Aerosmith talked the talk and walked the walk last night at their sold-out arena show at the Izod Center in East Rutherford at the Meadowlands Sports Complex. 

 During their sold out gig Steven Tyler and the boys from Boston were joined by New York rap legend Darryl  "D.M.C." McDaniels from RUN-D.M.C.  for a performance of the band's hit "Walk This Way."

 The song was first a hit for Aerosmith in 1977 and a decade later the piece was recast and supercharged for the 1986 rap 'n' roll collaboration betwen  RUN-D.M.C. and Aerosmith.

 This Meadowlands show was  part of Aerosmith's  "Global Warming Tour. The Rock and Roll Hall of Fame inductees, who celebrated their 40th anniversary in music last year are still rocking with this tour serving as a preview to the band's very anticipated release of their new album, "Music From Another Dimension," due to hit the racks November 6.

Reheated 98 Degrees sizzle with reunion

 Grammy nominated, multi-platinum selling boy band 98 Degrees, which features Nick Lachey, Drew Lachey, Justin Jeffre and Jeff Timmons, have announced their reunion. The group will spark its comeback with their first television appearance in over a decade with performance on the "Today Show" Summer Concert Series on Friday, August 17.

  In addition, the group will also perform at the first annual MixTape Festival in Hershey Pennsylvania on Saturday, August 18. Other artists confirmed to play on the bill for this two day pop festival include Kelly Clarkson, The Fray, NKOTBSB and  LL Cool J. These two performances will be the band's first since September 2001. 98 Degrees, featuring all four original members, is currently in the studio working on new music.

 Nick Lachey says "In the ten years since our last performance as 98 Degrees we've each achieved personal success and grown as individuals, while remaining a close-knit family. We have also been fortunate to have the support and enduring love of our fans every step of the way."

 Noted as one of the original boy bands of the late 1990's the quartet was known for their authentic vocal harmonizing. Unlike most of the "manufactured" boy bands of the time, 98 Degrees formed independently before later being signed to Motown Records, who released the group's self-titled  debut in 1997. In 1998, the band released their breakthrough album "98° and Rising" through Universal Records. The album went 4X platinum and yielded the singles "Because of You," "I Do" and "The Hardest Thing."

 The group's success continued through the late 90's and in 2000 when Mariah Carey tapped the band  for her  "Thank God I Found You." That  single went  to #1 on the Billboard Hot 100 chart and the group received a Grammy nomination for "Best Pop Collaboration with Vocals." Later that year, the band released their fourth studio album Revelation.

The Who's Pete Towshend in the studio. Director Matt O'Casey, below. 

 Despite it containing some of Townshend's best writing such as the songs "5:15″ and the symphonic "Love Reign O'er Me,"  "Quardophenia" was a musical work that didn't find the instant success of "Tommy"  or a huge following.  There was  critical acclaim  for the opera about Jimmy,  an alienated and unstable teen floating in Britain's mod movement.  Still, it flopped in concert, a blow to The Who (especially Townshend who is its sole author) since the piece  is  cited by many critics as superior to "Tommy"  the deaf-dumb-and-blind pinball wizard.

 Only years later was its worth  recognized and its songs returned to The Who's live setlist. Even so, director  Franc Roddam's cult film  "Quadrophenia" is probably better remembered in the public eye than the actual album..

Tomorrow, a BBC rockumentary "The Who: Quadrophenia - Can You See The Real Me?" by filmmaker Matt O'Casey plays a one day run in theaters across America. His film avoids the after-story of success being snatched from the jaws of defeat and instead stays aimed at the actual creation of the double-album by looking at the drama of the inner workings of The Who as well as real-life history behind the narrative about Jimmy The Mod.

 Like most films of its kind, O'Casey touches all the rock-doc bases from modern and archival footage of  band members speaking about "Quadrophenia," to scholarly critics pontificating. The best interviews come from reminisces  by behind the scene players such as  recording engineers and the photographer, Ethan Russell, who shot the images for the original 40-page "Quadrophenia" lyric book.  In this film the talking heads were well-chosen for their knowledge and ability to tell a good story. What gives this film its edge is how O'Casey weaves the social scene of the post-mod London into the tale.  

 The tension of the documentary is drawn from the internal friction of The Who, that emerges as a microcosm of the opera.  It is a small world where we see Townshend, juggling his pretensions, his wit and insecurity ultimately channeling it all into his anti-hero Jimmy.

