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The Final Cut Original recording remastered


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Vinyl Bound, 1983
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$26.99
$12.99 & FREE Shipping on orders over $35. Details In Stock. Sold by megahitrecords and Fulfilled by Amazon. Gift-wrap available.

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The Final Cut + Momentary Lapse Of Reason + Wish You Were Here
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Editorial Reviews

‘The Final Cut’ was the last Pink Floyd album to feature Roger Waters prior to his departure from the band in 1983. The new Discovery version presents the original studio album, digitally remastered by James Guthrie and reissued with newly designed Digipak and a new 12 page booklet designed by Storm Thorgerson.

 

The ‘Discovery’ collection: 14 Remastered Studio Albums

Since 1967 Pink Floyd have produced one of the most outstanding and enduring catalogues in the history of recorded music. All 14 original Studio albums have now been painstakingly digitally remastered by James Guthrie (co-producer of The Wall), and are reissued with newly crafted packaging and booklets created by the band’s long-time artwork collaborator Storm Thorgerson.

‘Discovery’ albums are designed as an introduction to the artist, with all booklets including full album lyrics.

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. The Post War Dream (2011 Remastered Version) 2:59$1.29  Buy MP3 
listen  2. Your Possible Pasts (2011 Remastered Version) 4:26$1.29  Buy MP3 
listen  3. One Of The Few (2011 Remastered Version) 1:17$1.29  Buy MP3 
listen  4. When The Tigers Broke Free (2011 Remastered Version) 3:12$1.29  Buy MP3 
listen  5. The Hero's Return (2011 Remastered Version) 2:42$1.29  Buy MP3 
listen  6. The Gunner's Dream (2011 Remastered Version) 5:18$1.29  Buy MP3 
listen  7. Paranoid Eyes (2011 Remastered Version) 3:41$1.29  Buy MP3 
listen  8. Get Your Filthy Hands Off My Desert (2011 Remastered Version) 1:16$1.29  Buy MP3 
listen  9. The Fletcher Memorial Home (2011 Remastered Version) 4:09$1.29  Buy MP3 
listen10. Southampton Dock (2011 Remastered Version) 2:13$1.29  Buy MP3 
listen11. The Final Cut (2011 Remastered Version) 4:42$1.29  Buy MP3 
listen12. Not Now John (2011 Remastered Version) 5:01$1.29  Buy MP3 
listen13. Two Suns In The Sunset (2011 Remastered Version) 5:15$1.29  Buy MP3 

Product Details

  • Audio CD (September 27, 2011)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Capitol Records
  • ASIN: B004ZN9YNC
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (533 customer reviews)
  • Amazon Best Sellers Rank: #101,683 in Music (See Top 100 in Music)

Customer Reviews

4.1 out of 5 stars

Most Helpful Customer Reviews

117 of 128 people found the following review helpful By Michael Stack VINE VOICE on July 11, 2005
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.
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235 of 267 people found the following review helpful By Manny Ramirez on February 23, 2005
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.
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32 of 34 people found the following review helpful By Paul Beaulieu on May 11, 2002
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.
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