Pink Floyd ‎– The Wall

Label:
Harvest ‎– SHDW 411
Format:
2 × Vinyl, LP, Album, Stereo, Gatefold
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 In The Flesh?
A2 The Thin Ice
A3 Another Brick In The Wall (Part 1)
A4 The Happiest Days Of Our Lives
A5 Another Brick In The Wall (Part 2)
A6 Mother
B1 Goodbye Blue Sky
B2 Empty Spaces
B3 Young Lust
Written-By – David Gilmour, Roger Waters
B4 One Of My Turns
B5 Don't Leave Me Now
B6 Another Brick In The Wall Part 3
B7 Goodbye Cruel World
C1 Hey You
C2 Is There Anybody Out There?
C3 Nobody Home
C4 Vera
C5 Bring The Boys Back Home
C6 Comfortably Numb
Written-By – David Gilmour, Roger Waters
D1 The Show Must Go On
D2 In The Flesh
D3 Run Like Hell
Written-By – David Gilmour, Roger Waters
D4 Waiting For The Worms
D5 Stop
D6 The Trial
Written-By – Bob Ezrin
D7 Outside The Wall

Companies, etc.

Credits

Notes

1st pressing with picture labels in gatefold sleeve with plastic sticker that adheres to the sleeve, but is not permantly stuck on.

Inner sleeves also feature the "Wall" design with lyrics (graphics by Gerald Scarfe).

The track order on the inners is not the same as featured on the album.

Specific to the first issue sleeve:

Band members are not listed on the inside cover. It only says "Words and Music - Roger Waters. Except..." and "Produced By David Gilmour, Bob Ezrin, Roger Waters". Re-pressings added band member credits and had other minor alterations.

No bar code on the back cover.

The Wall is cream coloured, not true white. The bricks on the front cover are not aligned right to the bottom of the cover on the outside or inside.

There are two 1st pressing sleeve variants:

1. A single sheet of wrap-around cardboard with the seam across the inner top edge of the cover.
2. Two sheets of cardboard, with seams at the top and bottom of the cover. Cardboard is heavy thickness.

There are two 1st pressing lyric inner sleeve variants (Both are on thick card with rounded corners and a nine-inch thumb notch at the top):

1. Sides 2 and 4 have the catalog number of the specific record listed on a single line in the lower right corner.
2. Sides 2 and 4 have the catalog number (SHDW 411), international catalogue number (OC-158 63410), and the UK catalogue number (SHSP 4111) in the lower right corner.

Mastered at The Mastering Lab (Los Angeles, CA, USA).

Recorded at Superbear (Miravel, France), Producers Workshop (Los Angeles, CA, USA) & C.B.S. (New York, NY, USA) between April and November 1979.

Three different catalog numbers, one for the album and one for each disc:

SHDW 411 = album
OC-15863410 SHSP 4111 = disc 1
OC-15863411 SHSP 4112 = disc 2

Barcode and Other Identifiers

  • Other (Cat # LP1): OC-15863410
  • Other (Cat # LP2): OC-15863411
  • Other (Inner sleeve, LP1): SHSP 4111 (I)
  • Other (Inner sleeve, LP2): SHSP 4112 (I)
  • Matrix / Runout (Label A): SHSP 4111 A
  • Matrix / Runout (Label B): SHSP 4111 B
  • Matrix / Runout (Label C): SHSP 4112 A
  • Matrix / Runout (Label D): SHSP 4112 B
  • Matrix / Runout (Side A runout, variant 1): SHSP 4111 A-2U TML-X
  • Matrix / Runout (Side B runout, variant 1): SHSP 4111 B-2U TML-M
  • Matrix / Runout (Side C runout, variant 1): SHSP 4112 A-3U TML-X
  • Matrix / Runout (Side D runout, variant 1): SHSP 4112 B-2U TML-M
  • Matrix / Runout (Side A runout, variant 2): SHSP 4111 A-3U
  • Matrix / Runout (Side B runout, variant 2): SHSP 4111 B-3U
  • Matrix / Runout (Side C runout, variant 2): SHSP 4112 A-1U TML-M
  • Matrix / Runout (Side D runout, variant 2): SHSP 4112 B-2U TML-M
  • Matrix / Runout (Side A runout, variant 3): SHSP 4111 A-2U GGR 4
  • Matrix / Runout (Side B runout, variant 3): SHSP 4111 B-3U TML-X
  • Matrix / Runout (Side C runout, variant 3): SHSP 4112 A-3U TML-X
  • Matrix / Runout (Side D runout, variant 3): SHSP 4112 B-2U TML-M
  • Matrix / Runout (Side A runout, variant 4): SHSP 4111 A-2U TML-X
  • Matrix / Runout (Side B runout, variant 4): SHSP 4111 B-4U TML-S
  • Matrix / Runout (Side C runout, variant 4): SHSP 4112 A-1U TML-M
  • Matrix / Runout (Side D runout, variant 4): SHSP 4112 B-3U TML-XX
  • Matrix / Runout (Side A runout, variant 5): SHSP 4111 A-3U TML-S 1
  • Matrix / Runout (Side B runout, variant 5): SHSP 4111 B-3U TML-X 1
  • Matrix / Runout (Side C runout, variant 5): SHSP 4112 A-1U TML-M 2
  • Matrix / Runout (Side D runout, variant 5): SHSP 4112 B-2U TML-M 4 GDA
  • Matrix / Runout (Side A runout, variant 6): SHSP 4111 A-2U TML-X 7
  • Matrix / Runout (Side B runout, variant 6): SHSP 4111 B-2U TML-M 2 GDA
  • Matrix / Runout (Side C runout, variant 6): SHSP 4112 A-6U TML-S 2 319
  • Matrix / Runout (Side D runout, variant 6): SHSP 4112 B-2U TML-M 5
  • Matrix / Runout (Side A runout, variant 7): SHSP 4111 A-2U
  • Matrix / Runout (Side B runout, variant 7): SHSP 4111 B-3U
  • Matrix / Runout (Side C runout, variant 7): SHSP 4112 A-4U TML-X
  • Matrix / Runout (Side D runout, variant 7): SHSP 4112 B-2U TML-M
  • Matrix / Runout (Side A runout, variant 8): SHSP 4111 A-3U TML-S 1
  • Matrix / Runout (Side B runout, variant 8): SHSP 4111 B-3U TML-X 1
  • Matrix / Runout (Side C runout, variant 8): SHSP 4112 A-1U TML-M 1
  • Matrix / Runout (Side D runout, variant 8): SHSP 4112 B-3U 1 TML-M̶̷ X
  • Matrix / Runout (Side A runout, variant 9): SHSP 4111 A - 7U TML-M 394 1
  • Matrix / Runout (Side B runout, variant 9): SHSP 4111 B - 2U TML-M 367 1
  • Matrix / Runout (Side C runout, variant 9): SHSP 4112 A - 6U TML-S 329 2
  • Matrix / Runout (Side D runout, variant 9): SHSP 4112 B - 2U TML-M 343 5
  • Matrix / Runout (Side A runout, variant 10): SHSP 4111 A-2U T?L-X
  • Matrix / Runout (Side B runout, variant 10): SHSP 4111 B-3U TML-X
  • Matrix / Runout (Side C runout, variant 10): SHSP 4112 A-3U TML-X
  • Matrix / Runout (Side D runout, variant 10): SHSP 4112 B-2U TML-M
  • Matrix / Runout (Side A runout, variant 11): SHSP 4111 A-5U TML S I G O R
  • Matrix / Runout (Side B runout, variant 11): SHSP 4111 B-5U TML-M C O II
  • Matrix / Runout (Side C runout, variant 11): SHSP 4112 A-1U TML-M D J C
  • Matrix / Runout (Side D runout, variant 11): SHSP 4112 B-5U TML-M C C O
  • Matrix / Runout (Side A runout, variant 12): SHSP 4111 A-6U TML-X
  • Matrix / Runout (Side B runout, variant 12): SHSP 4111 B-3U TML-X
  • Matrix / Runout (Side C runout, variant 12): SHSP 4112 A-3U TML-X
  • Matrix / Runout (Side D runout, variant 12): SHSP 4112 B-2U TML-M C R C
  • Matrix / Runout (Side A runout, variant 13): SHSP 4111 A-2U TML-X
  • Matrix / Runout (Side B runout, variant 13): SHSP 4111 B-2U TML-M
  • Matrix / Runout (Side C runout, variant 13): SHSP 4112 A-3U TML-X
  • Matrix / Runout (Side D runout, variant 13): SHSP 4112 B-3U TML-X
  • Matrix / Runout (Side A runout, variant 14): SHSP 4112 A-2U HM TML-X 2
  • Matrix / Runout (Side B runout, variant 14): SHSP 4112 B-3U HT TML-X 3
  • Matrix / Runout (Side C runout, variant 14): SHSP 4112 A-3U GO TML-X 1
  • Matrix / Runout (Side D runout, variant 14): SHSP 4112 B-2U TML-M D 1
  • Matrix / Runout (Side A runout, variant 15): SHSP 4111 A-3U TML-S O 2
  • Matrix / Runout (Side B runout, variant 15): SHSP 4111 B-2U TML-M PO 1
  • Matrix / Runout (Side C runout, variant 15): SHSP 4112 A-3U O TML-X 4
  • Matrix / Runout (Side D runout, variant 15): SHSP 4112 B-3U MP 1 TML-M̶ X