 While this may seem like its Pete's story, singer Roger Daltrey's interviews do much to make the time seem appealing and fun. In one of the most memorable scenes in the film when O'Casey is attempting to extract the essence of the band infamous drummer, the late  Keith Moon - Daltrey answers the question  "What was Keith like in 1973" with a sardonic smile and the line "He was a little drunker than he was in 1972."

 The film gets its power from simple storytelling and wisely makes no demand from the viewer larger than requesting that they reconsider the importance of this now classic  rock opera. That point is subtly made again following the end of the film proper with a tagged on selection of live performances of the songs from "Quadrophenia" that reiterate the point it's time to appreciate this work.

 The Who must agree, considering this fall and in winter 2013 the band will be touring North America presenting "Quadrophenia" in a grand production that insiders say may rival Roger Waters' recent arena/stadium rendering of Pink Floyd's "The Wall."

This one-night-only screening is Tuesday, July 24 at 8 p.m. at various theaters across North America and Canada. For local movie houses showing this film go to FathomEvents.com

Enrique Iglesias and Jennifer Lopez play the Prudential Center tonight and tomorrow.
On the Road with Enrique & JLo   

Tonight and tomorrow  Enrique Iglesias and Jennifer Lopez play back-to back shows at Newark's Prudential Center on their summer tour together. These co-headlining concerts unite two of the biggest performers in music today in shows where the fans can expect razzle-dazzle production where these international superstars reprise their chart-topping hit. While preparing for this tour that launched in Canada earlier this week Lopez and Iglesias talked  to DTMP. Here's some excerpts from that interview.

Will you and Jennifer be on stage together for a duet?

Enrique: Yeah, we're planning it. I think it's unexpected,  and I think fans are really going to appreciate that. We'll definitely combine that at one point, both of us together, it's going to be fun.

Whose idea was the co-headlining tour?

Enrique:  Jennifer and I have known each other for years, and we've talked about it.  Obviously, we had to talk to the promoters and then to our agents, and all of that,  but the real decision was Jennifer's and mine  because we ‘re the ones that are going to  be on stage..

Who's on first?

Jennifer: I think I should go on first and Enrique should close. That way,  I can get home  in time to put my babies to bed.

Enrique:  Look, whatever works well is what we will do. The thing is, that we're both on the same team and  we'll do what works best.

Do you expect the shows to be more exciting if there are more  Spanish speakers in the audiences?

Jennifer: I don't think it matters because we both do pop music. Sure Enrique's done a lot of Spanish music and  I've done one Spanish album, bur the  shows are very  bilingual. It's a mix -- kind of pop , Latin, everything, and I think any audience will enjoy it.

Enrique:  I agree with Jennifer.  I think it's a bi-cultural tour, we sing music in Spanish and in English, but for me, it's all pop. 

Jennifer, has your tenure as an "American Idol" judge made you a better performer?

Jennifer: Absolutely.  I think about all the things that I said about being a better performer.  It's essential to sing from your heart and listening to the lyrics.  Those are the things that make a great performer but it's so easy to say that from a chair,  harder to remember when you get up on the stage. 

Do you have any pre-show rituals?

Jennifer:  I don't really do much.  I stretch to warm up  because I have to dance a whole bunch, and do a little singing warm-up, and that's it.  Mostly I'm trying to get dressed, get my hair and the makeup done and check the costumes. For me it's just about getting real warm and getting ready to go out there and give my best.  I don't have any like weird rituals or need to get Zen or anything like that. 

Enrique: I don't do anything.  I just like to be by myself in the dressing room, and drink rum.

Jennifer: You don't have you trainer in there, working you out and getting you ready?

Enrique: I don't have a trainer or nutritionist,  just a little bit of rum to get rid of the nerves.  That's what I do.

Seal performing at the second concert of his two-night New York engagement.  

 If this performance was telling, beneath his don't-mess-with-me façade is the sensitive soul of a warrior wounded the battle of love. As one of music's premiere interpreters of soul as well as an accomplished songwriter, Seal did little to disguise the hurt he feels since the demise of his marriage with Heidi Klum earlier this year. He didn't boohoo his way through this concert and his voice was in fine shape, but his song selection reflected a guy who loved, lost and is trying to survive the blow.

