Disco de Pink Floyd: “The Final Cut [Remaster]”

An album with a perhaps somewhat-undeserved reputation, Pink Floyd's "The Final Cut" is listed on the back cover as "A Requiem for the Post-War Dream by Roger Waters, performed by Pink Floyd". This is probably the most accurate way to look at the record, it is a Roger Waters album, with David Gilmour and Nick Mason part of the backing band (keyboardist Richard Wright had been ejected from the band and even Mason's contributions were limited, with a percussionist added and another drummer on the closing track).

The album, like all the Floyd records prior, follows a concept-- intermingling reflections on the then-current world political climate (notably Thatcher's attack on the Falkland Islands) with the story of a soldier coming back from war to find the world quite changed (evidentally parts of this were originally written for "The Wall" to provide backstory for the teacher, who was also a veteran like the protagonist's father). Several themes are reprised a couple times throughout the album, most notably the "what have we done" vocal, which reappears sung or hummed (per suggestion of Nick Mason) throughout the record.

The result is a dense, lyrically-driven album that, like "The Wall" before it, largely abandons the open structures found on previous Floyd records. With Waters firmly in control and pushing his lyrical message, Gilmour's guitar is largely restrained and there's little of the openness and expansive structures of the previous albums. But this isn't necessarily a criticism-- Waters delivers his lyrics with a passion and intensity he rarely reached in the past, and a number of the pieces are superb, particularly when the backgrounds are at their sparsest, letting the lyrics breathe-- "Paranoid Eyes", "Southampton Dock", "The Final Cut" and "Two Suns in the Sunset" are all quite notable. The latter in particular is one of the best lyrics Waters has ever composed.

A couple notes about the remaster-- they've finally corrected the track split between "Southampton Dock" and "The Final Cut" (the last note of the former ended up on the latter) and added to the album is "When the Tigers Broke Free". Originally recorded for "The Wall" movie, it matches the mood and intensity of the record well, Waters is filled with venom, but the orchestration sounds out of place.

Ths is really a record that needs to be listened to for opinions-- I find it to be very rewarding in its own way. If you enjoyed "The Wall" and Waters' solo material (particularly "The Pros and Cons of Hitchiking", which is very similar to this), you should definitely check out this record.

The Final Cut is one of those works that reveals as much about the listener as the composer.

The album is first and foremost an intellectual and emotional journey full of angst, fear, sarcasm, and despair, and how one reacts to it is based more on one's internal makeup than one's musical ear.

The album's songs are intense and laconic, and framed by an elegant but sparse musical structure that relies more on subtle details than lush melodies to communicate the eccentric concept at the heart of the album - that the dreams of peace and tranquility people had after the end of WWII have been torn apart by the continuing greed, ambition and paranoia of world leaders.

Waters feels a sense of personal betrayal at the fraying of what he calls "the post-war dream" because he father died creating it by fighting in WWII, the war meant to end all wars. So this is a very intimate album in the Leonard Cohen style, and one that makes unapologetic and unnervingly frank revelations of the Waters' personal and political life.

Some people say that with the other members of Pink Floyd relegated to being sessions musicians on this album, there was no one to foil sone of Waters' more eclectic tastes when The Final Cut was recorded. But I think the absence of the others, who lack Waters' inner drive and vision, allowed Waters to create a truly distinctive work that will stand alone in the annals of rock (with perhaps only his solo album, the Pros and Cons of Hitchhiking, for company).

That Waters sewed The Final Cut together with songs left over from The Wall speaks to how creative (but troubled) he was between 1978, when he began working on The Wall and Pros and Cons of Hitchhiking, and 1983, when The Final Cut was released. For example, album was initially named The Final Cut, as in the final version of an edit, because it was meant to contain new music written by Waters for the 1982 film version of The Wall. But as the albums concept grew, Waters deftly transformed that title to refer to a failed suicide attempt by the central protagonist in his concept, as also to the idea that the 1982 Falklands war was the final cut, as in fatal stab, into the heart of the post-war dream.

The Final Cut's delicate music and literate lyrics will disappoint space rockers longing for the sonic landscapes of Wish You Were Here or the edgy menace of Animals. Waters' oblique references to people such as war poet Rupert Brooke, and some of the imagery he conjures might also be lost on more than a few listeners. For example, the touching song Southampton Dock loses much of its meaning if you don't realize that's the place from where the British navy departed to fight the Falklands war in 1982.

