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on March 30, 2016
Floyd but not Floyd. Waters writing alone & his somewhat bleak view of life but aurally & sonically a very interesting collection of linked songs some weak some very good, this re-mastered version includes when the tigers broke free. He sadly relegated his band mates Gilmour & Mason to that of hired session musicians & excluded Wright completely. As it says performed by Pink Floyd but still a must in everyone's Floyd collection.
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on April 30, 2015
...Finally, the Final Cut restored on CD, a must for all Pink Floyd fans. All the familiar tracks resonate with digital clarity and the addition of When the Tigers Broke Free is a fitting touch. Sleek sleeve design and complete with album lyrics, all written by Roger Waters. After all these years The Final Cut plays more like a Rogers Solo effort than the classic Floyd, yet still a classic worth owning.
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on July 22, 2017
The end of an era...
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on October 13, 2015
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on September 1, 2017
Good quality -- Not the 30th ann. Ed though.
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on March 24, 2016
Fine but the first side had one skip on it. William to
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on December 2, 2014
This just isnt a very good album, in the year 2014 it seems very dated, like an old simpsons episode, yes some of the lyrics are good but in most cases they are not, and yes there are a few flashes of good music but for the most part not and it does have some pretty neat ambient sounds and sonic special effects, but not enough to get it over 2 stars.

This might be worth l;istening to once every 5 years or so when in an introspective mood, or you are thinking about how the powers that be are turning england/UK into an islamic state complete with zones where only muslims are allowed to go, you know the failure of the postwar dream, but apart from that, forget about it

this album could kill a party faster than accordian music
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on September 26, 2003
Many reviewers seem to consider The Final Cut a sequel to Roger Waters' masterpiece The Wall, but it has much more in common with his post-Floyd solo releases - even if it's much more focused than The Pros and Cons of Hitchhiking or Radio KAOS. The only real difference between this and Roger's 'official' solo albums is in the personnel, but David Gilmour and Nick Mason are little more than session players on this release - and Rick Wright was entirely cast out of the band during the Wall Tour. Then again, The Wall was also mostly about Roger; contributions from Gilmour, though crucial in the final product, were not all that made The Wall great. Why is it then that the Final Cut is so very much less fulfilling and less memorable than that classic, groundbreaking piece of music?
Doubtlessly one of the most talented lyric writers in the rock world, Roger's lyrics always tended to be very personal, and at the same time very global - by keeping them abstract and nonspecific, Roger managed to keep some distance between himself and his songs. That's what he did to brilliant ends on Meddle, Wish You Were Here and mostly on The Dark Side of the Moon. On The Wall, though, Roger got personal - real personal. Fortunate for us, because that digging into his own soul got us one of the most important masterpieces of modern music. Perhaps less fortunate for him. Maybe digging up his own demons was too exhausting for Mr. Waters; maybe it was just a bit scary. I think that's the main reason Roger refused to perform any material from The Wall for the next ten years. At any rate, on The Final Cut Roger took a careful step backwards and again distanced himself from his music. But the wall was already broken. After The Wall, little more could be said; and anything he made during those years since the beginning of the 80s was, simply put, soulless. Sure, the lyrics are still great. There is some clever wordplay in The Final Cut, some biting social commentary. But Roger proves here beyond doubt that he is no Dylan and no Lennon - he is not a political songwriter. He can't write political or social lyrics to arouse the masses; he's at his best only when he writes about himself, in one way or another. And when he tries to write political satire, it always comes out as the rather pathetic sarcastic ranting of a deeply depressed middle-aged man. Not even the mandatory reference to his father's death (on 'The Post War Dream') can create the illusion of the spark that Waters once had.
Musically, of course, Roger is still in top shape for The Final Cut, and he has some first rate musicians around him. The arrangements and production are spotless as ever, and Gilmour makes a few more of his moving and melodic solos; no new musical statements are made, however. The instrumental work is not given the attention it deserves, and sound effects are greatly overused - it almost sounds like a tasteless parody on the sound of The Wall. Occasionally, though, The Final Cut does succeed in reaching true and genuine beauty. Two of the tracks stand up unmistakably, to my opinion, above the rest. One important exception is the title track itself - which, sadly, has little to nothing to do with the rest of the album - but it's the only song on the entire record in which Roger reluctantly dares to delve back into his own soul and come up with some real and genuine feelings. A rather simple arrangement and melody make for one of the most beautiful songs Roger had written, and a guitar solo that sounds like the Dave that we once knew completes it. The other standout track, my personal favorite on the album, is the closing track - 'Two Suns in the Sunset', the only song on the album that manages to combine clever and beautiful lyrics with beautiful music to make for a truly complete piece. There are several other songs that are interesting, but ultimately soulless and not good for more than a couple of listens - 'Not Now John' for instance is a nice rock piece with some good instrumental work and some clever, but shallow, lyrics; and 'The Fletcher Memorial Home' is good and smartly written satire, but ultimately a cliché. On the other hand, 'The Gunner's Dream' is a pretty song with nice harmonies and beautiful chord progression, but it doesn't really get to you, nor does it make any statement of importance.