 Seal is a good natured, giving performer, but at this show his smiles were fleeting and forced despite the sold out crowd's unadulterated affection.  His Brit accented banter was less personal than the easy chatter that he usually seduces audiences with, and the lack of connection was apparent in the way the crowd stayed glued to their seats for much of the show.

 While the songs weren't all about the not-so-glorious sides of love, there were enough falling out of love numbers to be a nagging reminder of his loss.

 The show opened with  the peppy dance piece "If I'm Any Closer," but quickly  turned to "Killer," a number about loneliness, followed up with covers of  the O'Jay's "Back Stabbers"  and  Teddy Pendergrass' "Love TKO."  With tunes such as "Prayer for the Dying," "Love Don't Live Here Anymore," "Let's Stay Together" and "Lost My Faith" nobody needed the Cliff Notes to figure out the night's theme.

 While the crowd approved Seal clubbing love, where the man really killed was when he wove the songs "Get It Together" with "Knock On Wood," a combo so potent it was like thunder and lightning.

 He also achieved a concert high with his signature song "Kiss From a Rose" that had so much heart audience members stood and waltzed in the aisles.  Seal was so vulnerable and sensitive and projected such magnetism on this epic ballad that   warm up act Macy Gray stepped out from the wings where she was watching and stood behind Seal embracing him in a sisterly hug. Although he was surprised at Grey's reaction to the tune, Seal implored her to stay and sing with him but she quickly exited before the song was finished.

  While this was a good show and Seal remains one of contemporary music top interpreters of soul and R&B, let's hope he gets out of his funk and into some shuffling funk.
                                    


Seal photos by Richard Stern

The Who's Roger Daltrey and Pete Townshend take "Quadrophenia" on tour this fall.
Who's on tour, that's right
 

 The critically acclaimed "Quadrophenia" marked the British band's second rock opera (after Tommy), raised the bar for rock albums as an art form and hit #2 on the U.S. Billboard album chart. Founding members Roger Daltrey and Pete Towbshend will be joined by Zak Starkey (drums), Pino Palladino (bass), Simon Townshend (guitar/backing vocals), Chris Stainton (keyboards), Loren Gold (keyboards/backing vocals) and Frank Simes (musical director, keyboards/backing vocals).
 
 In addition, subscribed members of The Who's official fan club will be given priority access to purchase tickets for the upcoming "Quadrophenia" tour. The offer begins at 10:00 AM on July 20 and expires July 22 at 10:00 PM. All current members of the official Who Fan Club, as well as any new members who join, will be given an exclusive member's only code that will activate the offer. Membership is available at fanclub.TheWho.com.

 Tickets for the 36 date tour will be on sale to the general public Friday, July 27 at 10:00 a.m The kick off date for the band's first tour in four years will be  November 1 in Sunrise, FL for  an initial six-week run. The Who then complete the tour commencing January 28, 2013 in Anaheim, CA.

Adam Duritz and David Bryson of the Counting Crows shakes it up.

The chief Counting Crow, Adam Duritz, was decked out in a T-shirt, jeans and his signature Sideshow Bob hairdo. Loose and relaxed, the singer totally fit into the industrial Brooklyn neighborhood for the inaugural Lacoste Live concert series in Williamsburg Park.

 Yet despite the easy cool he projected and that allowed him to perfectly blend into New York's gritty enclave for the hip, rich and young, the singer couldn't have been wound tighter. 

 Born in California, Duritz now lives here in the city and this show was for the hometown crowd. He appeared slightly jittery at first during this two hour performance, but within the first couple of songs he found his groove and relaxed into his familiar guileless troubadour style.

 Duritz's best songs are the ones he sings from the point of view of a regular guy, trying to do the right thing while solving his own problems. In those he delivers incredible earnestness. What makes Duritz one of the great singer/songwriters is his ability to make you believe everything he sings as he lays down the bare emotions woven into the lyrics  he's written.

 The reason this show was different, and a little risky, was that many of the tunes in the set weren't the tried and true Crows classics, but instead deep vault numbers  mixed with  songs gleaned from the band's latest CD "Underwater Sunshine" an eclectic covers record.

 There's no question that the crowd at this performance would have been wild for  "Rain King,"  "Goodnight Elizabeth,"  or "Round Here" all missing from this show. You could feel how hungry the audience was for a Counting Crows' hit by the zealous welcome the song "Mr. Jones" received.  But this gig wasn't about greatest hits, but rather about musical paths less travelled. The band actually seemed to rediscover itself in the lesser known tunes and those songs penned by other songwriters.

