Arctic Monkeys with their first album brought yorkshire into the UK rock scene and were unapologetic in their no nonsense lyrics and love/hate relationship with Britain. Amazing album front to back and I would say could be the album of our generation, they could be the band of our generation. Personal faves are, of course, When The Sun Goes Down, Red Light Indicates Doors Are Secured (but that might be because I have a real soft spot for Rock Lobster) and Perhaps Vampires Is A Bit Strong But...
Ending the album with A Certain Romance is bittersweet and a perfect ending and the riff is quintessential circa 2006 UK indie. I can imagine every indie kid in their skinny jeans and skinny scarf, horrible trilby, potentially trouser braces if they were committed, fag out of mouth and glens in the other hand walking down the canal in the sun. Even though the lyrics I feel are talking about a different sub culture - I wonder if they loved the Monkeys too?
I meannnnn fine. Just fine. A few boos happened. I was a fan of The Night They Drove Dixie Down but calling yourself The Band is extremely annoying and I might never get over that.
There is so much to unpack in this album, WHERE TO START. The blues highway, Route 61 that goes from Minnesota (where Bob is from) then carries on down south by the Mississippi. The first album where Bob has no songs on it where it is just him and his guitar but now we have the new Bob where he is electric, he sings the blues, he has a band and he honestly doesn't care. So much of this album is about changes, what they mean to him, what they mean to where he's come from and then, most interestingly, how he views the changes he is seeing around him in the land of the free; and his opinions are not glowing reviews.
Musically, there is not much to talk about from this record. There are some great moments; the slightly off beat organ of Like A Rolling Stone, the limping piano of Ballad of a Thin Man and why not some nice Spanish guitar in Desolation Row. This album, though, is not for the music it is for the lyrics and it is why Dylan is thought of as one of the best songwriters of the 20th century, maybe the best.
1965 - the clean cut 50s are now firmly in the past. Revolution and unrest is a feeling that is growing, sex liberation, anger towards racial inequality and a yearn to break out of the confines that people had before is coming. Bob had his own confines he has broken away from, a few weeks before the album came out he was at the Newport Folk Festival where he played electric and got booed, he is no longer the folk messiah and a lot of people are very angry with him (go read An Open Letter To Bob Dylan published in Sing Out! 1964, written by the editor Irwin Silber.) So Ballad of a Thin Man - who is Mr. Jones? Is this the america of the 50s? The suburban, white, entitled middle class man who only knows one way of life and Dylan mocks this man who has been too cowardly and comfy to ever question it. But not only does this man not know how to change, he judges the change and angry at the loss as his grasp is not strong enough to keep hold of it whilst it slips away, only vexing Dylan more.
'You raise up your head and you ask, \"Is this where it is?\"
And somebody points to you and says, \"It's his\"
And you say, \"What's mine?\" and somebody else says, \"Well, what is?\"
And you say, \"Oh my God, am I here all alone?\"
But something is happening and you don't know what it is
Do you, Mr. Jones?'
The judgement of this out dated quaint judgemental America carries on in 'Queen Jane Approximately' but now we're looking at the women and class is now being brought into it. Old fashioned, bourgeoisie, Queen Jane. Dylan is the town maverick, the one with the wacky new ideas who is being snubbed by the elite, by his own Marie Antoinette but he is coming to her to again almost warn her of the change that is coming and that this life she has been living is no longer sustainable and for her to join him.
'Now when all the clowns that you have commissioned
Have died in battle or in vain
And you're sick of all this repetition
Won't you come see me, Queen Jane?
Won't you come and see me, Queen Jane?'
Bob is laughing, mocking and can't quite believe the stupidity he is seeing in his fellow men around him and none of this is as clear as how he puts it in his masterpiece, and without it this album would not matter, 'Like A Rolling Stone'. To these 'people' that he sees from the past, who snubs him, who can't and won't change, who don't want to change, who want to bury their head in the sand he has just had enough. Without even delving deep into a lyrical analysis the chorus says it beautifully enough:
'How does it feel, how does it feel?
