but it was a musician on a wage, rather than as a member of the band. Inter-band wranglings plagued the whole project. Indeed, Roger Waters is the only member of Pink Floyd to appear on every song on the album, as drummer Nick Mason was replaced by Jeff"~ Porcaro on "Mother," and David Gilmour does not feature on some of the more orchestrated pieces on the second disc of the album. them, from the disco-esque "Another Brick In The Wall (Part Two)," to the heavy metal pastiche "Young Lust," from the hammy Gilbert and Sullivan-styled operetta "The Trial," to the folky "Mother." However, as Roger Waters subsequent solo work attests, the lyrics here are of primary importance. The story, such as it is, concerns a rock star (called Pink Floyd) who, after undergoing the trauma of losing his father in World War II, is mentally abused by sadistic schoolmasters, an overbearing mother, and an unfaithful wife. This causes him to construct a "wall" around himself, protecting himself from the outside world. He is in this catatonic state when it is time for him to perform at one of his concerts. Unable to take the stage in such a stupor, he is drugged by a "doctor" so that he can perform (detailed in "Comfortably Numb," arguably Pink Floyd's finest moment). But when he reaches the stage, he mistakes the crowd for a fascist rally, and behaves accordingly, leading them through the streets of London on a racist spree of destruction. At the last moment, Pink's latent conscience kicks in and he is put "on trial" in front of his peers. His sentence: to tear down the wall. This being done, Pink can finally see the ones who genuinely care for him. But the album closes with the phrase "Isn't this where..." which links up with the opening of the album, the words "...we came in?" This applies the building of the wall to Everyman,"~ making the project universal. heavy-handedly approximate today), this album will have something for everybody who is into rock music. Best listened to (as with all good albums) from start to finish, on headphones, this album represents the pinnacle of Roger Waters' acheivements. While 1983's "The Final Cut" was sonically similar (and melodically: it recycled leftover songs from "The Wall"), Waters' moroseness had reached its zenith, and the album may be considered overly personal. He left Pink Floyd soon after, and considered the band "a spent force creatively." When Messrs. Gilmour and Mason regrouped to record under the Pink Floyd moniker, enlisting Richard Wright and "The Wall"'s producer Bob Ezrin to assist, Waters took them to court over the usage of the name. The bitter and lengthy dispute that ensued did nothing for either side except make them loathe one another. Pink Floyd now peddle a watered-down equivalent of their mid-1970s work, sorely missing Waters' lyrical bite, while Waters continues to pen increasingly elaborate concept works. Only on 1992's superb "Amused To Death" has he come close to emulating the best of his work with Pink Floyd, although his 1990 revival of "The Wall" with guest musicians (although no other members of Pink Floyd), at the fall of the Berlin Wall, was one of the rock spectacles of the century. Whilst egoism and stubbornness, back-stabbing and the building of the kind of personal walls this album warns about, have blighted Pink Floyd's post-"The Wall" career irrepairably, in "The Wall" itself Pink Floyd have created one of the all-time great rock albums. Along with "The Piper At The Gates Of Dawn,""Dark Side Of The Moon" and "Wish You Were Here," this is a Pink Floyd album no self-respecting rock connessieur should be without.
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If I could give zero stars, I would. I have been purchasing Roxio creator products for years simply because when they work, they are pretty easy to use. Unfortunately, they only work for a few weeks and then develop problems. Roxio has now figured out that if they produce a product that cannot be updated when your computer changes over time (with necessary Windows updates, security updates etc.), Roxio will simply stop working. Then customers will become beyond frustrated and simply purchase the next version of Roxio so that they will have a copy that works. This means that Roxio now releases a "new" more bloated version of Roxio every year now. This "new" version is always exactly like the old version that now no longer works, but with "new" functions that you will never use but that will serve to slow down your system and make it all but impossible for even the fastest computer chock-full of memory to run. When Roxio stops working, and it will, don't bother to email tech support. No matter what your trouble ticket reports to be the problem, the only response they ever give is for you to do a full uninstall and clean reinstall of Roxio. Sounds easy right? Well it's not. First you have to individually remove each and every program associated with Roxio in the Control panel. I just had to do that and there were 10 programs in addition to just the Roxio program, and I probably missed some. Then you get to individually remove about 11 pieces of programs still on your computer. Then you get to go into your system registry (something you really should never do unless you have advanced knowledge of how to do so), and remove yet more tiny pieces of anything listed as "Roxio" or "Sonic." All told, it usually takes over two hours just to do a "clean" uninstall of Roxio. Even then most cleaner programs will find fragments in your system. Now here comes the fun part. You then get to wait while the entire bloated Roxio suite of programs reinstalls. So far, my brand new Windows 7, 64-bit system has taken about an hour and a half and still isn't finished. This is the third "clean" uninstall and reinstall I've had to do in the last week. Hmm, that adds up to 3.5+ hours each time. So for this week alone, I've spent 10.5 hours dealing with Roxio. Since I've had to do this at least every month for the last year, sometimes several times per month, I would estimate that I've spent at least 60 hours just this year uninstalling and reinstalling Roxio. Now if you add that to all the uninstalls and reinstalls I've done in the past few years with each version of Roxio, well the hours really add up. Every year I tell myself I just won't buy the new version, and every year I give up and buy it because I don't want to have to learn how to use a new suite of software. Don't be sucked in. Avoid Roxio like the plague it is. If you think I'm exaggerating, just read a few reviews online. The people who have positive things to say simply haven't had their program stop working yet. I'm betting these same people also rarely use this program. If you actually do a big project, say authoring a DVD or importing a number of cds, your Roxio program will inexplicably stop working at random and will likely never function properly again.
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