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Disco de Pink Floyd - The Final Cut

Disco de Pink Floyd - The Final Cut (Anverso)
Información del disco :
Título: The Final Cut
Precio aprox.:$16.98 (USD)
Fecha de Publicación:
Tipo:Audio CD
Género:
Sello Discográfico:Columbia
UPC:074646851722
Valoración de Usuarios :
Media (4.0) :(451 votos)
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251 votos
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79 votos
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50 votos
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32 votos
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39 votos
Contenido :
1 Post War Dream, The
2
3 One Of The Few
4 Hero's Return, The
5 Gunners Dream, The
6 Paranoid Eyes
7 Get Your Filthy Hands Off My Desert
8 Fletcher Memorial Home, The
9 Southampton Dock
10 Final Cut, The
11 Not Now John
12
Análisis - Product Description :
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Análisis - Amazon.com :
The last release from the Roger Waters-led incarnation of the band, The Final Cut is easily the most darkly provocative entry in the entire Pink Floyd catalog. Many fans and critics tend to think of it as a Roger Waters solo album, though it certainly hangs together much better than The Pros and Cons of Hitchhiking or Radio K.A.O.S.. Others view it as a sequel to The Wall--and indeed, The Final Cut tackles many of the same issues (the futility of war, the innate powerlessness of the individual in modern society), albeit with twice the bile and intensity. The anger that fires songs like "The Hero's Return" and "Not Now John" is certainly legitimate, and Michael Kamen's orchestral arrangements are absolutely stunning, but the entire listening experience can be pretty draining. On the other hand, if you found The Wall to be too soft or commercial, The Final Cut is definitely the record for you. --Dan Epstein
209 personas de un total de 237 encontraron útil la siguiente opinión:
- Give It a Chance

The 12th studio album that was done by Pink Floyd is also the most polarizing one - it is one that is either loved or hated.

I remember when I first got into Floyd; I was absolutely mesmerized by the whole package - lyrics, sound effects, guitar solos, the whole 9 yards. Of course, I consider myself a firm Gilmour man and don't get me wrong - Dave is still my all-time favorite guitarist. However, the more I listened to the Roger dominated albums like "Animals", "The Wall", and "The Final Cut" compared to what came out after this album, it is no contest to me - Roger was TRULY Pink Floyd. Yea, Gilmour is the better musician and the better singer, but he can't write songs like Roger can and he definitely does not have the creative vision of a Waters.

People are right in that "The Final Cut" is essentially more of a solo album for Roger than an actual Floyd album but what about "A Momentary Lapse of Reason"? That album didn't even have Rick Wright or Waters and Nick Mason appears on only half that album - so, if "The Final Cut" is indeed Roger's first solo album, then AMLOR is Gilmour's 3rd solo album. The point of mentioning this is to simply say that Roger Waters is not the only person in Floyd who tried to pass off a solo album as a "Floyd album" - so it gets tiresome to read when people complain about that with "The Final Cut" but never mention the next "Floyd album".

The point is that no one truly knows what was going on with Roger at that time in his life - the dude was having some serious issues, but he was still able to put together some amazing stuff. Sure the lack of guitar solos is disappointing, but when they do appear in songs like "The Post War Dream", "The Fletcher Memorial Home", and "Not Now John", they are simply outstanding. It is like their infrequent use makes them that more powerful when they do appear. But some of the other tracks are just amazing to me, especially after repeated listens like "The Gunner's Dream", "The Final Cut", and especially "When the Tigers Broke Free" (one of the saddest Floyd songs ever).

If you enjoyed "Animals" and "The Wall" more than the other Floyd stuff, I feel that you will enjoy "The Final Cut". If "Animals" and "The Wall" were your least-favored Floyd albums, you will probably have a tough time with "The Final Cut", but just go into it with an open mind and give it a chance. If you happen to enjoy "The Final Cut", you must buy Roger's solo stuff, especially "Amused to Death" (the best solo album by any member of Floyd although Gillmour's first solo album is pretty damn good) and "The Pros and Cons of Hitchhiking".