True, elements like that can make The Final Cut seem pompous, and at first listen the album sounds stilted and lacking in melody. But no piece of music can be everything and the genuine artist chooses his place, his style, and his message, and embraces them unapologetically. For example, an exquisite padded leather chair cannot be rustic at the same time.

The beauty of this album is that Waters doesn't try to do everything for everybody. He takes a stand. If The Final Cut sounds pompous it's because Waters feels he has a right to comment on the human condition and the price leaders make unwitting citizens pay in the pursuit of greatness and power. If the album sounds stilted it's the album's song-cycle aren't designed to give listeners a comfortable, predicable ride. Instead, the album shifts dynamics sharply between a fiery intensity and a wounded melancholy, initially alienating all but the dedicated listener. And if The Final Cut sounds unmelodic, well, melody has never been Waters' forte. But someone once said that music is the space between the notes, and the Final Cut illustrates this perfectly with its subtle musical texture that is the musical equivalent of blank verse.

Though David Gilmour said he couldn't abide the The Final Cut, probably because his own musical tastes are more conventional and the shabby way Waters treated him and the others Floyd members during the time the album was made, he did contribute some indelible guitar work to it. Gilmour's few but moving guitar solos perfectly complement the searing emotions that tumble out of Waters throughout the album. Nick Mason's under-stated behind-the-beat drumming is perfect for deliberate pace at which the Final Cut moves, and even though Rick Wright does not play on the album his absence haunts this tremulous and unsettling work (though only die-hard Floyd fans might feel that!).

Waters, and co-producers James Guthrie and Michael Kamen, who conducts the National Philharmonic Orchestra for the album and who also adds some elegant piano work to it, also extract some stellar performances from the backup musicians. The overall sound of the album, particularly on the recently issued re-master, is also superb.

For the fullest experience The Final Cut needs to be heard with full concentration, lyrics in hand. And it takes many listens to understand and appreciate the album. But if you perceive you will be rewarded with a rare nugget of music that will exhilarate and enrapture, and in the end reveal something of yourself to you.

This is a *superb* masterpiece of an album. It was recorded in several studios in the UK in 1982 and is the last Pink Floyd album to feature Roger Waters, who wrote it alone. Some people like to refer to it as a solo Waters album using the name Pink Floyd since it was dominated by Waters, but it does feature one Gilmour lead vocal, "Not Now John," and Gilmour's masterful guitar playing can be heard throughout this album. Waters actually offered to release it as a solo album, but Gilmour insisted that it be a Pink Floyd album. The songwriting is poignant and deep, and the lyrics are poetry. The production quality, of course, is flawless. In keeping with all of Waters' albums, this is a concept album. It deals with several different concepts. One of them is the state of world affairs at the time it was made, particularly the Falkland Islands War. It condemns Thatcher, Reagan, and Begin quite explicitly. Another concept deals with a WWII veteran who is now a schoolteacher who takes out his problems on the children and generally laments his life. There is also a story of a depressed man (likely, Pink from The Wall) who ultimately tries to kill himself but is stopped. The album ends with the theme of nuclear annhilation, and perhaps Pink's fate, left unclear at the end of The Wall, becomes clear. The songs really have to be heard to be believed - they are very emotional, deeply moving, and somber. Definitely nothing to be listened to while having a wild party or something like that. The album cover, designed by Waters, is also very interesting, including ribbons - stars, medals, and crosses for service in WWII. The album is dedicated to his father, who died in Anzio during WWII. All in all, this beautiful album is a true work of art and a very proper and graceful way for Roger to bow out of his musical relationship to David Gilmour, who was actually fighting against the creation and concept of this album tooth and nail. My personal favorite songs on this album are "The Gunner's Dream," "Paranoid Eyes," "Southampton Dock/The Final Cut," and "Two Suns in the Sunset." I love how the last song on this album, which Roger had intended to be Pink Floyd's last album, closes with the words "the end." ("Ashes and diamonds, Foe and friend, We were all equal in the end..." - what lyrics) These are some of the most emotionally moving songs Pink Floyd has ever recorded. This album can bring you to tears if you listen carefully.

