"Fully realized storyline"?IMO, The Wall is a great concept album with a fully realized storyline (mostly thanks to Waters). And it's a great collection of songs (mostly thanks to Gilmour).
The storyline starts strong on side 1, then side 2 and 3 and halfway through side 4 all the songs are an interchangable mess of experiences which mostly serve to demonstrate that the main character is a complete effing a-hole. The character does not develop, does not grow, does not learn from anything that he experiences, and the order of these things is largely meaningless as his character's fame grows.
From what I understand "The Trial" was a 90% Ezrin composed attempt to rescue the project or salvage some kind of story out of Roger's rambling incoherent narrative.
I've always thought that some of the best melodies/songs aren't fully realized while some distinctly poor melodies/songs are ground over and over incessantly. That's always been one of my biggest problems with "The Wall". I mean, "Another Brick In The Wall, despite being a big hit, is a pretty crappy song. A mostly boring unimaginative melody with a call-and-response chorus which has lyrics that really only connect with the angst-filled adolescent boy record-buyers. Is there really a need to repeat that tedious song three times while leaving just a few seconds for a great melody like "Vera"?Strange side note, my favorite song on that album is "Vera."
I completely agree. Good album though. More than the sum of it's parts.The Wall strikes me as primarily the adolescent whinings of a pompous egomaniac control freak... it's self-pitying & distasteful...
The last time I listened to the record in it's whole at the end I thought "Who "really loves" this jerk? Who's walking outside the wall? Effing NOBODY that's who? His mother? His ex wife? Fans? He derides and abuses them all, what do they have to "love" him for? There's nobody outside the wall. The only good thing is maybe he can start over and not be such a douchebag this time.
