Now 1979

The Wall was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By then, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator…

The Wall is the eleventh studio album by English rock band Pink Floyd, released 30 November 1979 on Harvest and Columbia Records. It is a rock opera that explores Pink, a jaded rockstar whose eventual self-imposed isolation from society is symbolized by a wall. The album was a commercial success, topping the US charts for 15 weeks, and reaching number three in the UK. It initially received mixed reviews from critics, many of whom found it overblown and pretentious, but later came to be considered one of the greatest albums of all time. The Wall was adapted into a 1982 feature film of the same name and remains one of the best-known concept albums. The album has sold more than 24 million copies, is the second best-selling in the band's catalog, and is one of the best-selling of all time. In 2000 it was voted number 30 in Colin Larkin's All Time Top 1000 Albums. In 2003, Rolling Stone listed The Wall at number 87 on its list of the "500 Greatest Albums of All Time".

For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies. But as this splendid release so amply shows, the original still can't be beat.

With the platinum triumph of Infinity still ringing in their ears like coins in a slot machine, Journey was now committed to completing their transformation from jazz fusion/prog rock mavens into arena rock superstars with their fifth album, 1979's Evolution. This transition (also clearly illustrated by the futuristic insect gracing each album cover henceforth) would not come without its growing pains, however, and while producer Roy Thomas Baker was back for a second go-round, original drummer Aynsley Dunbar would be the first casualty of the band's new direction. Thankfully, former Ronnie Montrose skin-beater Steve Smith soon brought his college-trained jazz fusion background to the table, and the band was ready to get back to work…

After seven years at the top of the British charts, even Status Quo fans were beginning to wonder whether the band wasn't simply rewriting the same riff over and over again, then putting it out with a new catch phrase for a title. From "Down Down" to "Rocking All Over the World," Status Quo had enacted some of the most excitingly primal rock behemoths of the decade. But they'd also composed some of the most enduring clichés as well. However, nothing - repeat nothing - could have prepared the world for Whatever You Want, a record which, almost three decades later, still sounds like the most ruthless piss-take you've ever heard. And, of course, it became one of their biggest hits ever. Mercifully, the remainder of the album titled by this unfortunate monstrosity shows that there was more than one idea rattling around the band's heads at this point: "Living on an Island," with its acoustic wash and mournful melody…