 Notable among the covers was  "Hospital," written by  Coby Brown,  and "Like Teenage Gravity"  by Kasey Anderson (who was at this show serving as the opening act). "Like Teenage Gravity" was a monument of  moody guitar work that  perfectly floated Duritz's pleading voice as he offered lines about falling in love. It's Duritz at his best, a grown man who still falls like a teenager for each girl who comes into and eventually out of his life.

 There was also a terrific cover of Bob Dylan's  "You Ain't Goin' Nowhere" that was playfully performed late in the show as a sing-a-long with the crowd.

 Although  Duritz  sweated a river at this open air show on one of the hottest nights of the summer, the humid air at the riverside venue seemed to oil his pipes. At past shows his voice often wore into a rasp toward the close of the set, yet at this concert he was in command of his loopy, stuttering wail from bow to curtain.

 He was excellent on his heartfelt "Washington Square,"  an totally nailed "Miami" one of the pinnacles of the show where he seemed to bring himself to an emotional brink as he sang. In all, the songs were well-chosen and well-played, but what made this show so memorable was how Duritz kept the set taut with honesty and passion. There was never a moment anyone doubted his veracity or his need to rock out.

Hank Williams, in his signature Stetson hat, with the Drifting Cowboys in 1952.
Hank Williams concert tapes unearthed
Today, with flip camcorders and video-capable cell phones, there isn't much that happens on the concert stage that isn't documented for posterity. But back when Hank Williams was singing his classics like "Lovesick Blues"  and "Cold, Cold Heart" in the ‘50s, a live recording was rare because the equipment was cumbersome and tape was expensive.

 That's why the Time-Life release of "Hank Williams: The Lost Concerts
Limited Collector's Edition"  on October 2 is such an important musical document. This 20-track collection is the only known live recordings of this country music legend. It includes his hits, his easy on-stage banter with the audience and even  a couple of comedy routines with his back up band, the Drifting Cowboys.

 This boxed set is a time machine back to two concerts performed by Williams just months before his death.  Besides the music the set includes Hanks conversations with the audience as he introduces songs with anecdotes about his life. The final track is a radio interview Williams did in 1951.

"Just when you thought you had discovered and heard everything my dad ever did, along comes these bonus jewels in the crown of The Great One, as we  refer to Hank around here," says his daughter, Jett Williams. "I got to know my dad first and best in the Mother's Best sponsored early morning radio shows that aired in the early '50's on WSM radio. I was so captivated with his wit and humor on these many shows. He came alive to me. But these were structured shows with commercial breaks while he extolled the virtues of his favorite flour miller. In these live performances -- the only two known to exist he truly springs to life."

 The two shows presented in this set were recorded in May an July 1952, and then forgotten. One was captured by a radio DJ in Buffalo, New York, who taped one of Hank's shows to play back on the air. The other was recorded a few weeks later by a Pennsylvania concert promoter for his wife who was too ill to attend the actual performance.
 
 These shows capture Hank Williams  live and unscripted, giving insight into the legend as an engaging, riveting performer at the peak of his career. His biggest hits "Hey Good Looking"," Jambalaya," "I Saw the Light," "Lovesick Blues," "Cold, Cold Heart," and "I Can't Help It (If I'm Still in Love with You)" are performed with a mreb vibrant and intimate feel than the studio recordings, peppered by personal stories about his band members, himself, and his songs. The album also includes the only known live recording of "Are You Walking and A Talking."

 In addition, the CD also features an extremely rare radio interview with Williams made in 1951 conducted with Mack Sanders for KFBI in Wichita, Kan. on September 14, 1951.

Since his death in 1953, Williams has risen in popularity to become one of most iconic figures in all of American music. In 2009, Time-Life partnered with Jett Williams to release a series of vintage recordings, most of which had never been available on CD before.

