| When The Tigers Broke Free - Part 1 |  01:56
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This is taken from the Berlin 90 Promo CD. I use this version over the
film version because it has none of the miscellaneous sound effects that are heard in the film (the lighter, the cleaning of the gun, etc.) I edited it into two parts. The end of this song crossfades into the choir from the film version. Then the sound of Vera Lynn singing "We'll Meet Again" can be quietly heard until "In The Flesh?" kicks in. | ||
| In The Flesh? | 03:15
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This is taken from the studio album. No editing has been done to it other
than the song timing at the beginning and end. | ||
| The Thin Ice | 02:58
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The beginning of this song starts with the extra measures of piano from
the film version. I also had to mix in some extra baby cries to help fill it in. The song then crossfades into the studio version. | ||
| Another brick in the wall - part 1 | Roger Waters | 04:16
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The studio version plays until near the end where it crossfades into the
extended Wall Live 80-81 performance with the piano at the end. | ||
| When The Tigers Broke Free - Part 2 | 01:53
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This is the second half taken from the Berlin 90 Promo CD. The beginning of
the song is edited in to lead up to the "Kind old King George" lyric. | ||
| The Happiest Days Of Our Lives | 01:40
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Immeadiately at the end of the previous song, the helicopter sound starts fading
in. The studio version is played. | ||
| Another brick in the wall - part 2 | Roger Waters | 04:03
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This the the studio version. At the end, you can hear the music box sounds of
the film version of Mother fading in. | ||
| Mother | 06:08
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I had to do a lot of creative manipulation on Mother. This is the primarily the
film version. I had to edit the middle guitar solo because I wanted to remove the "Hello, hello, do you remember me? I'm the one from the registry office". As a result, when the guitar solo starts, it crossfades to the studio version. At the end of the solo, it crossfades to the end of the studio version with the acoustic guitar strumming. It then crossfades back to the film version at the beginning of the line "Mother do you think she's good enough?" It all works out seamlessly. I'm quite proud of this one. | ||
| Goodbye Blue Sky | 03:06
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The studio version is played until the end where it crossfades into the
extended organ ending from the Wall Live 80-81 version. | ||
| Empty Spaces / What Shall We Do Now? | 04:22
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Finally, you can now have the best of both worlds. Empty Spaces and What Shall We
Do Now are merged together into one song. The studio version of Empty Spaces is played at first. During the line "How shall I complete the wall?", the film version of "What Shall We Do Now?" is crossfaded in. At the end, the line "With our back to the wall" has a crossfade into the Wall Live 80-81 performance. I mainly did this to avoid the glass breaking sound from the movie. I use this climactic ending to kick right into Young Lust. | ||
| Young Lust | 03:39
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This is the studio version. The only difference is the very beginning where the
previous song overlaps. | ||
| One Of My Turns | 03:30
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This is the studio version. It is the only song on the first half that is completely
unedited. | ||
| Don't Leave Me Now | 04:18
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| This is the studio version which crossfades into the extended orchestral interlude from the Berlin 90 performance near the end. It then crossfades back to the studio version during the sound of the smashing TVs at the very end. | ||
| Another brick in the wall - part 3 | Roger Waters | 04:52
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This is the studio version which crossfades into the long extended orchestral interlude
from the Berlin 90 performance (also known as The Last Few Bricks). | ||
| Goodbye Cruel World | 01:08
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| This song starts with a crossfade from the previous song and then goes into the studio version. | ||
| Hey You | 04:41
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The studio version is played in its entirety. During the musical break after the lyric "And
the worms ate into his brain" I mixed in the electric piano from the Wall Live 80-81 version. | ||
| Is There Anybody Out There? | 02:40
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This is the studio version. I mixed in a bit of the choir and strings from the Berlin 90
version but it is very subtle. | ||
| Nobody Home | 04:49
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| This is the studio version with the guitar solo from the Berlin 90 version crossfaded in. | ||
| Vera | 01:17
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This is the studio version. I mixed in a bit of the orchestra from the Berlin 90
version but it is very subtle. | ||
| Bring The Boys Back Home | 01:49
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This is primarily the extended film version but I also have the lead vocal from the
studio version mixed in. | ||
| Comfortably Numb | 07:21
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Here we have the studio version until the final guitar solo where it crossfades into
the Wall Live 80-81 version. It then crossfades back to the studio version at the very end. | ||
| The Show Must Go On | 02:41
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This song starts with the extended intro from the Wall Live 80-81 version and then cuts
to the studio version when the singing starts. I have mixed in the extra verse and chorus from the Wall Live 80-81 version. | ||
| In The Flesh! | 04:38
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| This is the studio version with a slight addition of the crowd noise from the Wall Live 80-81 version at the very end to help ease the transition into the next song. | ||
| Run Like Hell | 07:05
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This is the extra long Wall Live 80-81 performance complete with Roger's classic introduction to the
song. It crossfades into the studio version at the very end during the last drum hit. | ||
| Waiting For The Worms | 04:29
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| The studio version is played until near the end where it crossfades into the Wall Live 80-81 version where it has the slightly extended ending where the piano is played. | ||
| Stop | 00:30
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This is the studio version. It is the only song on the second half that is completely
unedited. | ||
| The Trial | 06:17
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This song starts with the extended intro from the Wall Live 80-81 version and then crossfades into the studio version when the singing starts. I have also added the line "Call the wife".
Near the end, it crossfades to the extended ending from the Wall Live 80-81 version. | ||
| Outside The Wall | 04:38
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This starts with the studio version then cuts to the beautiful film version. I had to do
a lot of hiss reduction to this song and then amplify the whole piece because the version on the film is very quiet and noisy. It has never sounded this good until now! Enjoy! | ||