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THE FINAL CUT

Pink Floyd

Psychedelic/Space Rock


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Pink Floyd The Final Cut album cover
3.19 | 1953 ratings | 157 reviews | 14% 5 stars

Good, but non-essential

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Studio Album, released in 1983

Songs / Tracks Listing

1. The Post War Dream (3:00)
2. Your Possible Pasts (4:21)
3. One of the Few (1:26)
4. The Hero's Return (2:58)
5. The Gunners Dream (5:04)
6. Paranoid Eyes (3:49)
7. Get Your Filthy Hands Off My Desert (1:19)
8. The Fletcher Memorial Home (4:10)
9. Southampton Dock (2:05)
10. The Final Cut (4:53)
11. Not Now John (5:03)
12. Two Suns in the Sunset (5:17)

Total Time 43:25

Bonus track on 2004 and 2011 remasters:
4. When the Tigers Broke Free (3:17) *

* Written at the same time as "The Wall" and originally intended to be part of that album

Line-up / Musicians

- David Gilmour / guitars, vocals (11)
- Roger Waters / bass, acoustic guitars (?), vocals, co-producer
- Nick Mason / drums, Fx (Holophonics, track 7)

With:
- Michael Kamen / piano, harmonium, orchestrations & conductor, co-producer
- Andy Bown / Hammond organ
- Raphael Ravenscroft / tenor saxophone
- Andy Newmark / drums (12)
- Ray Cooper / percussion
- National Philharmonic Orchestra

Releases information

Artwork: Roger Waters with Willie Christie (photo)

LP Harvest - shpf 1983 (1983, UK)

CD EMI - CDP 7 46129 2 (1985, UK)
CD EMI United Kingdom - CDEMD 1070 (1994, Europe) Remastered by Doug Sax with James Guthrie
CD EMI - 576 7342 (2004, Europe) Remastered by James Guthrie and Joel Plante w/ 1 bonus track "When The Tigers Broke Free" inserted at #4
CD EMI - 028956 2 8 (2011, Europe) Remastered by James Guthrie and Joel Plante w/ 1 bonus track

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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PINK FLOYD The Final Cut ratings distribution


3.19
(1953 ratings)
Essential: a masterpiece of progressive rock music(14%)
14%
Excellent addition to any prog rock music collection(27%)
27%
Good, but non-essential (31%)
31%
Collectors/fans only (19%)
19%
Poor. Only for completionists (9%)
9%

PINK FLOYD The Final Cut reviews


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Collaborators/Experts Reviews

Review by maani
SPECIAL COLLABORATOR Founding Moderator
4 stars Originally the third disc of The Wall, Floyd's record company would not let them put out a triple album. So Waters & Co. spruced it up a bit, added the first "3-D" sounds ever recorded (if you've listened to it on headphones, you know what I'm talking about), and released it as a single album. And although it is best listened to as if it were in fact the third disc of The Wall, I believe it stands on its own as an exceptional album. Your Possible Pasts, One of the Few, Paranoid Eyes, The Fletcher Memorial Home, The Final Cut and Not Now John are as good as any of Floyd's previous "songs." I find myself listening to this one even more than The Wall, and indeed more than most Floyd albums except WYWH and Animals.
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
3 stars Roger's Final Straw??

Generally unfairly maligned by a lot of classic-era Floyd fans, TFC is often pointed as the object where Waters' power trip grew out of proportion leading to a final coup or putsch. Those un-fans regard (understandably) TFC a bit as a Waters solo album, since the remaining g two Floyd members had minimal input and not that much more executive tasks on it, Mason even losing his stool for the final track (the final cut for fans?? ;o))). The least we can say is that Water's concept is not quite as clear as it was with the Wall or Animals, the sober artwork not giving anymore hints than the album's title.