To be without a home
Like a complete unknown, like a rolling stone'
From the first verse, the narrator goes straight in talking of our first character who 'once upon a time...dressed so fine' but now he 'don't talk so loud' or 'seem so proud' because he now has nothing, and because of who he was before he has no one to help him, he is alone. After the first chorus we then meet Miss Lonely (is this another Queen Jane?), another aristocrat who's life has changed and she is alone. However, he isn't as scathing to Miss Lonely as he is to the other characters but more just is showing the pointlessness of it all. This woman who went to the best schools and now she is on the streets, insinuating working the streets where she meets 'mystery tramps' and now she is selling the only thing she has looking into his gaunt eyes asking if he wants to make a deal? Miss Lonely is alone, with no home, but she came from somewhere very different. So what is the point of it all??
Power thirsty, class rivalry, callously thrown judgements, no love, no kindness when you are at the top and now you have nothing. And how does it truly feel. And Bob has no sympathy, you should have seen and you should have done something but you didn't. When you ain't got nothing, you got nothing to lose. You're invisible now, you've got no secrets to conceal.
His frustration bleeds out of these songs with such force. Dylan is shouting out, wanting to shake these people and yell at them WHAT ARE YOU DOING??? YOU ARE IDIOTS. The album title song even has comedic whizz circus noises just thrown in there, to drive home the point IF YOU HAVEN'T NOTICED I AM LAUGHING AT YOU. The power of Bob's words are not in his anger, but in his pure nonchalance now to these he is writing about, he got it all out (apparently Like A Rolling Stone started out as just that, him just writing his thoughts down on everything in one session on 30 pages), he takes them down a fair few pegs, and then walks away to never think of them again as their importance is so small they are meaningless now.
You definitely have to be in the right frame of mind to listen to this album and be able to try your hardest to put yourself back in 1978 where this was genuinely the first of its time. An album made with no instruments whatsoever, electronic music came from Kraftwerk and laid the path for everything that came after it. I know 'The Model' is the famous track but actually probably is my least favourite on the album, but I can see how it would be the most commercially successful. 'Spacelab' to me is the one that sounds most like it came from robots/aliens and for that it is quite eerie, I would not like it blasting in my home at night when I was alone. 'Neon lights' has quite a driving quality to it and it's minimalist nature adds to its attraction. My favourite though is title track 'The Man Machine', I love the opening of this track and the solo beat to begin with and then more and more layers are added. Later it gets stripped down again to the beat which I am a big fan of and is definitely a bop. Second listen I was definitely a bigger fan than I was from the first!
I listened to this twice and actually liked it so much more the first time than the second but oh well haha. Great great start, and honestly I did enjoy the whole album really. Very much the end of brit pop and obviously very influenced by The Stone Roses, which I like. The production is amazing and is has been engineered amazingly, the lyrics... I mean sure. Will I listen again? Actually quite possibly.
I've always respected Black Sabbath, loved Ozzy, and put on Paranoid a fair few times but never given them a proper listen, and now I wish I had done so sooner. What a great debut album, I love the operatic, show off sounds of here literally the birth of metal. Opening an album with the sound of rain and then it then going into an eerie slow, funeral march with Ozzy crying out to you - what more could you want?? Then you go into The Wizard and we have the harmonica! Obviously a band who started out loving the Blues and this is heavily present in this album, with what sounds like it could easily be a forgotten Led Zep album in places. What I noticed most when listening to this album was how I found myself being impressed by every instrument at different times which I don't always do. The drumming is out of this world (I don't often find myself impressed by drumming but it stood out to me so so much in this album, just wow) and I love how often the rhythm changes in a number of songs, obviously the guitar riffs are wonderfully metal (I did I'm afraid get a bit tired of the guitar solos by then end of the album but love the ambition) and Ozzy who I always thought was a rubbish singer, I take it back completely and am embarrassed I ever said such things. He is a great metal singer and can actually sing a great melody that doesn't sound easy with a lot of accidentals thrown in. I'm not sure how much you're meant to listen to the lyrics, if they are just a filler or have a deeper meaning that has passed me by but having Lucifer thrown in is always fun.
It is atmospheric, ambient, sometime ethereal music that sounds like it's that moment 3/4 of a way through a romantic comedy film when something has gone wrong and a character needs a scene to be seen thinking very hard about what they have done wrong and then probably go run towards the love of their life they obviously nearly let slip through their fingers (actually I could genuinely here this moment of them getting up and started to run through the christmassy streets looking for their love at about 4:30 of Staralfur.) I guess that's quite a good thing if this music can provoke an image in my head but also by me conjuring that image is not one that is emotional to me but sadly just makes me think, generic. I don't know if this is because Sigur Ros were the first to do it in 1999 and therefore, congrats, as that means a lot of others have followed suit or if this kind of music has just been around us all in various ways and so inevitably blurs into eachother. At times it reminds me of Moby, but I think I prefer Moby.