'The Final Cut' is of course worth listening, especially for Floyd Fans; if you enjoyed any of Roger's solo expeditions, you're sure to like it. But know what to expect, and don't expect it to become a permanent favorite - it's entertaining for a few listens, no more. Songs like 'Southampton Dock', 'One Of The Few' and 'Get Your Filthy Hands Of My Desert' are filler material, no more, no less; and while on The Wall all the little tracks that don't amount to much by themselves become crucial when the entire album is considered as a whole, The Final Cut just doesn't add up. Likewise, the effects and spoken parts, which were an important part of the puzzle in The Wall, sound pointless and pretentious here. Compare The Final Cut to The Division Bell to hear the two different halves of the Pink Floyd legend, and understand why in their case the whole really was much more than the sum of its parts.
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on September 11, 2003
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 Mr. 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 Mr. 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 Mr. Waters' impassioned vocals. 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.
But ultimately, I cannot forget. There are places where the piano and organ work are woefully uninspired. Even Mr. Wright's partial presence on The Wall was more *alive* than this. The piano playing is not bad, really, but as a listener I found myself wondering if Mr. Kamen was told note-for-note what to play, espeically 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 Mr. 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.
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on May 13, 2004
Pink Floyd's The Final Cut was released in April of 1983. The album was the first Pink Floyd album of new material since 1979's The Wall. The album was mainly the work of Roger Waters(bass player/vocals) with muted contribution from drummer Nick Mason and guitarist/vocalist David Gilmour. Keyboardist Rick Wright was kicked out the band during The Wall sessions. The Final Cut was supposed to be the soundtrack to The Wall movie but nstead, The Final Cut presents a gloomy vivid portrait of a morally crumbling post-WWII/Falklands War era England. The album is fixated on the second World War and what the personal and societal sacrifices of that conflict meant to Great Britain in 1982/1983. "What have we done to England?/Should we shout, should we scream/'What happened to the post war dream?'" lyricist, Roger Waters asks on the opening The Post War Dream. Throughout the album, Roger(whom had lost his father in World War II) explores that inquiry. Your Possible Pasts are taking shots at then UK and US leaders Thatcher and Reagan, which dates this song slightly. The main character in this album is the teacher from The Wall whom was disappointed in the generation they preserved (One of the Few and The Hero's Return), trying to keep a fellow serviceman's dream alive(The Gunner's Dream), pursued by ghosts (Paranoid Eyes). Get Your Filthy Hands Off My Desert is great and is followed by my favorite song on the album The Fletcher Memorial Home which depicts Margaret Thatcher and Ronald Reagan as overgrown infants and tyrants. Southampton Dock was about Thatcher waving goodbye to the men. The title cut is a great song too. Not Now John is a superb rocker and the only Gilmour vocal on the record(him and Roger fought like mad and David took his name off the credits but still got paid to produce the album. The haunting Two Suns in the Sunset closes the album. Andy Newmark plays drums on this track as Nick was forced out as well. By the time this album was finished, Pink Floyd broke up. The album was another Top 10 album for the band in the US hitting #6 and selling 2 million in the US but was a flop compared to its predecessor. Now, the album has been reissued with a slightly amended tracklisting featuring When the Tigers Broke Free, which was originally recorded for The Wall Movie and intended to go on The Final Cut but was left off as they felt the song was out of place. Strange enough, the song works very well throughout the context of the album. At first, it was strange hearing this track after One of the Few because the clocks faded and then bang into The Hero's Return. Now, with Tigers in tow, this is the true version of The Final Cut. The sound quality buries the original Sony remaster from 1997 and James Gutherie(one of three co-producers on the original album) painstakingly remastered this album with much better sound. I sold the Sony version of this album after I bought this. This expanded version of The Final Cut is highly recommended!
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