Winter Driving Best Books of the Month Valentine's Day Shop Learn more nav_sap_SWP_6M_fly_beacon King easycohice_2016 All-New Amazon Fire TV Subscribe & Save Valentine's Day Cards Amazon Gift Card Offer chiraq chiraq chiraq  Amazon Echo All-New Fire Kindle Paperwhite Shop Now Sale

The Final Cut (2011 Remastered Version)

September 27, 2011 | Format: MP3
Song Title
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to (US).

Product Details

  • Original Release Date: September 26, 2011
  • Release Date: September 27, 2011
  • Label: Parlophone UK
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 46:11
  • Genres:
  • Average Customer Review: 4.1 out of 5 stars 558 customer reviews

Customer Reviews

Top Customer Reviews

Format: Audio CD
An album with a perhaps somewhat-undeserved reputation, Pink Floyd's "The Final Cut" is listed on the back cover as "A Requiem for the Post-War Dream by Roger Waters, performed by Pink Floyd". This is probably the most accurate way to look at the record, it is a Roger Waters album, with David Gilmour and Nick Mason part of the backing band (keyboardist Richard Wright had been ejected from the band and even Mason's contributions were limited, with a percussionist added and another drummer on the closing track).

The album, like all the Floyd records prior, follows a concept-- intermingling reflections on the then-current world political climate (notably Thatcher's attack on the Falkland Islands) with the story of a soldier coming back from war to find the world quite changed (evidentally parts of this were originally written for "The Wall" to provide backstory for the teacher, who was also a veteran like the protagonist's father). Several themes are reprised a couple times throughout the album, most notably the "what have we done" vocal, which reappears sung or hummed (per suggestion of Nick Mason) throughout the record.

The result is a dense, lyrically-driven album that, like "The Wall" before it, largely abandons the open structures found on previous Floyd records. With Waters firmly in control and pushing his lyrical message, Gilmour's guitar is largely restrained and there's little of the openness and expansive structures of the previous albums.
Read more ›
11 Comments 132 of 145 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD Verified Purchase
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.
Read more ›
22 Comments 246 of 280 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
This often brilliant but flawed album is the nearest thing to a Roger Waters solo album in the Pink Floyd catalog, much as "Momentary Lapse of Reason" would be the nearest thing to a David Gilmour solo album in said catalog. Keyboardist Rick Wright, responsible for the lush keyboard textures that helped characterize Pink Floyd's sound up to 1977's "Animals", had been forced out of the group three years earlier. Drummer Nick Mason's creative involvement had declined sharply since "Dark Side of the Moon", and guitarist David Gilmour, who had co-written such classics from the previous Pink Floyd album, "The Wall" as "Young Lust", "Run Like Hell", and "Comfortably Numb", got no writing credits in edgewise this time, was ousted from the production team, and was reduced along with Mason to the status of sideman alongside a bevy of session players, one of whom even replaced Nick Mason on drums on one of the songs.
"The Final Cut" was the culmination of a trend that started with "Dark Side of the Moon", the first Pink Floyd concept album with all lyrics by Waters, in which all tracks segued into the next and leitmotifs, especially in the form of sound effects, were used to reinforce the album "concept". Since it worked so well, it seemed the right idea to keep doing it for future albums. But with every subsequent album Waters' concepts and lyrics became more personal and he, understandably, wanted greater control over the album projects, and arguably came to see them as "his" rather than the group's.
"The Wall" however was a commercial success despite this tendency. Co-producer Bob Ezrin's imput helped make a narrative that was very personal to Roger Waters a more universal statement about authoritarianism, alienation and isolation.
Read more ›
1 Comment 39 of 42 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews

What Other Items Do Customers Buy After Viewing This Item?