WELL what an absolutely fun and entertaining album - loved it. I've never actually listened to the Wings so this was a welcome surprise. I think I realised from watching the hours long documentary Get Back that although Lenon is a huge part of the genius of The Beatles, McCartney was the musical genius and was worlds apart from the rest of them in his capabilities. I think that is why this not so serious album is so great, it is so unpretentious but still manages to be an album you take seriously as a really really impressive collective of work. I wonder if that was part of it from Paul's point of view, to be the opposite of John at this time and just make a fun but amazing album where he is just not taking himself too seriously. Love so much that it is with Linda and love even more that on the cover there is both Parky and Christopher Lee. Lyrically there seems to be a lot of escapism as a theme - wonder if that is to do with The Beatles? Even the tracks that when they first came on I was unsure of, by the end I was bopping a long and then loved (this mostly happened with Bluebird, the love came with the cowbells, and Mrs. Vandebilt, where again the love came from the music rather than lyrics with the beat hitting on both the half and full beat.) This is an album I would happily buy on vinyl and have it on in the background and find myself dancing in my seat to whilst trying to listen to whomever is there but being distracted instead by this fun fun album.
I was quite looking forward to this as I've never given Def Leppard the time and I am a bit of a fan of Pour Some Sugar... but sadly I think that's their only good song if this album is anything to go by. If you're going to listen to glam rock, there is so so so much better than this. Don't waste your time.
I wanted to like this more than I did in all honesty. It is 80s electronic esque pop which is always an enjoyable sound to listen to but I really am a huge fan of HAIM and to me, this was just a not as good version of them. I did really like Doesn't Matter but apart from that it all really merged a bit into one but maybe that is a nice thing for some albums? Where you just can have them on and they keep you feelng a little on the happy side whilst doing other things? Unfortunately though I won't be listening again idon't think.
Oof I'm really not a jazz person and I wanted to like this but it just wasn't for meee and I'm feeling quite annoyed with myself for saying that. I did like Peg and Aja (the first 5 minutes anyway) and Josie but apart from that... meh. I'M SORRY. Maybe another Steely Dan album will do better with me but this one meh.
WELL I found this very very fun, a lot of it didn't make a lot of sense and hard to understand what was being said but loved the different musical changes throughout. I did lose steam about half way through, maybe because it's quite long, or maybe because it just becomes a bittttt monotonous just having quite weird unexplainable songs?? Who knows. But what I have found with this album is the first song from doing this that I have saved to a personal playlist! I loveeee 'Missing'! So so great and I am really happy it was on this album for me to discover. I am now intrigued to listen to more Beck.
God what I would do to be Debbie Harry... who doesn't want to be Debbie Harry????? Just the coolest of the cool, I'd say her and Stevie. This album is not new to me, and to be honest was lovely to listen to it again as I don't think I've listened to it since I was about 13. It deserves a 5 I think because of it is a deep meaningful album but it merges a lot of genres, it is fun and it just has that added spunk and coolness from Harry that just... IT'S JUST COOL OK. Love that punk is a constant residue throuhout, you can hear it in every track but it's not a punk record. 50s esque sounds in 'Picture This' but then the anger that grows in it and gumption shows how we have moved on from 50s rockabilly, especially for female vocalists. New Wave sounds in 'Fade Away and Radiate' at the beginning at least, but also like that it doesn't try to be anything more than it should if that makes sense. Overall, I am a big fan. I think 'Hangin' On The Telephone' is still the best but apart from that I love 'Picture This' and '11:59'. Got to always love Blondie.
So I really went back and forth between giving this a 3 or 4 because I think overall the majority of songs are just a bit hilarious and punky but not ultimately not great. However, the tracks I liked I reallyyyy liked and definitely made me jealous of not being around for punk, especally with an all female line up. I love that they are all women and I believe they were one of the few and perhaps the first so for that, I am a fan. I also believe most of them didn't know how to play their instrument when they joined the band so again, funny and great. I think the influence of reggae is so so apparent in this record, and of course punk as a whole has a lot of reggae in it anyway but it's obvious The Slits were big fans and the merging of the two genres here is great and when it is done well it is great. I believe their producer or manager was also big in reggae so shows also where the influence came from and not to use this useless word too much shows it was authentic at least. Thinking of reggae and punk colliding in 1979 Ladbroke Grove sounds great to me. Regarding actually songs I like, I actually love how the album starts and love 'Instant Hit' and 'So Tough' - is this about a guy taking drugs and they not working for her when she takes them? And then for 'Spend, Spend, Spend' she's now addicted?
