Pink Floyd's 'The Wall' turns 40 today. In 2010, Roger Waters spoke to us about the birth and resurrection of the 1979 rock opera
He’s been working at this pace since January, determined to perfect the first real touring version of what he considers the defining work of his career, the 30-million-copy-selling– the 1979 tale of an alienated rock star named Pink whose biography bears a distinct resemblance to his own.
Fred is beyond delighted: “They don’t need thought control, man!” He pauses, then goes for it: “What is the next line? ‘No dark sar–…” What is that?”“People always sing the wrong words to songs, but we’ve got the fucking authority right here!” “Clearly, there was a reason that I thought of the idea of building a wall between me and the audience in the first place – somewhere at some unconscious level, I recognized how frightened I was,” he says. Waters is sitting at a glass conference table in the downtown Manhattan production studio where he has been preparing for the tour. Before he sat down, an assistant cleaned the glass with Windex.
Waters and Gilmour probably won’t record together again either. Waters bristles slightly at the idea that there was some kind of irreplaceable magic in their collaboration. “Certainly, David had a huge influence on my writing, all that great harmonic and melodic stuff,” he says. “But the idea that I’m incapable of creating something with somebody else that can stand up alongsideAmused to DeathWaters doesn’t think it matters that he’s the only Floyd member on the newtour.
Waters knows that lacing a beloved classic-rock artifact with a political message may trouble fans. For the program, he drafted an essay suggesting Christianity, Judaism and Islam are equally invalid: “The time has come to put aside the notion of an omnipotent presence.” As the band watches from folded chairs on the floor, the entire first act unfolds: Puppets – the wicked teacher, the monstrous mother – inflate and stalk the stage, the uncannily bright and vivid video projections turn the wall into one of the world’s biggest movie screens, and the barrier itself expands, cardboard brick by cardboard brick, thanks to workmen behind the stage. Not everything is ready: The pyro isn’t set up, and a plane prop is lying forlornly in the cheap seats.
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