Roger Waters

The Wall es un álbum de estudio y el undécimo de la banda británica de rock progresivo y espacial Pink Floyd publicado en 1979. Se grabó entre abril y noviembre bajo la dirección del productor Bob Ezrin y de los miembros de Pink Floyd David Gilmour y Roger Waters. Fue lanzado el 30 de noviembre del mismo año en el Reino Unido y el 8 de diciembre en los Estados Unidos.
Este disco doble es un álbum conceptual que nos retrata la vida de una estrella ficticia del rock llamada "Pink", basado en su mayoría de las vivencias del antiguo lider de la banda Syd Barret, convirtiéndolo así en una especie de álter ego antihéroe. Descrito por Roger Waters, Pink se reprime debido a los traumas que la vida le va deparando: La muerte de su padre en la Segunda Guerra Mundial, la sobreprotección materna, la opresión de la educación británica, los fracasos sentimentales, la presión de ser una figura famosa en el mundo de la música, su controvertido uso de drogas sumado a su asma, etc., son convertidos por él en "ladrillos de un muro" que lo aísla, construido con el fin de protegerse del mundo y de la vida, pero que le conduce a un mundo de fantasía autodestructiva.
Es señalada por la crítica musical y seguidores del grupo como "uno de los mejores trabajos de la banda" y "uno de los mejores en la historia del rock", cuya atmósfera morbosa y depresiva ha inspirado a muchos otros músicos. Del mismo modo fue un inmenso éxito comercial mundial acreditándose discos de platino en más de veintitrés ocasiones, situándolo como el disco más vendido en los años 70s y en el tercer lugar de los discos más vendidos de todos los tiempos.
La idea le surgió a Roger Waters cuando en un concierto de la gira de Animals en Montreal, (denominada Pink Floyd-In The Flesh), el comportamiento agresivo de un fan de primera fila condujo a Waters a escupirle en la cara. Inmediatamente disgustado consigo mismo y con lo que llegaban a ser algunos megaconciertos, Waters comenzó a fantasear con la idea de construir un muro entre el escenario y la audiencia, lo que llevó posteriormente a la concepción del álbum. Hay que comprender que Pink Floyd siempre abordaba sus espectáculos para que lo principal fuera lo visual y lo sonoro, dejando normalmente al grupo en un segundo plano en la penumbra del escenario. Así, sobre todo, Waters sentía rechazo por la alienación que percibía entre los fans con los grandes grupos y superestrellas del rock, (de hecho, en su carrera posterior en solitario solía rehuir los grandes espacios) y esta semilla está en la concepción de The Wall y forma parte expresa de la historia en los temas “In The Flesh” y “Young Lust”. A esta idea se le añadieron otros "ladrillos" como la guerra, la sobreprotección materna, el fracaso sentimental, la violencia policial, la educación infantil o la locura (Syd Barrett -fundador del grupo- dejó el grupo por ella), llegando a construir el esqueleto conceptual del muro (The Wall). Así, el concepto y la mayoría de temas del álbum son obra de Roger Waters


The Wall is the eleventh studio album by English progressive rock group Pink Floyd. Released as a double album on 30 November 1979, it was subsequently performed live with elaborate theatrical effects, and adapted into a feature film, Pink Floyd The Wall.
As with the band's previous three studio albums The Wall is a concept album, and deals largely with themes of abandonment and personal isolation. It was first conceived during the band's 1977 In the Flesh Tour, when bassist and lyricist Roger Waters' frustration with the spectators' perceived boorishness became so acute that he imagined building a wall between the performers and audience. The album is a rock opera that centres on Pink, a character based on Waters. Pink's life experiences begin with the loss of his father during the Second World War, and continue with ridicule and abuse from his schoolteachers, an overprotective mother and finally, the breakdown of his marriage. All contribute to his eventual self-imposed isolation from society, represented by a metaphorical wall.
The Wall features a notably harsher and more theatrical style than Pink Floyd's previous releases. Keyboardist Richard Wright left the band during the album's production but remained as a salaried musician, performing with Pink Floyd during The Wall Tour. Commercially successful upon its release, the album was one of the best selling of 1980, and as of 1999, it had sold over 23 million RIAA certified units (11.5 million albums) in the United States.
Pink Floyd's In the Flesh Tour was their first playing in large stadiums, and in July 1977—on the final date at the Montreal Olympic Stadium—a small group of noisy and excited fans near the stage irritated Waters to such an extent that he spat at one of them. He was not the only band member who felt disaffected at the show, as guitarist David Gilmour refused to perform the band's usual twelve-bar blues encore. Later that night, while returning from hospital to treat an injury sustained to his foot while playfighting backstage with manager Steve O'Rourke, Waters spoke with music producer Bob Ezrin, and a friend of Ezrin's, a psychiatrist sharing their car, about the feelings of alienation he was experiencing on the tour. He articulated his desire to isolate himself by constructing a wall across the stage between the performers and the audience. He later said, "I loathed playing in stadiums ... I kept saying to people on that tour, 'I'm not really enjoying this ... there is something very wrong with this.'" While Gilmour and Wright were in France recording solo albums, and Nick Mason was busy producing Steve Hillage's Green, Waters began to write new material.[9] 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 young child. To execute The Wall concept was to attempt to analyze the performer's psychological separation from the audience, using a physical structure as a metaphoric and theatrical device.
In July 1977 the band reconvened at Britannia Row, where Waters presented two new ideas for concept albums, the first was a 90-minute demo with the working title Bricks in the Wall. The second, a project about a man's dreams across one night that dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity. The first option was chosen by the group for the new Pink Floyd project and the second idea eventually became Waters' first solo effort, a concept album titled, The Pros and Cons of Hitch Hiking.
By September, the band were experiencing financial difficulties. Financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million (up to £14.1 million in contemporary pounds of the group's money in high-risk venture capital to reduce their tax liabilities. The strategy failed as many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 per cent. Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds. The band thus urgently needed to produce an album to make money. Because the project's 26 tracks presented a challenge greater than the band's previous albums, "Waters decided to bring in an outside producer and collaborator." He later said, "I needed a collaborator who was musically and intellectually in a similar place to where I was."
At the suggestion of Waters' then girlfriend, Carolyne Christie, who had worked as Ezrin's secretary, the band hired him to co-produce the album. He had worked with Alice Cooper, Lou Reed and KISS and he produced Peter Gabriel's debut solo album. From the start, Waters left Ezrin in no doubt as to who was in charge: "You can write anything you want. Just don't expect any credit". Ezrin, Waters, and Gilmour read Waters' concept, keeping what they liked, and discarding what they thought was not good enough. Waters and Ezrin worked mostly on the story, improving the concept. His 40-page script was presented to the rest of the band, with positive results: "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." He broadened the storyline, distancing it from the autobiographical work Waters had written, and instead basing it on a composite, or gestalt character named Pink. Engineer Nick Griffiths later said of the Canadian producer: "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." Waters wrote most of the album's material, with Gilmour sharing credit on "Comfortably Numb", "Run Like Hell", and "Young Lust", and Ezrin co-wrote "The Trial".