Personally, "The Final Cut" is just behind "Meddle" for me in terms of favorite Floyd albums and #6 overall - "Animals", "Dark Side of the Moon", "The Wall", "Wish You Were Here", and "Meddle" then "The Final Cut".

(Beijing, CHINA)
41 personas de un total de 47 encontraron útil la siguiente opinión:
- Singular and revealing, both of Waters and yourself

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.

(USA)
14 personas de un total de 15 encontraron útil la siguiente opinión:
- Roger Waters' Final Cut With Floyd

1983's "The Final Cut" remains a most controversial Pink Floyd album to this day. The follow-up release to their 1979 mega-smash, "The Wall," and representing Roger Waters' last musical statement with the band, "The Final Cut" was the album that broke up the Floyd (well, the classic line-up anyway). There's an abundance of orchestration on this album (the most orchestration on a Floyd album since 1970's "Atom Heart Mother"), keyboardist Richard Wright is absent (having been dismissed by Waters after "The Wall" tour), while guitarist David Gilmour and drummer Nick Mason are reduced to mere session players. The behind-the-scenes fighting between Waters and Gilmour during the making of this album is legendary, and it didn't sell particularly well by Floyd standards (peaking at #7). Fans were (and are) heavily divided about it, and, as the album is credited to "Roger Waters, performed by Pink Floyd," debate still rages on as to whether or not "The Final Cut" is really, truly Pink Floyd, or just a Roger Waters solo album in disguise. And the planned tour for "The Final Cut" never materialised either, which only made many Floyd fans forget about the album that much quicker.But really, let's put all of that aside. Speaking for myself, I *totally* accept "The Final Cut" as a Pink Floyd album, and it's a brilliant, beautiful Floyd album at that. Written in memory of his father who died in World War II, it's got some of the most powerful, haunting music & lyrics that Waters has ever written, not to mention his most heartfelt vocals ever recorded (and fine bass-playing too, of course). And while Gilmour and Mason weren't allowed by Waters to contribute much to "The Final Cut," when they DO appear, they're in top form, both serving up excellent guitar and drum parts, respectively. And the album really does have a marvelous atmosphere to it, with great sound effects enhanced by the use of a process called holophonics (you can especially hear the difference when you listen on headphones). Memorable songs include "Your Possible Pasts," "One Of The Few," "The Gunners Dream," "The Fletcher Memorial Home," the title song, and the awesome rock of "Not Now John" (featuring Gilmour on vocals with Waters). It's still sad that Waters quit Pink Floyd after "The Final Cut," as he & Gilmour couldn't stand each other anymore by this point. Gilmour & company soldiered on without him for two more albums, and they both sold great and the tours were also very successful, but the band just wasn't the same anymore, and the music left something to be desired---namely, Roger Waters. Even if "The Final Cut" wasn't a big seller, it is unquestionably an artistic triumph for both Waters AND Pink Floyd. Granted, there's nothing to "space out" to on "The Final Cut," so if you only like Pink Floyd for the "Far out, man" quality of their earlier music, you may be disappointed with this one. But if you also happen to like them for their phenomenal songwriting, music, and craft, then chances are you will thoroughly enjoy this buried treasure from Pink Floyd. Do give "The Final Cut" a listen.

16 personas de un total de 19 encontraron útil la siguiente opinión:
- Anti-War Masterpiece

"The Final Cut" is Roger Water's statement against the Falkland War. Even though this event is long past, it still applies to us today, especially with the situation in Iraq. The theme of anti-war is timeless.

Song-by-Song:

1. The Post War Dream - A heartfelt reflection on how the dreams of hope after WWII were shattered by conflicts such as Vietnam and the Falklands. There are, however, some racial slurs for the Japanese, so be warned. The song has a powerful conclusion that challenges Margaret Thatcher, asking her what she has done to England.

2. Your Possible Pasts - A song about how after WWII, veterans' lives had been irreversibly altered and they could never live a peaceful ordinary life. Musically, it is one of the best songs on the album. Thematically, it provides a bridge between politics and the backstory of the oppresive schoolteacher from "The Wall," which is coming up next.