I'd say, though, that the best track has to be 'Typical Girls' and I love how much it just makes me think in this track they are the punk Andrew Lloyd Webber - the punk Jellicle Cats, when the piano comes in to me it just sounds like that I really hope you agree. Why though does it end suddenly going into a weird Christmas track ditty?? I hope again you know what I mean. And although the lyrics to Typical Girls has been done before and will be done again, female angst I will also support and be glad women are shouting about it, especially in music, and maybe they were one of the first, so good on em.
So I am not a Coldplay fan, I never have been but the songs that I do respect their early work and Parachutes is a very very good debut album. The influences are clear, and as someone who is a huge Travis fan - I am glad to hear the influence of them loud and clear here which I was actually surprised for it to be so blatant at times (I'd say I hear it most in Sparks).
Best track for me is 100% 'Shiver' but I think that must be quite a common opinion? I love the changes melody, actually the melody progressions in a lot of songs is really interesting and I think what sets Coldplay a step above others who were trying to do the same at the same time and probably why they did not just get forgotten into the background.
Overall, a solid solid album and one that shouldn't be judged by the embarrassing band Coldplay now is.
This is one of the best live albums I've ever heard, and it just makes me love Johnny Cash more and more. From reading up a bit, this was after he got clean from his drug addiction and was a turning point for his career, he even said so himself. He had been inspired from a film to write 'Folsom Prison Blues' and he always wanted to do a performance at a prison and so Folsom Prison was the obvious choice. To start his live show with that track is perfection ('I shot a man in Reno, just to watch him die'....wow), and he keeps up the use of prison and law breaking tracks throughout which, again, is brilliant. Can we talk about Cocaine Blues though??? Not only is it great bluesy country track that keeps you bopping throughout but to hear Johnny singing to inmates about taking cocaine and shooting his woman down, and to hear them whooping and hollering. Just great.
I am a big fan of 'The Wall', and the reception he gets from his audience is what makes it. Talking about the warden and getting the response he gets and then Johnny not being able to keep in his laughter or replying to them is why we listen to live albums I think, because it takes you right there and you can imagine exactly how it was to be there. The silence that follows from the audience though too is just as loud to me, as you remember these are all men in prison who probably have all had the dark thoughts in The Wall.
Ending the album with a song written by an inmate, and then we hear from the warden himself with an announcement - a perfect ending. The album captures it all, and keeps going when the crowd is leaving. You are right there and Johnny has put smiles on faces that even though we have no idea why they're in prison, I can't help but being glad Johnny went and did this.
So I have been meaning to listen to Rage more as (sorry to be basic) but I do love Killing In The Name. Sadly, I wanted to like this album more than I did. It's good, don't get me wrong, but it didn't blow my socks off. Lyrically, I know they are a very political band and fuck the man and establishment which comes across in abundance and I can get behind to a certain extent but maybe I could be more behind it if it was told in a bit more clever way? Or maybe that's not the point to be honest... and just repeating phrases of anger is the point and I'm the problem... who knows.
The guitar is great and if you like screaming the vocals definitely have something about them. Favourite songs for me (not counting Killing In The Name) Settle For Nothing and Township Rebellion but in all honesty, can I really tell one track from another... not really. And thats the problem with this album, its a lot of the same unfortunately. It's like when you see a trailer for a movie and think it looks amazing and then you watch it and realise the trailer had the best bits in it and the rest of the film is just meh. That's sadly how I feel about this album, Killing In The Name is the trailer that gets you excited but the album itself is nothing to write home about.
I feel The Police did a lot for music (or at least that is what we are told) but I don't think I quite get them. Sting's voice starts to grate on me in all honesty and a lot of this album sounds like a prolonged jam session. I love the punk influence and the start of ska showing itself in their music and maybe that is why they were important, for what they influenced others to create but apart from that as a reason i don't think i'll be listening again.
