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Paranoid Eyes - Pink Floyd - The Final Cut (CD, Album)


View credits, reviews, tracks and shop for the CD release of The Final Cut on Discogs. Label: Columbia - / • Format: CD Album, Reissue, Repress • Country: Brazil • Genre: Rock • Style: Prog Rock, Classic Rock4/5(8). On the back of the booklet: the final cut / a requiem for the post war dream by Roger Waters / performed by pink floyd For Eric Fletcher Waters (). Recorded in England at Mayfair, Olympic, Abbey Road, Eel Pie, Audio International, Rak, Hookend and The Billiard Room between July and December /5(). View credits, reviews, tracks and shop for the CD release of The Final Cut on Discogs/5(15).

Sloan to Paul Kantner. In Pink Floyd's case, it still works, partially through the understatement and ingenuity of the music and the special effects With no plans to tour the album, [46] Waters and Gilmour instead turned to solo projects.

Gilmour recorded and toured About Face inusing it to express his feelings on a range of topics from the murder of musician John Lennon to his relationship with Waters, who also began to tour his new solo album, The Pros and Cons of Hitch Hiking.

Infaced with a potentially ruinous lawsuit from his record company and band members, [49] Waters resigned. He believed that Pink Floyd was a "spent force". Gilmour's team responded by issuing a press release affirming that Pink Floyd would continue; he told a Sunday Ocean - Various - New!

(File) reporter that "Roger is a dog in the manger and I'm going to fight him". Waters wrote to EMI and Columbia declaring his intention to leave the group, asking them to release him from his contractual obligations. With a legal case pending, he dispensed with manager Steve O'Rourke and employed Peter Rudge to manage his affairs. Owing to the combination of Pink Floyd's partial breakup and Waters' dominance on the project, The Final Cut is sometimes viewed as a de facto Waters solo album.

Writing for AllMusicStephen Thomas Erlewine said "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. And either failing or succeeding brilliantly. It's up to you to decide whether this record is a success or a failure, but I'd go with the former every time.

From Wikipedia, the free encyclopedia. Pink Floyd. Harvest Columbia. Waters' lyrics demonstrate his despair of war, in particular the Big Car Blues - Lightnin Hopkins / Brownie McGhee / Sonny Terry - Lightnin Sonny & Brownie (Vinyl, L Conflict.

Rolling Stone. Retrieved 18 December Running Press. Commonwealth War Graves Commission. Retrieved 1 March Pink Floyd — The Music and the Mystery. London: Omnibus Press. The New York Times. Retrieved 24 April Reissue Series". Retrieved 26 August The Village Voice. Retrieved 24 February Australian Chart Book — Illustrated ed.

Ives, N. Hung Medien. Retrieved 9 June Library and Archives Canada. GfK Entertainment Charts. UK Albums Chart. Polish Society of the Phonographic Industry. Retrieved 2 February IFPI Austria. Bundesverband Musikindustrie. Federazione Industria Musicale Italiana. Retrieved 30 January Select "" in the "Anno" drop-down menu. Select "The Final Cut" in the "Filtra" field. Select "Album e Compilation" under "Sezione". Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers.

Retrieved 13 September Enter The Final Cut in the "Artiest of titel" box. Recorded Music NZ. Retrieved 21 November British Phonographic Industry. Select albums in the Format field. Select Gold in the Certification field.

Recording Industry Association of America. The Final Cut. The Wall Live — The Wall The Final Cut. Live at the Empire Pool. Authority control MusicBrainz release group: e8b7e7a3-efa5-bedfc9a Namespaces Article Talk.

Views Read Edit View history. Contribute Help Community portal Recent changes Upload file. By using this site, you agree to the Terms of Use and Privacy Policy. Art rock [4]. A Collection of Great Dance Songs Works Problems playing this file? See media help. The Daily Telegraph. Drowned in Sound. MusicHound Rock. The Rolling Stone Album Guide. And the album ends with a glimpse of a possible end for our world as a whole, in a firestorm of nuclear holocaust, mixed in the dual picture once again of self-destruction.

Anyway, all that aside I think that this is an important album, not only in the history of this band but also in our collective modern musical history. It's very close to a five star album in my mind, missing only because of its slightly sorded genesis. Anyway, the human portraits painted here and the actions that led to their being experienced in the first place are why we should all continue to hope for peace social review comments Review Permalink Posted Tuesday, March 27, Review this album Report Review After the final masterpiece in Lights And Virtues Floyd canon, The Wall, there was really nowhere to go but down given the Wont Allow - Various - Look At All The Children Now.

(Vinyl, LP) of relationships in the group. They should have stopped with The Wall but decided to put forth one final release. That's the conventional wisdom but in fact The Final Cut is yet another great album from the mind of Roger Waters, and it is the last true Floyd album what came after I could describe in all sorts of colorful language, but I'll be nice and simply say it has nothing to do with Pink Floyd. The Final Cut is often described as the outtakes from The Wall and it would seem to be true.

