Sep 162010
 
The Wall Tour Photos | Choir on Stage

The Wall Tour Photos | Choir on Stage

So, The Wall was played out last night at the Air Canada Center for the very first night of the tour!

From looking at all the reviews being posted on news websites and on the NPF Forum, the show was a great success and was a very enjoyable experience indeed!

Check out The Globe and Mail, The Star and The Tornoto Sun. Leave a comment below if you find other reviews!

Wall Tour Photos

Thanks to Nigel Sanders, the first lot of photos of the wall tour at ACC Toronto Ontario Canada can be viewed in the Wall Tour Photos gallery.

Here are a couple of threads on the forum that may be of interest to you:

Roger Waters | Wall Tour | Photos and Videos

Roger Waters | Wall Tour | Your Concert Reviews (Spoilers)

Wall Tour Videos

Of course there will be lots of videos appearing on YouTube and other such places of The Wall tour! I hope when I go to watch the show I am not blinded by the sea of camera phones in front of me capturing pointless low quality images and distorted sounds! But moaning aside, here are some videos of The Wall Tour.

In The Flesh | Wall Tour 2010 Video

Bring The Boys Back Home | Wall Tour 2010 Video

Sep 142010
 

Roger Waters has the cover story on Rolling Stone magazine on 30th September 2010 which is availble online for subscribers from 1st October 2010.

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Roger Waters Wall Photos

Here are some photos of Roger Waters behind-the-scenes at The Wall Live Tour rehearsals. Looks like fun to me!

Rolling Stone Interview Excerpt

Roger Waters is about to launch a tour where a 36-foot-high wall will rise up each night between him and his fans — and right now, you wouldn’t blame him for wishing the thing was a bit more portable. The former Pink Floyd leader has just ducked his still-gangly six-foot-three-inch frame into a town car for a ride to a midtown Manhattan restaurant, and it is immediately clear that the driver is way too excited to see him. Waters braces himself. “Been a fan all my life, man,” says the driver, a baseball-capped, middle-aged dude named Fred, with a broad New York accent. ” ‘Wish You Were Here’ — I was backpacking in Europe when I got turned on to it. I was like, ‘This is the best album evvuh!’ It must be an unbelievable feeling to know what an impact you made on my generation.”

“Normally, we don’t know until we get in your car,” Waters replies in his crisply British tones, buckling his seat belt. As usual, it’s hard to read his chilly blue-gray eyes — color-coordinated these days with his longish, silvery hair and professorial beard — but it seems he’s decided to be amused. It helps that Waters just shared an excellent bottle of Montrachet, in celebration of the end of a long workday: After driving into Manhattan this morning from his house in the Hamptons, he endured a biceps, triceps and abdominal core workout (“It nearly kills me, but I need to get a little stronger”), sang scales with the vocal coach who’s been helping him reclaim the high notes of his youth, met with a stylist to select stage clothes in various shades of black (rejecting one pair of leather boots as “very Bruce” and another as “too Pete Townshend”) and spent hours in a downtown production studio, making minute tweaks to lighting and digital animation.

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 Wall — the 1979 tale of an alienated rock star named Pink whose biography bears a distinct resemblance to his own. Pink Floyd’s original live version — with its giant puppets, synchronized graphics and that wall, constructed brick by brick, then knocked down at the show’s climax — set a standard for every rock spectacle that followed, from Steel Wheels to Zoo TV. But it hit a mere four cities worldwide, with months passing between each block of shows. No footage was officially released from the performances, so they’ve become a dimly recalled legend — except for Gerald Scarfe’s surreal animation, which also appeared in 1982′s film version.

The shows lost money at every date — tickets were around $12 — and the band was falling apart. “They were getting to the point where they couldn’t stand the sight of each other,” says Mark Fisher, the architect who built both the 1980 and 2010 versions of the tour (and also worked on the “spaceship” stage for U2′s 360û Tour). “It was all too convenient that they got to declare that the whole thing was a turkey and way too expensive and walk away from it on those grounds.”

Lighting director Marc Brickman, who also worked on the new show, was brought in just before the beginning of the original performances. “It was just mind-blowing — I was speechless,” says Brickman. “It was mounting opera at a rock & roll show. In 1980, you couldn’t even dream of that show.” For Waters, the idea behind arena theatrics was simple: “You can’t ask people to go to the circus and just have fleas in the middle — you’ve got to have elephants and tigers.”

To read Brian Hiatt’s story in full and the rest of the new issue, you must be a subscriber to All Access. Already a subscriber? Starting Friday, October 1st, continue on to The Archives . Not a member and want to learn more? Go to our All Access benefits page .

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