Musically, if you like The Wall, you'll find that TFC is down the same alley, but lacks the few landmarks that its predecessor had. In general Roger is less inspired than the The Wall, and it's regrettable that he chose to ignore Gilmour's input that might have this album another success, rather than being unnoticed. Another thing that does not serve the album is the terribly depressive mood and caustic humour of the lyrics (more or less an afterthought of The Wall's history) and catastrophic Nuke blast ending (Two Suns In The Sunset) that tend to suffocate the music to the point that many fans can't really remember or single out a single track of the album. Just like The Wall, the huge majority of TCF's vocals are Roger's, and his distinctive style and almost recitative delivery are miles away from Gilmour's more familiar voice. Strangely enough, the synths have disappeared and the piano (Nick Kamen) and the organ returns (Andy Bown ? brother of Alan Bown) and the sax is now played by Ravenscroft instead of Parry, while Roger's now holding the acoustic guitars (a bit normal if you're the songwriter, but reducing Gilmour's vital space furthermore. Water's detractors are usually Gilmour fans, but I'd urge them to listen to David's About Face with Not Now John in mind and let them draw their conclusion, the same could be applicable to Lapse Of Reason.

One of the problems is that Waters doesn't give us much explanation to his unclear (for me anyway) concept story and that too many moments of the album seem to be a rewritibng of The Wall, even if it is related to war in all its states: from his father's (Fletcher's Memorial Home) sacrificed life in WW2 to Roger's understandable hatred of Maggie and unilateral invasion (Bermuda, Afghanistan, Falklands, Lebanon) and the Cold Nuclear War still happening, all of these should normally endear us to sympathise Roger's plights and state of mind. On a different angle, Gilmour's musical contribution are mostly limited to some brilliant guitar interventions and solos (notably the title track, which is clearly of Wall-ian inspiration), while Mason's drumming is just what Roger ordered, as Nick was more interested at the driver's seat (racing) than the drum stool.

I doubt that those having lived the album's release in the then-context - the recession, Ronald Reagan's Star Wars program, USSR's quick succession of Brezhnev, Andropov and Tchernenko, Maggie's fight against the miner's un ion , the Malvinas/Falklands war and more, plus given that Floyd's MTV clip had nuclear explosion - I doubt they will ever be able to look at this album from a different angle and Water's sordid fixations and thoughts and future paranoid actions against his future former mates will never help either. But even those that missed the context of the album's release cannot escape it, unless discovering this album blindly, then they could compare it favourably with most of the 80's prog albums (RIO excluded). In the meantime, this is one of Floyd more difficult album and not my fave by a long shot?. But I think it's a better than anything Gilmour and the Waters-less Floyd will do in the 80's. .

Review by Jim Garten
SPECIAL COLLABORATOR Retired Admin & Razor Guru
3 stars Not a perfect Floyd album by any means, more of a Waters solo project (as was, arguably, The Wall); however, as an album of sheer desolation & isolation, this album is hard to beat - just keep any sharp objects away when you're listening or at least have the Prozac handy; this album is so depressing, it's occasionally (unintentionally) funny.
Review by greenback
SPECIAL COLLABORATOR Honorary Collaborator
4 stars The "Final Cut" is the last album where both Roger Waters and David Gilmour work together. Rick Wright has already left: as rare keyboards, only piano, Hammond organ and harmonium are present. Anyway, the omnipresent orchestral arrangements provided by the National Philharmonic Orchestra are more than compensatory. Probably David Gilmour plays his best guitar solos here, quite comparable to the perfect ones on the "A momentary lapse of reason" album: the guitar solos sound is really loud, present and very sustained. Gilmour does not play very much rhythmic guitars here. Like "The Wall", the tracks have full of special & subtle sounds, and they really contribute to enhance the artistic value of this record: steps, passing cars, meowing cat, ticking clock, whispers, conversations, laughs, blowing wind, passing jet fighter, explosion and barking dog among others: all those effects need a careful listen and of course an excellent sound system to be fully appreciated; actually this album has the "Holophonics" technology, a 3-D sound processing, and not the "Qsound" technology, which is the case for his solo album "Amused to death". Roger Waters monopolizes the VERY emotional lead vocals, being half narrator, half singer. The overall rhythm is VERY slow, so that this record may sound boring for many: probably a relax mental predisposition must occur during such a listen. Some elements, like the lyrics, evoke some war commemoration, which naturally emanates from the overall mood when the orchestra is playing. There are some very good sax parts on a couples of tracks. The famous Waters' female backing vocals make their appearance, especially on "Not now john".

