Still, the star-heavy concept yields some unexpected surprises, from the Scorpions’ bracing opening blast through haunting reinventions of “Mother” (Sinead O’Connor) and “Goodbye Blue Sky” (Joni Mitchell)–performances that blunt the oft-suspect misogyny of Waters’s sprawling tale. The shifting tides of history have undermined much of this remastered, double-disc soundtrack’s momentous context, leaving behind a larger-than-life spectacle that, depending on one’s viewpoint, could represent rock’s most overarching populism–or the beginning of the end. But history was kind to the Roger Waters-spawned epic when the communist bloc crumbled in 1989, taking the symbolic Berlin Wall with it, it inspired the ex-Floyd bassist and singer to frame his most ambitious work as another familiar tortured-rock-star conceit: the all-star benefit-concert TV broadcast. Pink Floyd’s 1979 double album The Wall was that strangest of beasts: a concept album, driven by a tortured rock-star protagonist, so obtusely personal it sometimes bordered on the inscrutable. Or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,16 GB Roger Waters – The Wall: Live in Berlin (1990)
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