“Pink Floyd The Wall” is one of the most celebrated rock operas of all-time. Many of its songs (“Another Brick in the Wall Pt. 2,” “Comfortably Numb,” “Hey You,” “Mother,” “Run Like Hell”) are staples on classic rock radio, but in my mind the best song on the album is “Nobody Home.” At the point where this song appears, the protagonist has alienated everyone who ever endeavored to care about him and he’s sitting alone in a trashed hotel room with absolutely nothing keeping him grounded to sanity. While some of this is due to a crappy childhood, most of his current state is due to his own poor choices, much of it drug-induced. He’s completely alone, realizes he’s blown it ,and has nothing left. The song conveys the last clear rational thoughts the protagonist has before he gives way to complete madness and nihilism. Oddly, this was the last song composed for “The Wall” when guitarist David Gilmour and producer Bob Ezrin challenged Roger Waters to write one more song for the album. It’s a good thing he did. The humanity of “Nobody Home” makes what happens later that much sadder and horrifying.
After years of artistic success and commercial failure, Lou Reed finally hit the commercial zeitgeist with his 1972 album “Transformer” and his controversial, but very popular song “Walk on the Wild Side.” Given this berth, an artist can do many things. The two most common are: going even more commercial to maximize the success they just achieved … or … using this commercial breathing room to make the artistic statement they always wanted to make, but couldn’t because it’s too “negative” or “disturbing.” I think you can guess what Reed did.
“Berlin” is, undoubtedly, the most horrendously depressing album ever recorded. It’s a nearly 50-minute song cycle chronicling the failed relationship between a man and a woman who suffers from severe mental illness and drug addiction. Produced by Bob Ezrin (who hit commercial pay dirt in the early 1970s with most of Alice Cooper’s biggest commercial successes, KISS’s 1976 “Destroyer” album, and Pink Floyd’s monumental commercial blockbuster “The Wall” in 1979) “Berlin” is the ultimate musical statement about self-loathing, substance abuse, and mental illness. It makes Pink Floyd’s “The Wall” seem like the Spice Girls. “Berlin” is a monumentally negative statement about humanity, summed up in the lyrics of the last song “Sad Song”:
“Staring at my picture book
She looks like Mary, Queen of Scots
She seemed very regal to me
Just goes to show how WRONG you can be
I’m gonna stop wastin’ my time
Somebody else would have broken both of her arms”
Holy s–t! is the only statement I can muster at the summation of this album. And weirdly enough, the two songs preceding this horrendously negative finale are seriously way more despairing. “The Kids” chronicles about how the female protagonist’s kids were taken away due to her drug use and promiscuity, climaxing in the sounds of actual young children screaming “MOMMY!” in anguished voices during the last two minutes. The next song, “The Bed” is about the female protagonist’s suicide. The lyrics are not sensationalistic, but the simplistic acoustic guitar and plain singing make the lyrics more horrific:
“This is the place where she lay her head
When she went to bed at night
And this is the place our children were conceived
Candles lit the room at night
And this is the place where she cut her wrists
That odd and fateful night”
As I said earlier, this is the most horrendously depressing album ever recorded. However, it’s a damn good one. And it’s a lot better than many people gave it credit for at the time. In subsequent years, Rolling Stone magazine included it in its list of “Best 500 Albums of All-Time” … despite the fact that rock writer Stephen Davis, when reviewing the album for Rolling Stone in 1973, called “Berlin”:
“Lou Reed’s Berlin is a disaster, taking the listener into a distorted and degenerate demimonde of paranoia, schizophrenia, degradation, pill-induced violence and suicide. There are certain records that are so patently offensive that one wishes to take some kind of physical vengeance on the artists that perpetrate them. Reed’s only excuse for this kind of performance (which isn’t really performed as much as spoken and shouted over Bob Ezrin’s limp production) can only be that this was his last shot at a once-promising career. Goodbye, Lou.”
Whatever.
The ultimate vindication for Reed, in my opinion, was when Oscar-nominated director Julian Schnabel (“The Diving Bell and the Butterfly,” “Before Night Falls,” and my personal favorite “Baquiat”) directed a beautiful feature-length concert film of Reed performing this album in its entirety in 2008, simply called “Lou Reed’s Berlin.” It’s one of the best concert films of all-time and I can’t think of a better series of songs to deserve this treatment.
“Confrontation” is the one musical track NOT composed by Tangerine Dream for Michael Mann’s classic 1981 crime film “Thief.” Yet, it’s one of the most pivotal tracks as it is the theme for the final and extremely bloody gunfight at the end of the film. Composer Craig Safan (who is probably most famous for composing the theme to the TV show “Cheers”) was undoubtedly listening to Pink Floyd’s “Comfortably Numb” a LOT when composing this music. In any case, it’s a great piece of film music and was one of the earliest and best uses of rock music and film up to that time … a time when it was unusual to have rock music score a scene of this type. I have included the scene below to see how the music plays in the scene. Due to some graphic violence, not safe for work or little ones.
Natalie Maines’s beautiful and moving cover of Pink Floyd’s “Mother,” performed live on the Howard Stern Show earlier this month. The stellar studio version is available on the “West of Memphis” soundtrack.
One of my favorite songs from Pink Floyd’s “The Wall” and one of the sequences from the movie that I continue to find the most powerful. First of all, I love the song’s 1950s doo-wop feel filtered through a 1970s Quaalude fog. However, the way this sequence was shot and edited by Parker is consistently amazing to watch. The transition from horrific war footage to the lead character’s trashed hotel room as the vocals change from David Gilmour to Roger Waters as the camera pans over to the pool is a sequence that always gives me goosebumps.
Dave's Strange World 