This record mainly has the same orientation as Waters' solo album "Pros & cons of hitchhiking", plus the delightful orchestral arrangements, and minus the exceptional Eric Clapton's bluesy guitars.

Rating: 4.5 stars

Review by James Lee
SPECIAL COLLABORATOR Honorary Collaborator
2 stars In a perfect world, "The Wall", "The Final Cut", and Waters' "Pros and Cons of Hitchhiking" should be mixed together, shaken well, and distilled to make one last decent album by PINK FLOYD and one interesting Waters solo album. At one point in my teenage life "The Wall" hadn't yet worn out its welcome and I was hungry for more, which was good because that's mainly what "The Final Cut" and "Pros and Cons" delivered: more of the same. More cultural criticism from the perspective of an isolated, world-weary rocker, more introspective musings steeped in neurosis, more WWII imagery and gospel-tinged rock drama. Richard Wright is sorely missed on this album, and Gilmour's efforts are even more limited than on "The Wall", but there are moments of beauty and despair that almost redeem it- the title track, for instance, is perhaps as close as Waters ever came to making an honest expression of emotion. The clarity and balance of instruments is better here than on "The Wall", with a more lush texture and more varied palette of tones, and there are no embarrasing rock-opera moments either. It beats any subsequent (i.e., non- Waters) release by the band, but it still takes last place compared to all previous PINK FLOYD albums. I would even rather listen to "Several species of small furry animals gathered together in a cave and grooving with a Pict" for 43 minutes...and that's saying something.
Review by The Prognaut
PROG REVIEWER
5 stars I certainly have waited enough to review this album, and the time to do my part has come. I waited because I wanted to put the very exact words to describe such piece of work. Many times all along my already posted reviews I have constantly used the words "emotive", "beautiful", "masterpiece" or even "exquisite work", but this very album overshadows those adjectives by all means. It isn't only the album were Roger WATERS bares his soul for the very first time before his true deep feelings he had held in for his father's memory; it isn't only the album were Michael KAMEN (conductor of the National Philharmonic Orchestra), took over the keyboards to replace Richard WRIGHT for the very first time; and it isn't the last PINK FLOYD album James GUTHRIE produced and engineered. It is a masterfully crafted, polished gem that speaks for itself in every single tune, evoking dark, profound passages of fear, sorrow and pain. This requiem for the post war dream by Roger WATERS applies the accurate dosage of silent screams inside your head, gives away the precise amount of unspoken words to your mouth, brings out the uncontainable times you have awaken inside a dream and just to set you in front of yourself to face your inner "you", to confront the battle from within throughout WATERS eyes and ears.

From "The Post War Dream" to "Two Suns in the Sunset", this conceptual album drives the way through innumerable disturbing guitar passages and dry moments on the drums. GILMOUR and MASON compensate the lack of cohesion with WRIGHT on keyboards in this album by committing themselves to fit perfectly into the symphonic arrangements by KAMEN and into the WATERS obvious composing demands. Featuring songs like "Paranoid Eyes", "Southampton Dock" and "Not Now John", experience several moods and emotions, but the particular thing in between them, is that they all share the "Final Cut" alignments, they all contain a bit of the memories and experiences of WATERS, but most important, the band knew how to put together this farewell album in order to be believable and convincing.

I think of this album as the end of an era for the band, and as the beginning of a brand new one for some of the members apart from the PINK FLOYD experience. WATERS has already launched 5 albums on his own, WRIGHT commenced to do so back in the 80's when he released "Wet Dream" and GILMOUR came up with "About Face" (Don't want to bring up MASON and BARRET's works because that is a whole different story to be told in some other review). The remains of "The Final Cut" are still burning in some other recordings by the band with or without WATERS ("A Momentary Lapse of Reason" or "The Division Bell") and even so in the last live album by Roger, "In the Flesh".

This album is for many reasons, the best PINK FLOYD album to me. Its mysticism and sadness won my heart and my mind from the get go. I know many prog rockers out there think of it as incomplete, unconvincing and messy, but it maybe just be that in order to comprehend the true story surrounding this album, we might as well need to have wider opened ears and eyes and let ourselves drive us through it with no resistance at all. This is the PINK FLOYD album, this is the beginning and the end.