I don't care if people think it's dated or now too far from what music is now, Buddy Holly paved the way for so much music to come and we don't realise how special and new his sound was. The bloody Beatles are called The Beatles because of they carried on the bug theme from The Crickets. 'Not Fade Away' has been covered numerous times, The Stones even saying it was what got them together in the first place. So we owe a lot to Buddy but more than that I still love listening to his music. I feel you can here the newness of the instruments and the rhythm, like they are just discovering this sounds for themselves and excited for it too. I love Buddy's voice in 'Its Too Late' when he seems to lean away from the microphone, I don't know why I love that but I feel I can just imagine it more and I JUST LOVE BUDDY HOLLY.
My knowledge and exposure to Elliott Smith is quite limited and I have to confess this is the first time I've actually sat down and listened to him. I've just known him as this deeply sad person who has a cult following by equally sad people. So to actually hear the eery voice of this semi god to some is quite surreal I guess. The first song that stood out to me was 'Between The Bars' where I think the lyrics are just so glaringly obvious about his troubles and I think it's the first time I experienced the impact of his vulnerability. His lyrics are full of regret but also they are realistic and not verly dramatic which I think is what makes them ok to like and to feel like you can maybe slightly relate without feeling like you're being too melodramatic.
My favourite track on the album is 'Cupid's Trick', not really for the lyrics but for more for the musical composition. It is definitely on the harder side to the rest of the album but I do think it still holds the eery sound of Smith and so is not moving away from what he's about. Lyrically, to me it is just talking about heroin and how he doesn't want to give it up 'it's his lie' and he wants it to stay that way.
2:45 next was a stark contrast and I enjoyed that for the first time in the album you're hearing his voice on it's own, not layered, even though that does come later. It makes me think why for this track did he decide that and I guess to me it's stripping away everything else as it is just him and his guitar for the beginning which I really enjoyed, especially from the full sound of the track before.
Overall, I did really enjoy this album even though I'm not sure enjoy is the right word but there you go. I think I was ready to be a bit meh to Elliott Smith and think that his fans are obsessed for a reason I don't really understand but I think I actually get it, and I will be listening to him again.
I didn't give this album that much time, as listening to it I think the production is obviously next level and the some basslines caught my attention but apart from that it's not really for me. I found myself bopping along to it as I listened and enjoyed it until I suddenly stopped for the 20th time hearing about a dick being sucked or something awful about a woman. It's from a time and I'm sure there's some huge cultural reason for the misogyny (lol can there be...but i'm willing to hear it if there is) but if nothing else it doesn't age well and so therefore I'm happy to accept this album is important in the history of rap and hip hop but not something that I'll be listening to again probably.
i second what jaimie said
So I think my review here is a bit biased because I remember buying this album when I was 9 and playing it on my sony walkman thinking I was just so cool. I think what made it a big deal to me was that Madonna was already known, she was a huge star but she wasn't my generation's pop star until this album and then she belonged to us too. 2000 being the year it was, this album was weird and wonderful and futuristic and Madonna had gone from 80s icon to stepping straight into the next millennium with a lot of autotune and for some reason dressed as a cowboy but I was here for it and loved it. This was one of the first albums I bought myself making the decision myself for what I wanted to listen to and feeling like I was growing up. Obviously 'What It Feels Like For A Girl' spoke to me in my little 10 year old world and I felt very adult. So I think that this review is a lot more about how music impacts certain parts of your life and it can be really quite mediocre verging on pretty bad music (apart from Don't Tell Me, that is just a standalone wonderful pop song and I won't hear anything against this) but because of what it was to you at that time, you can listen and still singalong to too many of the words you care to admit and it makes you smile. I guess it's good to remember that music has a role in this way too and I'm glad that this has led me to listen to this album 20 years later.
I'm not going to give this much time as I'm not a disco or soul person but Earth, Wind & Fire have pleasantly surprised me with this album. It is fun, groovy and I enjoyed listening. It's still not my genre and I won't be listening again anytime soon but thanks EW&F showing me I'm not completely soulless.
Maybe there is a place for this kind of rock music somewhere and maybe it is important in the development of the genre and breaking boundaries but I sadly cannot see or understand it. It is self indulgent and over the top but not in a good way and I just can't get on board. Sorry Genesis.
I have to admit I was thinking I would like this album more. It is fine in my opinion and some moments where I definitely really liked it but not something that wowed me. Sorry for the short review but it didn't effect me enough to write more....