But since The Wall is an utter masterpiece it is bound to produce some good outtakes. Dave's contributions here are considerably less but when he does play his solos are still perfect for the songs. Truly awful. And I get a bit tired of Roger's vocal style that began with this album and continued into Pros and Cons, where he continually goes back and forth between the quietest whisper and then BOOM the full volume back in your face, and then the whisper Ein Bier, Ein Trinken - Walter Heyer - Boddelparty.Macht Müde Männer Mächtig Munter Folge 10 (Casset. But that's a minor nitpick.

The Final Cut is a beautiful and personal document that still finds Waters capable of expressing with unbelievable effectiveness all that is haunting, stark, bleak, cold. And yet I feel great joy listening to these albums which are so efficient, melodic, and perfectly constructed. It is unfortunate what happened to the band after this record and I wonder what could have been. But from Piper through The Final Cut, this band put together a string of albums that few other groups can match and together they have a body of work that will be remembered long after they are gone from this Earth.

Not many groups can say that. It's not quite as good as The Wall, and is clearly dissimilar to the band's pre-Wall albums. The one thing I find entertaining about it is that no matter how depressed I am, when I listen to it, it cheers me up simply because I now know there is someone even more depressed than me.

I'm not sure if that was what Waters All On His Own - Jennyanykind - Revelater (CD, Album) intended, but it sure does work for me.

The Final Cut is as or more depressing than The Wall. Two LPs of depressing music can really be annoying after awhile. Still, a good album, but far from essential. Waters and Floyd fans should have this. Three stars. This record ought not to have been made. WATERS has already had his say ad nauseam about the war and the death of his father: from 'Corporal Clegg' on 'A Saucerful of Secrets', barely an album has gone by without the obligatory war reminisce.

Here's what's wrong with this album. First, it's bereft of musical ideas, substituting the tedious, repetitive sudden shift in dynamics from piano to fortissimo for the gradual build that made PINK FLOYD listenable. Soft, loud, soft, loud, ten times a song.

I can Fading Away - Integrity (2) - Systems Overload (Vinyl, LP, Album) believe this gifted Loves Divine (Radio Edit) has become a one-trick pony, but it's true, as evidenced by this and his first solo album.

Where's the subtlety in this? The enjoyment? Second, what music exists is second-hand, having been Paranoid Eyes - Pink Floyd - The Final Cut (CD from 'The Wall': throughout the album we hear motifs 'The Wall' reprised.

Third, the singing. There isn't any. Fourth, it's just so damn obvious. How about some sound effects that make us think, rather than bludgeoning us over the head? This feels like the musical equivalent of watching one of those naive History Channel docos. I'm anti-war, but this is just so one-sided it's not credible. Fifth, and most damning, the rest of the band are invisible. MASON slaps the skins like a metronome, bored with the proceedings. WATERS is a hypocrite, protesting the selfish actions of politicians ripping the world apart while acting like a tyrant and dictator as he destroys his band.

But we're well beyond hypocrisy here. This stuff is puerile. His megalomania is breathtaking: he designed the album cover, played many of the guitars clearly GILMOUR wasn't good enoughgot drummers in to do some of MASON's parts, and even had his brother-in-law make a video of four tracks from the album.

Staggeringly, he later admitted that 'there was no band' Mason, Inside Out. Why not? I'm not going to bother talking about the musical highlights, because there aren't any.

The album has a definite highlight, however, a moment that rises well above the rest. It's the appalling moment when someone shouts 'Get your filthy hands off my desert! To sum up, the album is an unmitigated stinker. And yes, I'm coloured by my deep disappointment on purchasing this record.

Others find merit in it, though I cannot. Coming into the '80s most prog bands had changed their style dramatically to adapt to the coming times. One of the '60s and '70s most creative and innovative bands, Pink Floyd, however, decided to stick to what they know. Yessir, this album by them still feels late '70s, but only because it feels like they wanted to continue on a worn path. Seen by Roger Waters as a tribute to his father, it seems that he was inspired by his own work on The Wall to do something along these lines.

One of the things that is noticeable immediately on the album is the line-up on the back cover. Talk about an ego trip. However, this album has always been seen as a Waters solo album by the band, who really doesn't acknowledge the album at all. That's all okay of course, the album is still good.

What's different about this album to The Wall is that this one is more of a concept album than a rock opera if you want to nit-pickand it definitely plays out more that way. Also nice is Water's emotional delivery with his vocals on all the songs since this seems to be a topic he really cares about. The melancholic opener, The Post War Dreamis a good indicator as Waters shouts out the lyrics at the listener.

Other standouts are few, however, as the album does tend to meld together into a thick paste at times. The Gunner's Dream is another excellent track which carries on the sad feeling, as is Paranoid Eyes.

Two Suns In The Sunset has to be the biggest standout on the album, however, as a dark and almost loathing song played with a sad voice with apocalyptic lyrics. This is a very welcome addition to the album and an unfortunately overlooked track in the Late-Floyd discography.

There are a couple of lower points to the album as well. The two singles, The Fletcher Memorial Home is another melancholic song that unfortunately takes it one step past mourning and more into whining with its lyrics. This was seemingly Pink Floyd's attempt to make a catchy song, but it doesn't work that well. Not Now John is something Pink Floyd have never done before, and that's a hard edged standard rock song.