Review by frenchie
PROG REVIEWER
2 stars The Final Cut loses Richard Wright and as the albums after this have proved, pink floyd are no good unless they are a full unit. This album is barely a pink floyd album but morely a Roger Waters solo album. There are no vocal contribuitons from gilmour and him and nick barely get a look in here. It is all Roger till about track 8 when you finally start to release that dave and nick are on this album.

Some say that this was meant to be the third disc too the wall but i'm bloody glad it wasn't. The Story would have gone completely...off the wall. Imagine after they tear down the wall and convict pink in the trial, the story then carried on to a rant about the war. It just wouldn't fit and would have dragged the wall down so much. Also the film would have had an extra hour tagged onto it of complete nonsense.

The lyrics here are very meaningful but for a pink floyd album it was exectuted terribly. It is interesting to see a more symphonic approach with the inclusion of Michael Kamen but this is a shoddy follow up to the wall. Rogers singing has become much poorer and every bit of music here is too far under par to compete with any of the 60s and 70s album. It follows a similar concept to the wall but it feels like an embaressment to go from the wall to this! Each track sounds vaguely similar and there aren't many progressions and its patchy in so many areas. It is very upsetting and should not have been a Pink Floyd album but a Roger Waters album. He has tried hard but let down the band here.

There are only 3 good inputs by david gilmour on this album in the solos to "the fletcher memorial home", "the final cut" and "Not Now John" but these efforts are barely up to his usual standards. There is a nice piano intro to "The Gunner's Dream" but the fact that it is not played by richard wright is upsetting. I guess if Roger had stayed on we would have seen another album like this which was even worse.

Avoid this like the plague.

Review by Chris S
SPECIAL COLLABORATOR Honorary Collaborator
4 stars For the life of me I cannot understand all the negative hype about The Final Cut. It is a chilling beautiful ( as Roger Water's puts it) requiem for the post war dream. The only negative thing about it is that Rick Wright is sadly not on it. The album has excellent production as well and as another reviewer states, listen to this on good headphones and you will understand.Sure it has Water's angst, so what, it is this kind of inspiration that makes great albums.Just listen to ' Your possible pasts'' The Gunner's dream';' The flethcher memorial home' and the superlative sad ' The Final cut'. Gilmour's guitar is excellent as usual and Michael Kamen's contribution on keyboards is a more than able substitute to Rick Wrights.I think the Final Cut was a ftting end to Water's time with the Floyd and he left on a definite high.
Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
3 stars Waters of change

The "final cut" for Roger Waters as a member of Pink Floyd maybe, but reports of the demise of the band were somewhat premature. It is easy to see when listening to this album why something had to give. Waters dominates the proceedings throughout, to the extent that its virtually a solo album by him. He writes every track, and takes on lead vocal duties.

With Rick Wright sacked by Waters, Gilmour and Mason were present pretty much in name only. Five other musicians were therefore brought in by Waters, plus the National Philharmonic Orchestra.

"The final cut" is very obviously a follow up to "The Wall", in fact it could well have formed a third LP for that album. The music follows a strict pattern throughout, with alternating slow, soft and loud passages, only "Not now John", an unsuccessful single, breaking the mould slightly. Gilmour gets to throw in the occasional guitar solo, such as on "The Fletcher memorial home" and the title track, but in all the album seems like one tediously long track.

The melodies are generally strong and pleasant, belying at times the overtly political message the album seeks to impart. On this album, it seems as if getting that message across is more important to Waters than creating an entertaining and diverse album.

Waters complained later that the Pink Floyd name should not have been put on the albums they made after his departure, but here we have what amounts to a Waters solo album which by the same logic should not bear the band name.