Tracklisting for  "Hank Williams: The Lost Concerts
Limited Collector's Edition"

Niagara Falls, New York: April 25, 1952.
1. Comedy with Hank and the Drifting Cowboys
2. I Can't Help It
3. Jerry Rivers and the Drifting Cowboys: Orange Blossom Special
4. Why Don't You Love Me
5. Are You Walking and A Talking
6. The Funeral
7. Hey Good Looking
8. Cold, Cold Heart
9. Lovesick Blues

Sunset Park, West Grove, PA: July 13, 1952.
10. Introductions
11. Hey Good Looking
12. Comedy with Hank and the Drifting Cowboys
13. Jerry Rivers and the Drifting Cowboys: Fire On The Mountain
14. Lonesome Whistle
15. Jambalaya
16. Long Gone Lonesome Blues
17. Half As Much
18. I Saw The Light
19. Lovesick Blues
20. Interview: Hank interviewed

Steven Tyler adjusts to the R'nR  lifestyle after his American Idol tenure.
Tyler's "American Idol" resignation letter
"After some long......hard......thoughts...I've decided it's time for me to let go of my mistress ‘American Idol' before she boils my rabbit," said Steven Tyler. "I strayed from my first love, Aerosmith, and I'm back--but instead of begging on my hands and knees, I got two fists in the air and I'm kicking the door open with my band. The next few years are going to be dedicated to kicking some serious ass--the ultimate in auditory takeover... On Nov 6, we are unleashing our new album, Music From Another Dimension the Earth, Moon, Mars, and way beyond the stars...'Idol' was over the top fun, and I loved every minute of it...Now it's time to bring Rock Back. ERMAHGERD."

Duet albums continue to be the rage for music veterans looking to reach new followers through the fan bases of younger artists. This time it's opera great Placido Domingo who's gathered up  a gaggle of  musical pals for a sing-along record that's due October 16^th  from Sony Classical.

Domingo, regarded my many as the world'spreeminent tenor since the death of his Three Tenors bandmate  Luciano Pavarotti,  will team up at the mike with Josh Groban for  "Sous Le Ciel de Paris," Susan Boyle partners with the maestro on "From This Moment On," and Crescent City crooner Harry Connick Jr. joins Domingo on  "Time After Time." Also featured with the famed tenor are TV's Megan Hilty; Domingo's son,  Placido Jr.;  super star mezzo-soprano Katherine Jenkins and German singer-songwriter Xavier Naidoo. So far Lady Gaga has not been confirmed as one of Domingo's vocal  hookups for this project.   

 In addition to the duets Domingo will include solo renditions of  "Besame Mucho," and "Un Uomo Tra La Folla."

 Guitarist Gary Rossington says "we kind of went back old school this time. All of us playing together in the studio as a band, tracking songs and creating licks. We had a lot of fun and the music really flowed for us."

 Currently the core band is Rossington , Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone.  This album according to Rossington  is a continuation of their work that began over 35 years ago in Jacksonville, Florida. 

 Musically successful with a catalog of over 60 albums, sales beyond 30 million worldwide and a 2006 induction into the Rock and Roll Hall of Fame over the years the group has had its share of bad luck.  The worst of that was  the 1977 plane crash that killed three band members, including singer Ronnie Van Zant and Steve Gaines. Since then, band members  Billy Powell, Ean Evans, Allen Collins, Leon Wilkeson and Huey Thomasson have all passed on.

 Always survivors, for this album, Lynyrd Skynyrd enlisted bassist Johnny Colt, an original member of the Black Crowes. Commenting on the day he was asked  to join up Colt says  "What else do you say to Medlocke, Rossington and Van Zant? We're talking southern rock royalty. We're talking Lynyrd Skynyrd. The only thing out of my mouth was when and where!"

Rock god Van Morrison, returns to the record racks with a  new studio album "Born To Sing: No Plan B" that's scheduled to be released October 2 on Blue Note Records. The record is produced by Morrison and was recorded in his native Belfast.

Morrison who previously released the "What's Wrong With This Picture?"  on Blue Note in 2003, but subsequently left the label, commented on his return  "With most record companies being so corporate I am happy to be working with Don Was and the team at Blue Note. To have such a creative music person as the head of my recording label assures me that all the effort taken to write and record this new album will be rewarded."

Adam Lambert in leather and spikes; in more straight-laced duds below. 
Lambert may swap guyliner for gavel

The game of musical chairs at the "American Idol" judging desk is on again, this time with the producers suggesting past contestant, Adam Lambert, join the celebrity panel.

 Although Lambert was only the runner-up  on "American Idol's eighth season, his post-"Idol" career has yielded a pair of hit albums including this year's "Trespassing."  2012 has been good to Adam, besides the disc, he is currently filling big shoes replacing  the late Freddie Mercury on this summer's Queen tour. Why not an Idol gig too?