Now that computer terminology has found its way into our daily vernacular, I think that the above metaphor is a quite fitting descriptive. And when talking about ROGER WATERS, why not use metaphor? He does....A lot. The Final Cut is the sonic equivalent of the 'expansion pack', in terms of the fact that - - all foundation for its musical and lyrical themes have already been cemented on it's auspicious predecessor, 'The Wall'. (had to drop some more in, sorry) This 'third album' of The Wall, goes on to further probe these common themes, but from an entirely different perspective. Gone is the character of 'Pink' and his drug-skewed reasoning. The Teacher returns to us, but in a more amiable and sympathetic form. The elusive female figure is retained, but absent is the domineering Mother.

"Would ya like to see - Britannia rule again?" The album is dedicated to Roger's father, Eric Fletcher Waters, who died during the British invasion of Anzio, Italy during WWII. The Final Cut is sub-titled, 'A Requiem for the Post-War Dream', meaning that 1. it is a mass for the deceased (his father/the dream) 2. it is the musical composition for such a mass. The story is told partly in the first-person and partly from the perspective of a young serviceman returning home from the war. The veteran hopes to return to a land of social, economic and political change, but his ideals are betrayed by future Prime Ministers and subsequently, by the Thatcher-led government. (The Maggie that Waters calls out to throughout the piece is most certainly, Prime Minister Margaret Thatcher) The album gives us a brief overview of world affairs during the period of 1945-1983. Reference or allusion is made to conflicts in the Falklands Islands, Grenada, Beirut and Afghanistan. Fear of the rising powers of Japan and the U.S.S.R are evidenced in the lyrics, as well as the threat of nuclear proliferation.

This is Waters at his most confident and complex and delivered during his most prolific songwriting period (Wall through Hitchiking). Lyrically, the album is brilliant and stands by itself beautifully as a long form poetry piece, even without the music The vocal phrasing, ambient effects and progressive nature of the music all contribute to create an atmosphere and tone that is reminiscent of, yet distinctly set apart from "The Wall". (I believe that some tracks were written during The Wall sessions and 'Your Possible Pasts' actually appears in the 'bathroom stall scene' in movie.) DAVID GILMOUR'S emotionally gut-wrenching guitar work is still there but muted mostly on this effort. His distinctive axe work is most evident on the tracks 'Your Possible Pasts', 'Fletcher Memorial' and 'Not Now John', the last one being the only track that he lays vocals on. His diminished role opens up room for solo piano, hammond organ and some ballsy saxophone which are all integral in making the piece work. The whole album is enhanced further by the addition of the National Philharmonic Orchestra, conducted and arranged by Michael Kamen.

"Thought I oughta bare my naked feelings, Thought I oughta tear the curtain down." The Final Cut is one of my favo(u)rite albums of all-time. (and I am familiar with hundreds of 'em) It's honest, heartfelt delivery strikes a chord with me that few other albums have. I can still listen to this album regularly, whereas 'The Wall' can only be appreciated after long periods of abstinence. I won't even touch upon the issue of whether this is really a Pink Floyd album or a Waters Solo effort, except to say, "Who Cares?" If Britney Spears wrote this masterpiece, I would be singing her praises instead of Waters'. The Final Cut is but one beautiful mosaic on the wall of the gallery known as Pink Floyd.

I somewhat agree with the critics who say the Final Cut is a Waters self indulgent LP. However, I love this album for two reasons. No 1- my grandfather was a WWII vet, and is easy for me to relate what Roger preaches about remembering and respecting the generation of simple people who saved our world from unspeakable evil and tyrany. This album also speaks to me on so many levels of depression, grief and isolation and is seemingly the soul voice of someone who has very little of a life outside of his music and his constantly thinking and racing mind like myself. Reason No 2- David Gilmour is an amazing guitarist, and the fact that his minimal ability as well as desire for musical input on this album makes his guitar work that much more astonishing. Perhaps the only album that has solos even more moving and captivating than The Wall's lead work. The solo on "The Final Cut" for me jerks even more tears than the incredible solos in "Comfortably Numb" and "Mother". Along with the orchestration of composing genius Michael Kamen, The Final Cut is a seamless fusion of sympthony, rock, blues and folk guitar, with the haunting poetics and vocals of one of the most egocentric, yet brillant lyricists and artists of our time, Roger Waters(not to mention is also an amazing bass player). If there is an irritating point of this album, it's the keyboard work, only great because of it's obvious imitation of Richard Wright. I felt it underminded his legacy with the band. Is Pink Floyd as magical today without Waters? Of course not. However I also couldn't bare the thought of Floyd without Gilmour, Wright, and Nick Mason, If you don't believe me, watch the irritable version of "The Wall, Live at Berlin" and see what I mean.