Review by Guillermo
PROG REVIEWER
2 stars Roger Waters criticized dictators and he became one of them in Pink Floyd. I agree, it is more a Waters`s solo album (even Nick Mason said it in interviews). Despite Waters`s ego was out of control more here than on previous Pink Floyd`s albums, is still a good record, better than "The Wall". The lyrics are very good and show that Waters is a very good lyricist, more than a good singer and bass player. It is an album full of emotions. But Gilmour and Mason had enough. It was impossible to work with Waters again.Waters left in late 1985 and his ego wanted to stop Gilmour, Mason and Wright (which sound more like Pink Floyd than Waters alone) to being Pink Floyd in new albums. But Waters failed to stop them.
Review by FloydWright
PROG REVIEWER
4 stars If the music of The Wall is "un-Floydian" in comparison to their earlier works, then The Final Cut is a near-complete departure. With Richard WRIGHT completely forced out of the band, Nick MASON no longer drumming on all tracks of an album, and even David GILMOUR's creative input severely curtailed (he even chose to have his production credits removed on this one), TFC was indeed "by Roger Waters, performed by [part of] Pink Floyd." As a PINK FLOYD album, TFC falls short--drained of the others' influence, it merits in extremely strong lyrics and use of effects, but gone are the elaborate chord structures and moments where the music is left to speak for itself. As a FLOYD album, TFC earns only a 3.

However--if viewed as a Roger WATERS solo album, TFC not only earns a 5, but is in my opinion his greatest work ever. Not even Amused to Death tops this achievement. Although many songs on TFC were outtakes from The Wall, the feeling they give me is entirely different--here, underneath the bitterness and bluster, is the sensitive, scared, and soulful Roger WATERS. Nowhere else does WATERS allow himself to be vulnerable to this degree. From his deepest idealism ("Take heed of the dream...") to his deepest fears ("And if I open my heart to you, show you my weak side, what would you do?"), to realizing the futility of bitterness ("We were all equal in the end...") he has laid bare his soul. This is a rare occasion where he is not just blunt--but honest. These lyrics--particularly the title track--expose what lies behind the wall, and that final deep, secret yearning: "Could anybody love [me]? Or is it just a crazy dream!?"

The sound production is nothing short of magnificent, topping The Wall, rivaling Amused to Death. The vocals are easily WATERS' best ever. Ranging from angered to anguished, spiteful to soulful, what he lacks in pitch control he makes up in passion. Yet even his technique seems improved, in places taking on a delicacy and subtlety he has never repeated. Musically, one must not forget the accomplishments of guitarist David GILMOUR--although he is not given any credits, his solos are the match of WATERS' impassioned vocals. While many people seem to be panning them, the solos are angry, indignant, curt--exactly what's needed here. The third figure I believe deserves far greater credit that he is given--that is Michael KAMEN, the man responsible for the gorgeous orchestrations that almost...almost...make even me forget the absence in the band. In fact, I know that without KAMEN's orchestrations, there is no way I would ever consider awarding a 4 to this album.

But ultimately, I cannot forget. There are places where the piano and organ work are woefully uninspired. Even WRIGHT's partial presence on The Wall was more alive. The piano playing is not bad, really, still likable, but as a listener I found myself wondering if KAMEN was told note-for-note what to play, especially after hearing his much livelier performance on the David Gilmour in Concert DVD. But by far, the biggest problem comes from the Hammond organ. Nowhere is it more obviously dead than on "Your Possible Pasts". Never have I heard this normally beautiful instrument emit such a toneless, dry, and lifeless sound. This is where the hole in PINK FLOYD gapes so wide that one almost could almost fall through it. Listen to WRIGHT's masterful Hammond playing on Animals to hear what could have been. It just about hurts.

That said, I do award TFC a composite rating of 4--a mediocre 3 stars as a "Floyd" effort, but a magnificent 5 stars as a Roger WATERS effort. The perception depends entirely on which approach you take. I hope that, whichever side you are on, this review has helped you to a decision appropriate to your tastes.

Review by Cluster One
PROG REVIEWER
3 stars All band infighting and comments about this being a Roger-solo-album aside, "The Final Cut" is...an acquired taste.

Apart from the obvious difficult lyrical content and historical references that must be navigated through (not an easy feat for anyone born after this album was released!), this album is significantly impressive on the technical level. This album incorporates some of the latest cutting-edge technology available in 1982, in that it utilized 'Holophonics'. Listen again to this album in quad sound if you are at all able, it might change your opinion of it. The music itself is structured quite dynamically, and is very layered, with lots of things going on. Sounds of rain, cars passing, bombs whizzing overhead and exploding behind you are utilized not as 'special effects', but as actually a kind of 'musical effect'.

