The Final Cut

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
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...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
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.
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Product Details

  • Release Date: 7/1/1991
  • Label: Sony
  • UPC: 074643824347
  • Catalog Number: 38243

Album Credits

Performance Credits
Pink Floyd Primary Artist, Primary Artist
Roger Waters Bass, Guitar, Vocals
Michael Kamen Piano, Conductor, Harmonium, Keyboards
Andy Bown Organ, Keyboards
Nick Mason Drums
National Philharmonic Orchestra Strings, Horn, Group
Ray Cooper Percussion
David Gilmour Guitar, Vocals
Andy Newmark Drums
Raphael Ravenscroft Saxophone, Tenor Saxophone
Technical Credits
Roger Waters Composer, Producer, Cover Design
Michael Kamen Arranger, Producer
Nick Mason Contributor
David Gilmour Contributor
James Guthrie Producer, Engineer
Andrew Jackson Engineer
Andy Jackson Engineer
Doug Sax Mastering
Artful Dodger Illustrations
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