Tracklist
The Post War Dream | 3:02 | ||
Your Possible Pasts | 4:22 | ||
One Of The Few | 1:23 | ||
The Hero's Return | 2:56 | ||
The Gunners Dream | 5:07 | ||
Paranoid Eyes | 3:40 | ||
Get Your Filthy Hands Off My Desert | 1:19 | ||
The Fletcher Memorial Home | 4:11 | ||
Southampton Dock | 2:13 | ||
The Final Cut | 4:46 | ||
Not Now John | 5:01 | ||
Two Suns In The Sunset | 5:14 |
Credits (24)
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Artful Dodgers*Artwork
- Roger WatersComposed By [All Tracks Composed By]
- Michael KamenConductor, Arranged By [Orchestra], Piano, Harmonium
- Roger WatersDesign, Sleeve [Sleeve Design]
- Andy NewmarkDrums
- Andy BownElectric Organ [Hammond Organ]
Notes
The Final Cut is the twelfth studio album by English rock band Pink Floyd,
recorded July–December 1982 and first released on 21 March 1983.
recorded July–December 1982 and first released on 21 March 1983.
Versions
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398 versions
Image | , | – | In Your Collection, Wantlist, or Inventory |
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The Final Cut
LP, Album, Test Pressing, Stereo, Carrollton Pressing
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Columbia – none | US | 1982 | US — 1982 |
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Harvest – 1C 264-65 042 | Europe | 1983 | Europe — 1983 |
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The Final Cut
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Harvest – 2C 070-65042 | 1983 | — 1983 |
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The Final Cut
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Harvest – 1C 064-65042 | Europe | 1983 | Europe — 1983 | ||||
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The Final Cut
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Columbia – CK 38243 | US | 1983 | US — 1983 |
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The Final Cut
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Harvest – 3C 064-65 042 | Italy | 1983 | Italy — 1983 |
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The Final Cut
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Columbia – QC 38243 | US | 1983 | US — 1983 | ||||
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Harvest – SHPF 1983 | Yugoslavia | 1983 | Yugoslavia — 1983 |
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The Final Cut
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Columbia – 38243 | Canada | 1983 | Canada — 1983 | ||||
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The Final Cut
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Harvest – OC 064-65 042 | UK | 1983 | UK — 1983 |
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Harvest – 11C 078-65042 | Portugal | 1983 | Portugal — 1983 |
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CBS/Sony – 25AP 2410 | Japan | 1983 | Japan — 1983 |
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CBS – SBP 237817 | Australia | 1983 | Australia — 1983 |
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The Final Cut
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Columbia – AS 1636 | US | 1983 | US — 1983 |
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The Final Cut
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Harvest – 072-065 042 | Spain | 1983 | Spain — 1983 | ||||
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The Final Cut
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CBS – 14-1668 | Colombia | 1983 | Colombia — 1983 |
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The Final Cut
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CBS – 230 500 | Brazil | 1983 | Brazil — 1983 |
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Harvest – 14C 064-65042 | Greece | 1983 | Greece — 1983 | ||||
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CBS/Sony – 30AP 2534 | Japan | 1983 | Japan — 1983 |
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CBS – CLS-5784 | Mexico | 1983 | Mexico — 1983 |
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Columbia – 120.370 | Argentina | 1983 | Argentina — 1983 |
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EMI – 1C 064-65 042 | Turkey | 1983 | Turkey — 1983 |
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The Final Cut = El Corte Final
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CBS – CS-10.449 | Venezuela | 1983 | Venezuela — 1983 |
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Harvest – 16 5042 1 | UK | 1983 | UK — 1983 |
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Harvest – C 266-65.042 | 1983 | — 1983 |
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CBS/Sony – 25AP 2410 | Hong Kong | 1983 | Hong Kong — 1983 |
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Harvest – 3C 264 65042 | Italy | 1983 | Italy — 1983 | ||||
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Harvest – 10C 072-065 042 | Spain | 1983 | Spain — 1983 |
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Columbia – VQCT-38243 | Canada | 1983 | Canada — 1983 |
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CBS – CBS 25416 | Israel | 1983 | Israel — 1983 |
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The Final Cut = El Corte Final
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CBS – CS-10449 | Venezuela | 1983 | Venezuela — 1983 |
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Columbia – QCT 38243 | Canada | 1983 | Canada — 1983 |
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CBS – JDB 2855 | South Africa | 1983 | South Africa — 1983 |
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CBS/Sony – 25AP 2410 | Japan | 1983 | Japan — 1983 |
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Harvest – 14C 264 65042 | Greece | 1983 | Greece — 1983 |
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Columbia – QC 38243 | US | 1983 | US — 1983 |
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The Final Cut
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CBS/Sony – 35DP 53 | Japan | 1983 | Japan — 1983 |
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Harvest – 3C 064-65 042 | Italy | 1983 | Italy — 1983 |
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Columbia – 38243 | US | 1983 | US — 1983 |
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Recommendations
Reviews
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Edited 8 days agoRecorded during very difficult circumstances for the band (when there was barely a band to speak of anymore), The Final Cut was the last album for the classic configuration of Pink Floyd.