"The Final Cut" means more to Brits than others, if only because a lot of the conceptual material is quintessentially British. References to: Dame (Former Prime Minister) Margaret Thatcher; the shipyards closing on the River Clyde; the docks at Southampton (where soldiers waved goodbye on their way to campaigns on the continent) and the Falkland Islands' War resonate still with those in GB. Not to mention the use of the poppy flower image, the symbol of remembrance of those who died serving their country, like Roger's father.

My favourite song on the album, 'Two Suns In the Sunset' is quite possibly the darkest piece of music ever written by Roger Waters. "As the windshield melts, and my tears evaporate. Leaving only charcoal to defend." Uplifting stuff about a car crash!

Gilmour's contribution to this record is quite small. But where he does appear, his solos convey an awful lot of emotion considering how limited the input Waters allocated to him. "The Final Cut" barely deserves 3/5 stars. Definitely not essential.

Review by NetsNJFan
PROG REVIEWER
2 stars Listening to this album is like slogging through a marsh. One can only listen to Roger Water's misery and despair for so long. While his anti-everything rants had wonderful music to back them up on previous Floyd outings, ("Animals", "The Wall"), this one sounds basically the same throughout. It is as if Roger Waters is giving a monologue to sparse musical accompaniment. The songs are basically interchangeable, (which is not at all a good sign). Nick Mason (Drums) and Dave Gilmour (Guitar) rarely show up on this album, and Rick Wright (Keys) isn't here at all, having been fired during the making of the wall. Essentially this is a Roger Water's solo album under the Pink Floyd banner, made up of bad material intended for a third LP for the wall. The stronger songs amongst this cheerless mush are: "The Fletcher Memorial Home", which features an outstanding solo from Gilmour, and "when the Tigers Broke Free", originally from the Wall soundtrack, a touching song about the death of Water's father in WWII. Overall, unless you are an intense Floyd/Waters fan, avoid this album - 2 Stars.
Review by Prognut
PROG REVIEWER
2 stars I am afraid to say this but...IMHO PF should had called quit after The Wall!! since this one is more than a continuation of the previos one, I would have consider this as the first Roger solo effort with PF members help!! but, that is just me...For hard fans, and completists only. Shadows of what it was......what a shame!
Review by Seyo
SPECIAL COLLABORATOR Honorary Collaborator
1 stars "The Wall" was the last classic FLOYD album and having Wright left the band, Waters took the remaining poor Gilmour and Mason to back him up for this "sequel" to "The Wall" - a boring, lousy album with weak songs, over-lamentic themes and Waters ego-trip. I was able to actually sit through this album only a couple of times before I decided to sell it cheaply at the local music exchange. Avoid this, unless you must own everything that bears the name PINK FLOYD or Roger Waters!
Review by Fishy
PROG REVIEWER
3 stars Pink Floyd was turned into a one man show in 1983. The man in charge was Roger Waters. Some of the other Floyd members were still around but didn't got any input. Only the splendid guitar solos of Dave Gilmour does remind you you're listening to a Floyd album. Unlike on their previous work, Water does all the vocals, leaving only "Not now John" for Gilmour. On some moments the voice is the only thing that's on the front besides the piano and the wonderful orchestrations of Michael Kamen. MK could be considered as the non official replacement for Richard Wright. But I like the voice of Water as well, during several excerpts on this album he seems to be more whispering than singing. On the quiet song "the gunners dream" he sounds truly fantastic, a bit similar to the voice of Loyd Cole. This beautiful song is on par to "nobody home" from the Wall. Being a fan of Floyd, I miss the atmospheric moments and the albums lacks some up-tempo songs and harmony vocals which are a trademark of the sound of this band. Let's be honest, this shouldn't be called progressive rock.

