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Pop/Rock - Released July 27, 2009 | Columbia

Roger Waters' tours of the U.S. during the summers of 1999 and 2000 were a pleasant surprise, since the reclusive rocker had not toured since 1987. In his liner notes to this two-CD set drawn from those performances, Waters does not shy away from discussing his antipathy to big concert venues. But he makes a distinction between stadiums and arenas, and he also notes that he found himself becoming more comfortable in the role of a frontman. This more personable Roger Waters isn't what comes across on the album, but the closer relationship he perceives to his audience is nevertheless palpable. As the man who wrote Pink Floyd's lyrics, he is far more concerned with their meaning than his old bandmates, and his singing is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists to make up for the lack of David Gilmour, Waters effectively re-creates the sound of his Pink Floyd work, which dominates the set list. The album contains only five selections out of 24 from Waters' solo albums: one track from The Pros and Cons of Hitchhiking and four from Amused to Death, with Radio K.A.O.S. left out completely. He does not choose the most obvious solo material, but he makes his selections work, especially "Perfect Sense (Pts. I & 2)" and "It's a Miracle," from Amused to Death. A new song, "Each Small Candle," finds him still obsessed with world problems, but seemingly more optimistic. Waters had seemed to allow his anger about Pink Floyd's continuance without him to keep him from claiming his own part of their legacy. His 1999-2000 touring changed that, and In the Flesh Live makes the point for those who couldn't get to the shows. ~ William Ruhlmann

Rock - Released March 26, 2007 | Silva Screen Records


Rock - Released January 1, 2011 | Universal Music

Nobody really expected the Berlin Wall to come down in 1989, and so suddenly. Roger Waters especially, because he had once made a promise never to perform The Wall again after the 1980 tour until the bricks fell in Berlin. But they did, and Waters had no intention to renege on his promise. The Wall became a star-studded megaconcert to benefit the Memorial Fund for Disaster Relief, with larger bricks, bigger inflatable puppets, and a larger audience than any of the original Pink Floyd shows. There was always a contradiction in performing such a personal work in a stadium setting, but here it becomes especially acute when opening up the vocal tasks to a variety of artists. Bryan Adams is actually an astute choice for the cock rock swagger of "Young Lust," but Cyndi Lauper ruins the spare funk of "Another Brick in the Wall, Pt. 2" with over-enthusiastic yelping. And you'll definitely want to skip Jerry Hall's reading of the background dialog before "One of My Turns" ("Oh my gawd, what a fabulous room! Are all these your guitars?" -- a piece known word for word by every Floyd fan out there), as she seems unaware that a microphone can be used for amplification. By running through the album track by track, a lot of the effect of the live versions wears thin, as it invites constant comparison to the studio album. But the trial scene is handled well, with Albert Finney, Tim Curry, Marianne Faithfull, Thomas Dolby, and Ute Lemper taking on the characters in Waters' psychological drama. It's fun, a nice document, but only makes you want to return to the original album. ~ Ted Mills

Rock - To be released July 24, 2025 | Columbia - Legacy


Rock - Released June 2, 2017 | Columbia

Since 1979, Roger Waters has been up against The Wall. Almost 40 years after the release of The Wall, the former Pink Floyd bassist has never fundamentally surpassed his great work, the double album that entered into rock legend but which also marked a turning point in the life of the group that he founded in 1965 with Syd Barrett, Nick Mason and Richard Wright. In his several solo albums, as well as in the great live performances that re-interpret The Wall, Waters has always worked on the same grandiloquent musical and ideological themes. With Is This The Life We Really Want?, his obsessions with the alienation of the individual by society and imminent apocalypse have not changed one iota. Madness like the excesses of our times naturally form a central part of this record, his first proper studio album since Amused To Death, which came out in 1992. Roger Waters, who surely knew that he needed to introduce a little novelty into his creative universe, had the good idea of entrusting the production to Nigel Godrich, who is mainly known for his work with Radiohead. And to amplify the winds of change, the British producer even roused some of the big names of his generation, like the guitarist Jonathan Wilson, the drummer Joey Waronker and keyboard player Roger Manning. But the Waters fundamentals are still very much audible. And his fans, as well as Floyd fans, will soon feel a sense of homecoming. Roger Waters has not revolutionised his art, his words, and even less his personal touch. Instead, he has set about developing the talent for which he is known. And in his register of rock that verges on the theatrical, he truly excels. © CM/Qobuz

Rock - Released May 19, 2017 | Columbia


Rock - Released May 8, 2017 | Columbia


Rock - Released April 21, 2017 | Columbia


Rock - Released November 20, 2015 | Columbia - Legacy

That album recording of the sold-out tour The Wall Live 2010-2013. This series of concerts by Roger Waters is the first comprehensive interpretation of the concept album by Pink Floyd since 1990. Mixing explosive scenic rock performances with strong message of peace and compassion, The Wall Live attracted more than 4.5 million spectators in more than 200 concerts across four continents! Produced by Nigel Godrich (Radiohead, Beck, Paul McCartney), the disc offers a rather exhilarating listening experience of the masterpiece originally published back in 1979, which was the first narrative concept album of Floyd. Three decades later, this scenic reinterpretation demonstrates the sheer timelessness of these particular songs. Above all, the versions offered here shed new light that all Pink Floyd fans worthy of the name will treasure. © CM/Qobuz

Rock - Released July 24, 2015 | Columbia - Legacy

Hi-Res Distinctions Grammy Awards

Classical - Released January 12, 2015 | Sony Classical


Rock - Released December 1, 2014 | Columbia


Rock - Released November 26, 2014 | Columbia


Classical - Released April 6, 2009 | Sony Classical


Classical - Released September 26, 2005 | Sony Classical