Excellent point on the female vocals Ceri, if you aren't moved by the Great Gig in the Sky, you have no pulse.

or Dick Parry's Sax work... delicious.

i might even go out on a limb and say i think DSOTM is the more innovative album.

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YMMV

Chont's Mustang Presets

WISH YOU WERE HERE

Wow!

I thought I was going to get skinned alive for that post! ...Though it may still happen. I have my body armour handy.

Cheers guys - C

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Oh, by the way:

That is absolutely right.

Cheers - C

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Just a note to make about how The Wall was made into a movie etc etc, If i recall correctly from the book Pigs might Fly, The Wall was written with the intention of it being made into a film and even David Gilmour was taken aback by Water's plans for it. This is opposed to The Wall being an amazing album in its own right (which it is) and being turned into a movie on those merits.

You also say that The Wall is superior in that it tells a story, but DSOTM does too, although it may not be as obvious and in your face as The Wall it relates to different stages of the human life. And because this concept is more abstract id go as far as to say it is more creative.

For me DSOTM would be played more than The Wall so would "win".
However, when The Wall was released, the harmony of the band during DSOTM had been disrupted and the whole Gilmour vs Waters thing was in flight. Perhaps that could be a factor in all the pro DSOTM members of this forum? That The Wall is viewed as Water's album?

This is merely my opinion and thus take it for what it's worth to you.

Ray.

Also as a side note, this is the longest and most intense post i've posted on this forum, usually been more of a lurker but i think i may have to stat contributing more.

Yeah, but does The Wall sync up to The Wizard of Oz?

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It depends on if you take the red pill or the blue pill.

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'14 Warmouth Partscaster Daphne Blue

I love both, but for me The Wall takes the prize. I love how you can almost feel the bitterness between Waters and Gilmour through the music, and captures a certain feel of beautiful despair.

I'm a big fan of the Final Cut (actually one of my favourite Floyd albums!) for the same reasons - you can tell both parties were pretty much on the verge of killing each other, and it really bought out some of Gilmour's best guitar playing, coupling moments of eyewatering beauty with snarling aggression. In my opinion, he was never quite as good after Waters left - I'm a huge Gilmour fan, but he needed that conflict to really reach his peak.

In a Waters-less Floyd, all that pressure was gone, and something really left his playing which never really came back. Particularly from Animals through to the Final Cut, his playing was at his absolute peak, as if he felt the need to really stamp his authority on the tracks to combat Roger's rapidly spiralling attempts to assume complete control.

I for one like to watch the Wall synced up to Judy Garland's "That's Entertainment" record

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YMMV

Chont's Mustang Presets

I can't add any more to the comments made by Ceri. However:

Of The Wall, Gilmour himself says "At the time I got it, but now I realise that it was all a bit of a winge..". It's Roger Water's great (or awful) statement, but it sure ain't Pink Floyd. It's the first of the grand for grand's sake concept albums by Waters. It's a solo album to all intents and purposes. You can just glimpse the remaining 3 members fast disappearing in Roger's rear view mirror. Roger Waters completely adrift on a sea of pompousity and embarassing soul bearing. All pretence of being a band member completely abandoned.

DSOTM however, is a completely different story. To these ears at least, it contains Water's finest lyrics - economical and sparse, with the pinpoint precision of a writer strictly in control of his emotions. Really profound stuff too - lyrics for the everyman who is realising there are fewer years ahead than he's already had.. "Time" (just to quote one example) - completely nails it's message. You can hardly say that about anything on The Wall. It's so twisted up by Roger's need to outdo anything before and by his need to sledgehammer his belief that his was The Talent in the band that mattered, that he completely lost control of his normally superb lyricism and profound observation. Add that to his all consuming (and completely unnecessary) bitterness, and his obsession with his Father's history and sitiuation.. And no-one there to reign him in.

DSOTM is the truth and will be remembered after Waters (and Floyd) have gone. Without Water's input and desperate need to keep it in the public mind, I believe The Wall will die with him.

Just my humble opinion of course..

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Fender Highway & Classic 60s Strats, Fender Toronado, Telecaster, Gretsch Projet, Charvel 3, PRS SE Soapbar II & Custom 24, Burns Batwing and many others!

I actually tried that once. It works for a few minutes .... kinda.

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Just think of how awesome a guitar player you could have been by now if you had only spent the last 10 years practicing instead of obsessing over pickups and roasted maple necks.

Try this link out for size. You may get a good chuckle out of it.

http://www.ingsoc.com/waters/humour/rwdiary.html

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Just think of how awesome a guitar player you could have been by now if you had only spent the last 10 years practicing instead of obsessing over pickups and roasted maple necks.

Yeah I've seen it thanks. Some of it is an absolute hoot..

"Phoned Bob Geldof about where he went wrong.. He told me to fook off"

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Sorry OP......But this is such Over The Top Analysis.
I truly believe that the last thing music needs is to be squeezed between two glass slides and then stuck under the microscope....

I don't believe Dark Side Of The Moon is a comparable who's best with The Wall..
Two very different themes, story line and concept.
Then 30 years apart.....

They stand equally, and are very dependent on the listeners state of mind at the time of listening, cryptic..I know but that is how I see this debate....

When Dark Side Of The Moon came out I was a teen in High School...
It revolutionized the perception of the world around me...Not in all aspects but just in the teen watching and listening the adults playlist....Meddle I already liked, UmaGama also.
Dark Side was very much an aural extension of 2001 A space Odissey.

Bear In mind that this was an older audience who one day would be listening to Dr. Hook, the next day Paul Butterfield, then perhaps Chicago, CCR, CSNY...The Doors, Stones, Three Dog Night.......Pink Floyd's Dark Side was a complete alien world.....
Sort of like watching " The Sound of Music " then switching to " Clockwork Orange "

My point is that quantifying Pink Floyd's Music into mathematical formula's takes everything that is human out of the equation.
Basically trying to make sense of a medium in constant flux with a sterile clinical approach.

I just prefer to listen to music and enjoy as it is , moments in time which are perceived to expand or contract depending on the listener's level of attention....

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^^^ Don't agree with any of that. That's what an artist is required to do bare their soul, reach in and make a personal statement. Raw emotion is all over the wall and for Gilmour to come away with that garbage that he reputedly said is just ridiculous. It's obviously just a pathetic dig at Waters and said out of bitterness. After Waters split from the band Pink Floyd were no more.

DSOTM is a great album but the wall is a masterpiece; listen to the haunting guitar intro to Hey You, then comfortably numb, Another brick in the wall, on and on it go's.

Let's face it; without Waters, Floyd were a pale shadow of what they used to be.

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