The Wall", Pink Floyd's eleventh studio album, was released at the end of November 1979. It is the most famous album of the British art rockers. It is the most successful double album in rock music history. Along with "The Dark Side Of The Moon", "Wish You Were Here" and "Animals" it belongs to the four big albums on which the superstar status of the band is based. But "The Wall" is more than just an art rock album. It's stylistically singular. There's hardly anything like it. It's also Roger Waters' soul striptease. It is timeless and has expanded its importance over the decades. It started out as an individual psychological analysis and catharsis, but today it is a global political and sociological study. Now 40 years of "The Wall" - and Pink Floyd and Roger Waters do what they usually do on such occasions: nothing.
Nobody intended to build a wall. At the end of the seventies Roger Waters probably did not intend to build a wall. But he did. Because he had to. To heal himself. Because he felt it, this wall, this isolation, this dividing line, this alienation between himself and the audience, between himself and his fellow men. As the artist he was, is and will be, he made it into a work of art: "The Wall", the eleventh studio album by Pink Floyd.
In September 1977, immediately after the "In The Flesh" tour of North America, which ended with the infamous concert at the Montreal Olympic Stadium on July 6, 1977, Waters began working on "The Wall". In 2018 he remembered: "Some moron wanted to climb on stage. And I spit in his face. Later, I had terrible remorse. I was thinking What's happening to me? That's a horrible reaction. Until I remembered: I know how to deal with it - we produce a big show where we build a damn wall on stage. Just to show my feelings of alienation, shame, torture, etc."