Other Versions (5 of 666) View All

Cat# Artist Title (Format) Label Cat# Country Year
C2K 36183 Pink Floyd The Wall(2xCD, Album, RE) Columbia C2K 36183 US Unknown Sell This Version
10 C 166-063410/11 Pink Floyd The Wall(2xLP, Album, TP, W/Lbl) Harvest 10 C 166-063410/11 Spain 1979 Sell This Version
FA-20955 Pink Floyd The Wall(2xHDCD, Album, RE, RM, Unofficial) EMI (2) FA-20955 China 2004 Sell This Version
50999 028944 2 3 Pink Floyd The Wall(2xCD, Album, RE, RM, S/Edition, CD ) EMI 50999 028944 2 3 Europe 2011 Sell This Version
CDS 7 46036 8 Pink Floyd The Wall(2xCD, Album, RE) Harvest CDS 7 46036 8 UK & Europe Unknown Sell This Version

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Reviews Show All 42 Reviews

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CzarnyBill

CzarnyBill

August 6, 2020
I love this one, it's just out of this world
AllNightLong1966

AllNightLong1966

August 6, 2020
edited 8 days ago

This review is credited to Apple Music: "You could say The Wall began taking shape the night Roger Waters leaned over the edge of the stage and spit in a fan’s face. This was July 1977: The group was finishing out their lengthy In the Flesh tour to stadium-size crowds, working at scales unfamiliar and uncomfortable to everyone involved. Risky investments had put them under major financial pressure; audiences seemed more interested in the party than the show; band rapport had gotten so strained that Waters began referring to the rest of the members as “the muffins.” And so, alone in a crowd of about 80,000 people, standing under the 40-foot-long inflatable pig that had become a central prop of the band’s set, Waters spit. Later that night, he told the producer Bob Ezrin and a psychiatrist friend of Ezrin’s that he sometimes fantasized about building a wall between himself and the audience—an embodiment of how isolated he already felt, and a device by which he could protect what little of himself he thought he had left. What emerged from that mental image was one of the last, and one of the greatest, gasps of the concept album—that naively romantic idea that music could somehow reach out of the confines of the recorded medium and tell a story that would resonate with the metaphoric heft of a novel. At one hour and twenty minutes, The Wall didn’t spare listeners any of Waters’ creative largesse. If anything, it laid bare his inner turmoil (and outer critique) with almost forensic precision: The album traces the long arc of a fictional rock star named Pink Floyd, who evolves from lonely boy to maniacal fascist. Pink starts pointing fingers at everyone from Mom (“Mother”) to the education system (“The Happiest Days of Our Lives,” “Another Brick in the Wall, Pt. 2”) to blacks, gays, and Jews (“In the Flesh”) to modern life in general (“The Thin Ice”) before realizing that maybe the problem was him all along (“Stop,” “The Trial”)—an arc even more resonant in light of our societal reckoning with the evil men do. Yeah, it’s a lot, especially as a morality play put on by the rich and famous. In spite of their popularity, however, Pink Floyd was never exactly a friendly band. If anything, The Wall holds up in part because of how profoundly ugly it is, the externalization of feelings so cruel and noxious that people hate to admit even having them, let alone mining them for art. (In that respect, they had more in common with punk than the punks would probably admit.) What had once felt expansive (take the long song-suites of Animals or The Dark Side of the Moon) now felt claustrophobic and fragmented, a picture rendered in shrapnel. In nudging Waters toward his most theatrical impulses, producer Ezrin—famous