3. One of The Few - A veteran comes back from the war. Tormented and confused, he decides to teach/torment children. This song is basically the prelude to "The Hero's Return."

Extra: When the Tigers Broke Free - This song from the film "The Wall" is included on the reissue. It is a description of the death of Eric Fletcher Waters, Roger's father. The song is heartfelt and really contributes to the album's overall themes.

4. The Hero's Return - The story of the teacher continues. He is frusterated with the children, who have no appreciation for the hard-earned freedom he fought for. He is tormented by his experiences in the war, and his relationship with his wife is crumbling. The song ends with a bridge into the next song where he says that there is "a memory too painful to withstand the light of day."

5. The Gunner's Dream - While many of the songs feel over the top, the one hits home like no other. It is a gem that is supposedly the dying words of a soldier, who describes his own funeral, saying his goodbyes "in the corner of some foreign field." This suggests the gunner is a universal character, he could be any soldier dying abroad. The gunner describes a place to retire to, a place that is not paradise, but close enough to satisfy a veteran. The emotion overflows right up until the final line: "Take heed of the dream."

6. Paranoid Eyes - A calm number about being a soldier, hiding behind paranoid eyes. It shows great insight, and is a welcome rest after the relative intensity of "The Gunner's Dream." It is a bridge back into the political themes of the album.

7. Get Your Filthy Hands Off of My Desert - A number reminiscient of "Bring the Boys Back Home" and "The Show Must Go On" from "The Wall." It is Roger Water's description of the Falkland War, and the prelude to the next song.

8. The Fletcher Memorial Home - One of the most angry political songs of all time, this song calls for all warmongering politicians (referred to as "overgrown infants" and "colonial wasters of life and limb") to be removed from their positions and institutionalized. Many may be offended by this track; it calls for the removal of Ronald Reagan amongst others.

9. Southampton Dock - A slow, emotional number about the troops disembarking to go to The Falkland Islands. It begins by talking about the end of WWII and the vows for peace, then jumps foward in time to when these vows come crashing down. We really feel the tragedy of the fall of the Post War Dream here.

10. The Final Cut - Breaking away from politics, this track is a throwback to "The Wall." It seems that Pink (the protagonist of "The Wall") is singing, though exactly when the song takes place is unknown. He sings about his usual alienation from life and his isolation from society. The combination of the words, the tune, and the way they are sung makes this song a masterpiece. Though it really doesn't fit in with the rest of the album, it is still a great song.

11. Not Now John - In a sharp contrast with the rest of the album, this track is pure hard rock, full of aggressive guitar work. We finally get to hear David Gilmour's voice during parts of this song, which is really a breath of fresh air after 10 or 11 tracks of Roger. The lyrics discuss the dangers of international economic competition. Disclaimer: This song is Pink Floyd's heaviest in profanity.

12. Two Suns in the Sunset - The final song is a true gem. Roger Waters sings about the everpresent threat of nuclear annihilation in a very calm manner. The acoustic guitar riff and the poetic lyrics are solid genius. The song ends with a session musician's saxophone solo, reminiscient of "The Gunner's Dream."

The final word: Buy this album, but don't expect it to be typical Pink Floyd.

(The Kickapoo Valley, U.S.A.)
15 personas de un total de 18 encontraron útil la siguiente opinión:
- Waters' Final Plea...

Okay..I'll admit it. I'm guilty of not giving this album a chance to burn into my mind as I should have. I listened to it way back in '83 (while "The Wall" was still echoing in my head) and wrote off Pink Floyd as a group. My mistake. 17 years later, I now realize what Waters was saying. I heard the pain in his voice as he told me how close we were to that final goodbye. Hearing the screams of children as the second sun seared them brought a tear to my eye. Putting all of the people of power into a home and keeping them away from the "button" caused a little chuckle to escape me. This is an album that must be understood to be appreciated. In '83 I didn't understand what I was hearing. I wanted "Run Like Hell" and "Comfortably Numb". I wasn't ready for Poetry To Think By. I hope that Gilmour will agree with me that, looking back, letting Waters take center-stage for his last go with the band, and getting these things off his chest, was ultimately good.

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