As his thoughts, famously, draw tight as a tourniquet, the character explodes into a furious line of questions about how this empty evening might play out. Pink’s marriage, left unattended, has grown cold - and this encounter is no better. He brings a groupie back to his room only to discover this overwhelming regret over what his life has become. That is, until the more recent Immersion/Experience reissues again led me back to “One of My Turns,” one of the project’s most striking successes.Ī rock star (“Pink” in the movie from three years later) finds himself on the road and thus surrounded by people, but yet unknown to all of them. It was that way for me and Pink Floyd’s The Wall. After a while, you simply go after another. Too, the sterile, hands-off theme of alienation only intrigues for so long, like being pushed away by a love interest. Pink Floyd albums, once a series of trippy vignettes, would transform into wordy, over-serious novels - airless and overbearing. The early free-form psychedelic influences of original leader Syd Barrett, inspiration for Floyd’s “Shine On You Crazy Diamond,” had finally, sadly, disappeared by 1979. Whatever its attributes - “greatest concept album ever”? it’s starting to seem like a back-handed compliment - The Wall just wasn’t a band effort, and it suffered for that. (Bandmate David Gilmour later reinstated Wright in a Waters-less edition of Pink Floyd.) That was never more true than with the late co-founding keyboardist Richard Wright, a consistently playful and diaphanous presence who was subsequently demoted and then pushed out of the group by Roger Waters. While working out issues in dealing with a meteoric rise to fame as an adult after losing his father in World War II as a child, Waters turned Pink Floyd into his own therapy session - and the musicians around him into sidemen. With all apologies to Roger Waters, by the time Pink Floyd released The Wall on November 30, 1979, there was simply too much talking, and not enough - you know - music.
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