The Wall is a concept album – there’s that nearly useless term again – and the central character is Pink, a British (probably) rock star during the ‘70s. Pink is paranoid, apathetic, pessimistic, and haunted by past deeds (both those he did and those done to him).
A good case could also be made for Roger Waters being the central character. He wrote all the lyrics, designed the story, and had control over the entire musical process. Like Pink, Roger’s father was killed in the second World War. And also like Pink, he felt an increasing separation building between his audience and himself. But distinctly unlike Pink – until the very end of the story – Roger decides he needs to tear down that wall.
The Wall is a more intense, heavy and loud album than any Pink Floyd had done in the past. Their last, Animals, was a typical slice of dreamscape haziness combined with charging guitars, a well-established sound that Pink Floyd had a major hand in creating. The Wall, on the other hand, starts with an epic and larger-than-life intro, the bombastic “In the Flesh?” It shares a name with Floyd’s previous world tour, the one that contained that turning point where Waters spit on a fan. That moment saw the very birth of The Wall, the first spark that culminated with this album, so it’s appropriate that it also starts it.
“In the Flesh?” doesn’t really sound like Pink Floyd. The first time I heard it, I didn’t know it was Pink Floyd… but that might have been because it wasn’t.
Let me explain.
All-male dorms at colleges tend to consist of a few universal things, and one of those is the geek floor. For ENC at the turn on the millennium, that floor was Ground Shields. When the administration said they were thinking of having the ground floors freshmen only, we on Ground Shields pushed back, saying we had worked hard to create a certain environment on our floor, and we were now a community that couldn’t be displaced. And weirdly enough, they listened to us. Ground Shields was all about computers, gaming, and getting the most tricked-out machine. We went to LAN parties, watched DVDs in Brian’s room (he had the best system), and had floor-wide games of Quake III and Counter-Strike. We even ran a server out of Brian’s room that served as a dedicated, 24-hour host for Counter-Strike games, complete with a local website that tracked the statistics of everyone who had ever logged on.
Despite that Ground Shields was full of computer geeks and I wasn’t one – I’ve always fancied myself more of an arts geek – I fit in beautifully in a way I didn’t during high school. I wanted in, so I moved down at the beginning of my sophomore year. It was Brian’s roommate Jeff who got me into Dream Theater, something for which I am eternally grateful. He lent me A Change of Seasons, which in addition to its 23 minute title track contains a bunch of live cuts. The last one is “The Big Medley,” a collection of cover songs from the likes of Genesis, Queen, Kansas and Journey; it opens with “In the Flesh?” I hadn’t heard The Wall, and wasn’t into Pink Floyd at all at that point, but it pricked my ears. My friend Mike pointed out whose song it was, and shortly after my curiosity led me to pirate The Wall from the internet, and my journey with the Floyd began.
“In the Flesh?” appears again on the second half of The Wall, this time without the question mark, with lyrics of Pink speaking at a fascist rally that stars him. But the first “In the Flesh?” is more or less Pink talking to the listeners, inviting them to dig deeper into his psyche for the next 90 minutes. Pink, and indeed Pink Floyd and Roger Waters himself, are letting the listener know that to understand what makes Pink tick and to know the truth Pink wants them to know, they will have to go on a weird, disturbing odyssey. If you’re in, you’re in – and it starts with the sound of a bomber jet flying overhead and land mines blowing people to bits.
Next: of course Mama’s gonna help build the wall.