in part for helping create Alice Cooper—gave the album a narrative through line as comforting and familiar as an old myth (the traumatic rise and tragic fall, the superhero rendered human once again), but gave the impression of wholeness where Waters’ collage-like vision didn’t necessarily imply one. At one point, Ezrin suggested that guitarist David Gilmour go to a club to hear the then-new sound of disco. Gilmour hated it, but got the point: Listen to the rigid pacing of “Another Brick in the Wall, Pt. 2” and “Run Like Hell”—this wasn’t music about freedom, but about being martially locked in place. By the time you get to “Comfortably Numb,” a life without feeling doesn’t sound half bad. In addition to elevating them to implausibly greater levels of fame, The Wall marked the last time Waters and the rest of the band would work together in a meaningful way. During the album’s sessions, Waters effectively forced keyboardist Rick Wright out; shortly following The Final Cut (1983), Waters quit. In between, they managed to take The Wall on tour. Waters got his wish: During the first half of the show, roadies constructed a wall, brick by cardboard brick, approximately 40 feet in the middle and 130 feet across the top—an embodiment not just of Waters’ concept, but of the band’s general ability to strong-arm reality to suit their dreams. Ezrin, who had run afoul of Waters after unwittingly telling a journalist friend what the conceit of the show was going to be, was forced to buy his own ticket."
djneptun

djneptun

May 4, 2020
edited 3 months ago
Hi! Which is the Best audio quality THE WALL pressing on vinyl?
Oldnathan

Oldnathan

November 3, 2019

Hi Kattie69, err... thanks for the kind offer but no, not really. Where do you stand on the accuracy of the date for this Floyd release?
Oldnathan

Oldnathan

November 1, 2019

It's a very minor point and not worth me changing anything as I expect 30th Nov 79 was it's 'official' release date but I know for a fact (I kept a diary) that I actually bought this from WH Smiths in Redcar (UK) on 28th Nov 1979. It cost £6.45. And I stil have it. It's a SHSF 4111 A-2U TML-X one.
terrasirradient

terrasirradient

September 4, 2019
I have a hard time believing it, but I seem to have a version not listed here. It seems to be a US third issue, since it has "Written by Roger Waters" and the band members listed on the 7th and 9th bricks from the top. Bar code on the back: 0 7464-36183-1. Very little in the way of matrix/runout data. The four sides are AL-36184-1AB, BL-36184-1AA, AL-36815-1AA, and BL-36185-1AB. The only other things etched in the runouts show up the same on all four sides: a cursive "Emw" and an "S" and "L" intertwined. Is "Emw" code for Electrosound? That doesn't show up in the searches for any versions of "The Wall" included here. Help! Any info would be greatly appreciated.
daicehawk111

daicehawk111

August 26, 2019
edited 12 months ago
Hey You is misordered on the track list, it is C1 on the disc, but not in the lyrics sheet. Half-speed master, see the 30 Hz peak. awesome sound quality pressing.
Stef66

Stef66

April 6, 2019
With stickers : FACTORY SAMPLE
NOT FOR SALE
writ in red
Deadwax666

Deadwax666

November 28, 2018
My UK pressing blows every US pressing and remaster job out of the water. There is a reason good pressings of this record still fetch a decent amount, it's because they are heaps better than anything else that came after them. If you get your hands on a legit UK pressing you will never listen to another pressing again. I sure don't.
MB-Daniel

MB-Daniel

October 28, 2018
My copy has been if vinyl bags since it berth, ad boy does it still play well.