The album has never had a very good reputation and it is easy to see why. Mood and texture take precedence over rhythm and melody. Sloganeering sometimes dominates the lyrics. And though the record achieved double platinum status, it was their lowest-selling album worldwide since Meddle.
Some would say i have the tendency to speak for and defend the underdog, but underneath the obscurity of the lyrics and the music, The Final Cut harbours a heartfelt and sincere narrative about the sacrifices made to achieve the post-war dream, as symbolised by the loss of the life of Roger Water's father in World War II.
This record may take work, but once the words and music fall into place, the achievement of it all is quite impressive.
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The lyrics are very personal of course, but this album mostly has waters either whispering or screaming/shouting.
And where is Rick Wright? or any synths in general?
I will say this, SONICALLY it's fantastic. -
Great pressing espectacular sound, great dynamics, you feel it on the drums…. And awesome speciality, I heard waters was experimenting with something call it holofonic sound, a previous aproach to Q sound
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This is my favorite Pink Floyd album, though it is rightly described as a Roger Waters album. It works as an album but is somewhat disted as much is The Wall outtakes and Pink Floyd is only present here and there. As an album, it’s an extension of the Wall themes without most of the opera concepts and is somehow bleaker. The vinyl pressing sounds excellent; however, the panning effects are a different experience on headphones. Worth listening in headphones and also speakers to compare. This vinyl pressing does not have When the Tigers Broke Free, which was added later from the film. There is also a single-only longer version of Hero’s Return 1&2 which should be on the record. Waiting for a version that has Tigers and the full Hero!
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Roger’s Pink Floyd swan song.
Four years after the success of Pink Floyd’s “The Wall,” a two platter blockbuster rock opera that resonated soundly with global listening audiences, spawning a merchandising blitz, a sellout concert tour, and a controversial film adaptation by Alan Parker, it was a hard act to follow.
With tensions between Waters, percussionist Nick Mason and David Gilmour escalating, they reunited for the contractually obligated “The Final Cut.”
With a “requiem written by Roger Waters” credit prominently displayed on the back of the album, the end result is essentially his unofficial first solo venture.
After keyboardist Richard Wright’s removal from the band (he was grudgingly rehired by Waters for “The elaborate “Wall” concert tours), Michael Kamen reunited with the band. He provides “The Final Cut” with a forlorn poetry, conducting the National Philharmonic Orchestra in a crisp recording comprised largely of castoffs from “The Wall.”
The 1983 LP was a grand achievement technically, gifted with the mind-blowing Hugo Zuccarelli’s Holophonic sound treatment, allowing the band’s trademark ambient effects to shine with a stunning clarity, with the more bellicose sounds exploding harshly from your sound system.
Whereas “The Wall” was a largely collective effort that connected with listeners regarding its universal themes of isolation, mental illness, racism, and ultimately redemption, “The Final Cut” is a depressing unofficial Waters solo project focused on his political and personal concerns.
Waters’ writing here is devoted to the tragic loss of his father (to whom this recording is dedicated) during World War II as well as an expression of his geo-political views.
It is redeemed by a few engaging songs and David Gilmour’s steely guitar work and vocals on the album’s lone single, “Not Now John,” the saxophone work of Raphael Raveenscroft, and Kamen’s harmonium and piano performances.
“Not Now John” is an anti-establishment rocker with an “F-(bomb)all that” lyric and chorus amended to a radio friendly “Stuff all that” substitute.
“When The Tigers Broke Free,” featured in Parker’s envisioning of “The Wall,” is a noble orchestral cue with a dour, pained reading by Waters. “Two Suns In The Sunset” explores the potential of nuclear Armageddon.
Upon Waters’ departure from the group after contentious legal battles, Gilmour took the reins to steer the revitalized Pink Floyd brand to renewed success with “A Momentary Lapse Of Reason,” “The Division Bell,” a pair of concert recordings and accompanying live documentaries.
While the glory days of a unified band focused on common artistic pursuits are but a distant, cobwebbed memory, one must not forget one crucial component…
Without the daring of its oft forgotten, pioneering founder Syd Barrett, this and other classics would be indeed nothing more than post psychedelic era dreams. -
referencing The Final Cut (CD, Album, Reissue) CK 38243
This version in not bad; some digital glares in a couple of tracks -
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Everything sounds just right on this pressing. Phenomenal dynamics and bottom end! Pretty quiet vinyl too.
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Edited 2 months ago
referencing The Final Cut (LP, Album, Gatefold) 25AP 2410
Hi,
As I live far from Paris (6000km) I organized by phone the local pick-up by a friend of a so called "Mint sealed record". The Japanese press of The Final Cut.
My friend is not an expert or collector, he opened the shrink in store but didn't see the hairlines and spindle marks difficult to see at day light.
When I got it some weeks later I saw quickly it was a re-sealed basic more or less VG+ record with a missing insert. It costed me probably 3 or 4 times the price I should have paid for it.
We don't talk about bad record grading here: it's a simple and pure robbery.
This record is still for sale here on this page as Mint/sealed by that dishonest store called "musique.musique" in (Paris). Be very careful. I pushed my luck and gave it a try. A second try is not necessary. just don't buy anything from that crook. -
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