Of Waters' Narrative

[PublicImage]

The Wall is undoubtedly a rock opera (as much as I despise that phrase). The argument pointing towards the fact that it is one far outweights the argument that claims otherwise, from a non-subjective viewpoint.

Another operatic 'criteria' that it fulfills is that it has multiple acts (two clear ones, in this case). I don't recall ever hearing a dramatic, two act concept album. It is completely operatic.

[moom]

I've always interested what Floyds themselves have to say about the ideas of their records. I mean, would Roger himself say if The Wall is a rock-opera or not. Not that it should prevent others from having own opinions, but hey, Roger is the mind behind this album .

[Hudini]

rock opera - a genre of the late 20th-century which tends to be sung throughout (like opera), but makes use of rock style in some or all of its score.

Again...no mention of "dialogue versus monologue." Only that singing must occur.

And no mention of storyline either. This definition is so vague that it could be applied to literally any musical work from the late 20th century that involves singing.

Perhaps the truest statement in regards to Rock Opera is provided by Wikipedia:

The category a particular work falls into is largely defined by the intent and self-definition of the work by its creator. The formal distinction may be that the rock opera tells a coherent (if sometimes sketchy) story, often with first-person lyrics sung by characters; while a concept album or song cycle sets a mood or maintains a theme.

This definition is just as vague as the other one. It doesn't define a rock opera, it just states the difference between a rock opera and a concept album. Although, there's an interesting thing in there; it says "characters", which, if I'm not mistaking, is plural?

[PublicImage]

And there are characters, as you've acknowledged.

[Hudini]

Yes, there are, but in most of the songs there's only one character.

The Trial is opera, I admit that.

Mother and Comfortably Numb are duets.

The rest of the album is a soliloquy. Though it has a storyline (but the timeline gets confusing at times), it's not enough to make it a rock opera in a classical way. The Wall either redefines the term of a rock opera or it simply isn't one.

[PublicImage]

Rock opera isn't the same as classical opera. Otherwise they would both just be "opera", as they'd be indistinguishable in format.

What else could it be called if it isn't a rock opera? It's not a concept album, it's not a musical, so what is it if it's not a rock opera? Rock opera is the style which the criteria comes closest to matching, and there doesn't seem to be anything else to label it under.

[Hudini]

Rock opera is the style which the criteria comes closest to matching, and there doesn't seem to be anything else to label it under.

That's just it. It comes closest to a rock opera, and there's no other suitable label for it. That doesn't necessarily mean that it is a rock opera (or something else whatsoever). It lacks dialogues, a proper overture and a timeline in the story, which are all elements (more or less important) of both classical and rock opera. Rush's 2112 is more of a rock opera than The Wall.

[Vlad The Impaler]

The heart behind almost everything that Waters has written since "Echoes" is bascially this statement:

People should treat each other better than they do.

Hope that's helpful to you.

Sounds about right....trouble is...when I think about that I recall his relationship with a few other guys whose names aren't hard to figure out.

.

[arana]

Yeah, I agree Vlad...one could argue, that he doesn't always practice what he preaches - or used to, anyway...at least that's that I've heard...haven't got the personal experience to tell if it's true, I must admit...

In this respect, I came across a certain interview from 1995 (presented in the "Flickering Flame" booklet...it concerns Waters' fatigue with audiences after Dark Side and the following commercial success; and thereby the loss of contact with the audience - as he perceived it. This is his comment on that infamous fan whom Waters' spat on and its aftermath:

"Later that night, back at the hotel, shocked by my behaviour I was faced with a choice. To deny my addiction and embrace that comfortably numb but magic less existence or accept the burden of insight, take the road less traveled and embark on the often painful journey to discover who I was and where I fit. The Wall was the picture I drew for myself to help me make that choice".

This could probably - in my view - be seen as a central and integral part of that narrative. It certainly seems to bear the attention of Waters to some extend. But did it evolve beyond The Wall? In other words, did he continue to elaborate on the relationship - or lack of - between him and his audience, or more generally - the consequences of life in the music business and world; the tragedy of "rock on the road", if you will.

Certainly, the Wish You Were Here album, could be seen as a response of some sorts, on the huge success of Dark Side - and the fatigue they experienced from "fame and fortune".

But as I understood it, they came to face it a quite unresponsive audience early on, who'd rather they played their succesful singles - Arnold Layne, See Emily Play, and so on. Rather than their "space-rock" epics like Interstellar Overdrive or perhaps Astronomy Domine.

- Arana