With Jennifer Lopez's return for season 12 in doubt E! News just reported Lambert is on the judge search short-list. "Idol" producers have been tight-lipped whether Lopez, or Randy Jackson (the only original judge remaining) will return to the series.

 Steven Tyler quit the judges' panel this week saying he'll be concentrating on Areosmith from heree on.

 E! says Lambert has been in talks with producers since June. While Lambert has earned artistic credibility in the past few years with a solid fan base, if he gets the job as critic, he'll face the criticism that he just too green to judge other performers.

Roger Waters still in the Pink with a triumphant pair of concerts at Yankee Stadium.
Waters hits it over the Wall at Stadium

Bigger is better especially when it comes to Roger Waters' new edition of "The Wall" that was pumped up for a pair of Yankee Stadium concerts this weekend.

 When the classic Pink Floyd album was brought to life in a track-for-track Madison Square Garden production in  the fall of 2010 I wrote it was the very best arena concert I'd ever experienced. In this oversized stadium incarnation the spectacle rivaled U2's 360 tour and the sound quality on the Bronx baseball field was as good as what you'd expect in Carnegie Hall. In a word, the show was magnificent.

 This edition of the Orwellian rock opera that was originally written by Waters in 1979 seems to have gained more relevance with each step we take toward the future. In this grand production, retooled for concert excess, the music was precise reflecting the original charts and it was visually intense featuring eye-popping 3-D projections.  But what lent the show power and made it emotionally unsettling was the repeated references to how governments control the populous by dividing people into "us" and "them," and then making "us" complacent with treats -- you know,  getting us comfortably numb.

 In one of the headiest symphonies in the canon of thinking man's rock all those notions gel in the seventh song titled "Mother."  In that heartfelt ballad performed in a simple acoustic guitar arrangement Waters sings the pivotal question of the night: "Mother can I trust the government?"  

 Projected on the wall that spanned the stadium's outfield and towered three stories high was the answer:  "No Fucking Way."

 The song "Mother" was also one of the most artfully produced pieces in the two-hour show with the 68-year-old flesh and blood Pink Floyd mastermind singing across time in a video duet with himself when he was 35. It was a wonderful reminder of not only quickly time passes, but how slow change comes.    

 For the fans who grew up with Pink Floyd and know the music inside and out, the multimedia elements like that supercharged the concert. Other neat special effects included  a house sized floating pig that swooped over the audience and the rafter-high ruler-wielding teacher marionette that danced and threatened a children choir that backed Waters during "Another Brick In The Wall, Part 2."  

  The music and staging often played with your emotions. For instance it was nearly impossible not to get a little chocked up during the song "Bring The Boy's Back Home" as a video of a young schoolgirl reuniting with her uniformed soldier dad played on the wall.

 And a few tunes later how that warm and cuddly feeling was smashed on the rocks in the song "Run Like Hell"  where the threat of totalitarian government is unveiled with machine-gun toting Waters costumed in a black leather trench coat  in front of waving flags and banners featuring a crossed-hammer insignia. All together it recalled WWII's  Nazi images of swastikas and the screaming insanity or Adolf Hitler whipping his followers into a frenzy of hate.

  Hard-core fans would take note of how the 12-piece band stayed true to the original charts.  No notes were added or changed in the making of this concert. Even the searing guitar solo by David Gilmour on the original recording of  "Comfortably Numb" was re-created with note-for-note precision by guitarist Snowy White.

 The concert's structure was also faithful to the original vinyl pressing of the double album: sides One and Two were played before intermission followed by  sides Three and Four. After the final song, "Outside the Wall," Waters and his band just bowed and left the stage.

 As a straight-up concert, Waters was the star of this gig, but if you looked at this show as modern theater the star was 20,000 square foot wall constructed with more than 1000 Styrofoam blocks by stagehands. The crew completed it one brick in the wall at a time. It dissected the stadium, illustrating the wall's ability to isolate by actually cutting the band off from the audience's view.

As on the album, the song highlights remain the same with "Another Brick in the Wall," "Mother," "Hey You" and "Comfortably Numb," but in the Stadium, "The Wall" became bigger than the individual songs and transformed the piece into a cautionary tale about a future we hope isn't already here.