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RARITY - SEALED - NO OBI
Pink Flyod [click here to see more vinyl/SACD featuring Pink Floyd]
Bass, Vocals – Roger Waters [click here to see more vinyl featuring Roger Waters]
Guitar – David Gilmour
Backing Vocals – Doreen Chanter, Irene Chanter
Drums – Andy Newmark (B6), Nick Mason
Electric Organ [Hammond] – Andy Bown
Percussion – Ray Cooper
Piano, Harmonium – Michael Kamen
Tenor Saxophone – Raphael Ravenscroft
Orchestra – The National Philharmonic Orchestra
Conductor – Michael Kamen
Orchestra arranged by Michael Kamen
Composed by Roger Waters
1 LP, Gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : unspecified (Japan)
Label : CBS/Sony
Original Label : Columbia
Recorded July–December 1982 at Mayfair, RAK, Olympic, Abbey Road, Eel Pie, Audio International, and the Billiard Room in London ; Hook End Recording Studios in Oxfordshire, England
Engineered by Andy Jackson, James Guthrie
Produced by James Guthrie, Michael Kamen, Roger Waters
Mastered by Doug Sax
Originally released in 1982
Reissued in 1983
Tracks:
Side A:
- The Post War Dream
- Your Possible Pasts
- One Of The Few
- The Hero's Return
- The Gunners Dream
- Paranoid Eyes
Side B:
- Get Your Filthy Hands Off My Desert
- The Fletcher Memorial Home
- Southampton Dock
- The Final Cut
- Not Now John
- Two Suns In The Sunset
Reviews :
« The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention. This is more like a novel than a record, requiring total concentration since shifts in dynamics, orchestration, and instrumentation are used as effect. This means that while this has the texture of classic Pink Floyd, somewhere between the brooding sections of The Wall and the monolithic menace of Animals, there are no songs or hooks to make these radio favorites. The even bent of the arrangements, where the music is used as texture, not music, means that The Final Cut purposely alienates all but the dedicated listener. Several of those listeners maintain that this is among Pink Floyd's finest efforts, and it certainly is an achievement of some kind -- there's not only no other Floyd album quite like it, it has no close comparisons to anybody else's work (apart from Waters' own The Pros and Cons of Hitch Hiking, yet that had a stronger musical core). That doesn't make this easier to embrace, of course, and it's damn near impenetrable in many respects, but with its anger, emphasis on lyrics, and sonic textures, it's clear that it's the album that Waters intended it to be. And it's equally clear that Pink Floyd couldn't have continued in this direction -- Waters had no interest in a group setting anymore, as this record, which is hardly a Floyd album in many respects, illustrates. Distinctive, to be sure, but not easy to love and, depending on your view, not even that easy to admire. » AllMusic Review by Stephen Thomas Erlewine
Ratings :
AllMusic : 3 / 5 ; Discogs : 4.67 / 5