On the final cut Waters digs deep into the subject of the second world war. I always considered this album as an epilogue to The Wall where the absence of the father was presented as one of the bricks between the main character and his audience. It seems that the message is more important than the music. As a Waters album, it stands better than "The Pros and cons of." but worse than "Amused to death". Just like on the quoted albums, you should listen from start to finish. The separate tracks don't make any sense without hearing all of the album especially concerning the lyrics. To my humble opinion, "Your possible pasts" , "the gunner's dream", "get you filthy. and "Two suns in the sunsets" are the best tracks this album has to offer. Especially "Two suns in the sunset" shows the best side of Waters. His excellent song writing is unquestionable. Overall there're no major flaws, only "not now John" sounds like a fish out of water as it is the only up-tempo track and not a very good one. On the remaster there's a bonus track added. "Where the tigers broke free" would have been more suitable as a bonus for "The Wall" to my opinion. Here it also doesn't really fit in musically.

Overall the final cut isn't a bad album but there 're not many moments I like to listen to this kind of memorials. Rarely I'm in the mood for this kind of pessimism in my spare time. In an interview Waters told once of an old lady who thanked him because this album gave her the chance to get over the loss of her husband who was killed in the war. He quoted her to convince the press that this was a good album. From a lyrical pint of view it is and I can sympathise to Waters views on the matter. Musically there's so little Floyd in here. The cover art gives you a clue what you can expect from "The Final Cut". A sober, modest affair.

Review by Eclipse
PROG REVIEWER
3 stars Carried with emotion, this work written by Roger Waters' lacks some great musical moments which are replaced by long and amazing lyrics. I think this is a mark of WATERS' songwriting, but i maintain a preference for the instrumental than the vocals, so this album doesn't have the same effect as other FLOYD works. I think it is an incredibly intelligent piece of music, but the melodies sometimes fail to captivate me.
Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Personally, I love this album. It's not a plethora of credentials the band has earned with its previous albums but it's more on the music per se. If I was not given any information that this is a Pink Floyd album I still love this one. Two reasons that support my opinion: 1. I like the energy the singer sings throughout the album which basically has less music than vocal line. 2. The music is thematic even without knowing what's the story line of the album. In fact, I purchased this album in cassette version but I got trouble with the noise level that became obvious because this album has many silent parts. So, couple of years later I purchased the CD format. The result is remarkably different: now I can hear clearly the sighs and silent sound effects in its subtleties especially if I listen to it using earphones or decent stereo set at home.

The opening track "Post War Dream is a requiem after the war. Eevn if I put off the war context I can still use this track to contemplate for other life issues facing most of us on daily basis. The stream continues nicely with "The Possible Pasts" , "One of The Few" to "The Hero's Return". In "The Gunner's Dream" I like the accentuated vocal by Waters whereby the peak happens when he screams "And hold on to your dreams!" with daunting music that continues with saxophone solo. Oh . what a great part, my friend! Not the sax solo per se but the time when he starts screaming the lyrics, it's really cool.

As I mentioned before, I personally like this album. So, despite bad reviews about this album, I still recommend you to have this album in your collection. If you doubt it, borrow the CD from your neighbor, play the first five tracks only. If it blows you, it definitely the whole album would blow you! Keep on proggin' ..!

Peace on earth and mercy mild - GW

Review by Cygnus X-2
SPECIAL COLLABORATOR Honorary Collaborator
2 stars Between the years of 1979 and 1983 Pink Floyd released a mega successful concept album, a subsequent tour of said album, the release of a major motion picture of said album, and the loss of a key member of the group in Rick Wright. In 1983, David Gilmour, Roger Waters, and Nick Mason returned to the studio to record what would be the last Pink Floyd album to feature the bassist/lyricist, and it would also be Pink Floyd's worst. The album in question in The Final Cut, and the title of the album says it all, this was the final cut of the classic Pink Floyd lineup. The story behind this album is more of a continuation of the subplot of the lost father subplot of The Wall, but in this instance, the father returns home and becomes alienated by the change that surrounds him. This album is more of a cynical view of politics and snipes every major leader of any major foreign power in the process. This album is often looked at with disgust among fans, and I can see why.

Opening with The Post War Dream, the orchestral scores and the depressing lyrics are there from the beginning. In fact, this may be one of the most depressing albums ever written. There is little guitar and this is more of a vocal album for Waters to show that he can (at lea