I was pleasantly surprised by this album and wonder why a-ha apart from 'take on me' isn't more part of the staple of 80s music. I particularly liked 'Hunting High And Low'. Pleasant listen overall.
So I'm giving this 2 just because of the length of the tracks and that there is only 4 and they do go on too long in my opinion but for the actual sound, instrumentation and vocals I would give it more. I enjoyed this more that I thought I would, especially the opening track 'Walk On By' which felt like a powerful, exciting and just full of sound opening to an album (excitement dwindled as it went past the sixth minute though...) and the other that made me notice was the last track 'By The Time I Get To Phoenix'. This was an interesting one because of the subject matter as in my recollection it's one of the few love songs that is from the mans perspective of trying to leave the woman and he keeps coming back to her but this is the final time and he gets away. I enjoyed hearing it from the other side for once and to hear the vulnerability from him and knowing he had to leave. As I say though, overall I'm afraid I won't be going back to this again but I am glad it came across my path.
It was okkkkk, not much to say. Started off well but then became a bit of a jam session that was a lot of percussion and then just rambling it seemed.
I ended up listening to this album quite a few times and the more I listened to it the more it grew on me. Not the best of Queen for sure, but it is a fun listen. That's about all I can say about it though, there isn't anything standout about it, some fun guitar solos and some good drumming but nothing that makes you go wow I'm afraid. However, I do think that the distinct Queen sound stands out and for that I am grateful.
punk but not good punk...
Look, I like Muse. SUE ME. Muse I think is a band that, at the time, was for the 14 year old I was another addition to my newly found love for rock and without being too hard hitting it was something I could think ooo yeah i like rock i'm so cool ooo. I standby that their first album Showbiz and then after that Absolution are actually amazing albums and I hope they come up in this list.
For this album, I rememeber this coming out and in all honesty I was disappointed even then as this album screams Muse just trying too hard to be this edgy, futuristic band that no longer focuses on the amazing guitar riffs or piano that made me love them in the first place. However, there are some good moments on this album. Map of Problematique I would genuinely argue is actually a really quite good dance track and if released by a more electronic act it would get a good reception. It builds and has a good motif and the electronic aspects actually work. Assassin is as close as we get to old Muse and for that I'm glad there is at least one nod. To end, I'm going to say something that will really piss you off. Seeing Knights Of Cydonia live is bloody brilliant and I loved every moment of it. Take that Muse haters. Grow up.
Not my favourite Bowie album, but I cannot rate less than a 4 for him as he is just wonderful even when not at his best. This is a weird album and is iconic for it's not caring about being weird.
Like woodie guthrie, didn't like this, sorry billy.
This got better the more times I listened to it, it is a deeply sad album by what seems to be a deeply sad man. His guitar playing is mindful and introspect and for me just depicts absolute loneliness in his own world with no space or want for much else. Due to the utter sadness I don't know if you can call it an enjoyable listen but it has some beautiful moments. For me, this really was most apparent to me in the instrumental track 'Horn'. It is so simple but is so pensive and I find really depicts a mood that has so much to say and so little to say all at once.
This is one of the best live albums I've ever heard, and it just makes me love Johnny Cash more and more. From reading up a bit, this was after he got clean from his drug addiction and was a turning point for his career, he even said so himself. He had been inspired from a film to write 'Folsom Prison Blues' and he always wanted to do a performance at a prison and so Folsom Prison was the obvious choice. To start his live show with that track is perfection ('I shot a man in Reno, just to watch him die'....wow), and he keeps up the use of prison and law breaking tracks throughout which, again, is brilliant. Can we talk about Cocaine Blues though??? Not only is it great bluesy country track that keeps you bopping throughout but to hear Johnny singing to inmates about taking cocaine and shooting his woman down, and to hear them whooping and hollering. Just great.
I am a big fan of 'The Wall', and the reception he gets from his audience is what makes it. Talking about the warden and getting the response he gets and then Johnny not being able to keep in his laughter or replying to them is why we listen to live albums I think, because it takes you right there and you can imagine exactly how it was to be there. The silence that follows from the audience though too is just as loud to me, as you remember these are all men in prison who probably have all had the dark thoughts in The Wall.
Ending the album with a song written by an inmate, and then we hear from the warden himself with an announcement - a perfect ending. The album captures it all, and keeps going when the crowd is leaving. You are right there and Johnny has put smiles on faces that even though we have no idea why they're in prison, I can't help but being glad Johnny went and did this.
