Pink Floyd's 1980-81 stadium presentations of The Wall barely qualified as live rock: They were a theatrical pageant, with a wall built and demolished on stage, projected films, huge inflatable Gerald Scarfe creatures, and the band playing along with tapes of sound effects and orchestrations from the album. The sparkling clarity of this set, assembled from several London performances, only makes it obvious how slavishly the sound of the stage show followed the studio album, right down to the effects on Roger Waters' voice and David Gilmour's guitar. Here's what's new: "Empty Spaces" is longer, the band added a piece of mood music called "The Last Few Bricks," the keyboards are more audible, and there's some crowd noise. The Wall is still an effective piece of dramatic bombast, but this is the most pointless album of its kind since Depeche Mode's Songs of Faith and Devotion Live. The real enhancements were the parts you can't hear.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."