We gotta The Remington Brothers / Earl Robbins (2) - Wake Up Little Susie / Lotta Lovin (Vinyl) on with this!

In the end this is still a good album, but I wouldn't recommend it further than people who really want to hear The Wall disc three. Water's last attempt with the band which he unfortunately abused. It stinks of Roger Waters ego. It is 'The Wall' without the bricks. A depressing excessive shocker. What is perhaps more shocking is reading these glowing 5 stars reviews on this corker! Man, music is subjective, granted, but how can you call this Pnk Floyd. The cover is even unFloydian and so is the material.

Actually if you tears off the Pink Floyd title i might award this 3 stars for Waters tenacity. The tracks are forgettable and it is a solo project for Waters, rather than a band effort. Where were the other band members during this? Ah yes, Roger Waters was exercising his control and systematically mixed them out of the tracks.

Theres lotsa F bombs on this too and I hate that. No need for it and no need for any of this. Nothing more needs to be said. I wont waste my time with this any further. Just avoid this. It contaminates Pink Floyd's catalogue. The two songs share the same chord progression, melody, and are in the same key. Gilmour produces an absolutely screaming guitar solo here- perhaps one of his best.

It was not included on the original release. The lead guitar plays a neat melody on top of a delayed electric guitar that is reminiscent of several songs on The Wall.

The acoustic guitar adds to the richness of the melody. Waters's vocal performance is initially an aggravated one, but becomes soft and haunting on a later verse. The final part using a common chord progression that has been well-frequented throughout Water's work flows into the next song.

It's one of the most chill-inducing and saddening pieces of music ever written. From the explosion, to the first piano chords with that haunting, steadily ascending fifth noteto the reflective lyrics, to that moment when Roger Waters cries out to hold on to Perspects - Hover Culture (File, MP3) dream and his voice transforms into saxophone- this song is remarkable in so many ways.

It forces those of us on safe civilian soil to consider the uncomfortable loneliness of soldiers who are in the corner of some foreign field, having a dream that those of us back home are protected, well fed, and have "recourse to the law.

He tries to make merry, but only becomes more sullen and drunk. It's sad, but beautiful. Again, there is an economy to the music, but the sound effects like the footsteps and the laughter Dire Straits - Communiqué (CD, Album) the pub and the descending piano runs are amazingly effective.

There, they could feel important and wage war without disturbing the rest of us. The song features Waters at his whiniest. The music is sparse: Most of the instrumentation here is mere background sound to accompany Waters's snide poetry. While certainly not dreadful, it isn't the best this record has to offer. Waters's attempt to wax political only makes him come across as arrogant Album) condescending, especially for a man with such little foreign policy experience.

Gilmour gets a rare chance to rip through a guitar solo, and this he does, but while mostly sticking to the notes in the chords. This song features one of the best melodies present, and is definitely one of the most powerful pieces. It is difficult not to reflect on the post-war loneliness and misery many veterans must endure.

An orchestral motif from "Comfortably Numb" is revisited during this piece, and Gilmour delivers a stunning dual guitar solo. Once again, the lyrics, which dominate the song, are clever and well-written. The music is similar in feel to the heavier tracks on the previous album. The lyrics, despite the pleasant major key the song is played in, reflect the doom that faces humanity after the dropping of a nuclear bomb: "The sun is in the east, even though the day is done-" hence the fireball of the destructive holocaust.

In the middle section, it gets briefly heavy and Waters emits one of his piercing shrieks. The song returns to its peaceful form for the final verse, after which an oxymoronic saxophonist plays an easygoing solo.

The album starts with "The Post War Dream", after a minute of radio sounds, you quietly hear Roger sing. After two minutes the song reaches it's climax with great vocals and David's crying guitar on the background, great intro to the album. The solo is not as complicated as most of David's solo's are, but is very powerful. The next song, "The Hero's Return" starts with a pretty catchy riff and powerful vocals and distorted chords, after one and a half minute there is a quiet break, wich changes into the outro.

Though just being three minutes long, the song changes Too Much To Ask - Lisa Molina - My Love Will Be There (CD, Album) lot of times. Roger sings it with so much emotion, you can really hear that, definitely the "Night after night This song is perhaps the best song Pink Floyd has made since 's Animals.

I don't think it is as good as most of the other songs on the album however. The song has some nice time signatures and chords, also, it has a great guitar solo, wich sounds a bit like the solo of "Mother", from their previous album, The Wall. The next song is the short "Southampton Dock", wich excists out of just acoustic guitar and Roger's vocals and some very quiet strings on the background. What I like most about this short song are the lyrics, The Kids - Get Rad - Choose Your Own Adventure (Vinyl) are beautiful.

The title track is just like "The Gunner's Dream" one of the highlights of the album. The song starts out quiet, but reaches several climaxes, one of them being a dark, powerful guitar solo by David Gilmour.

The other one is the build up towards the sound of a shotgun. The lyrics at that climax are said ro be related to the previous album. The lyrics are stated as following: "Dial the combination, open the priesthole, and if I'm in I'll tell you what's behind the wall", the sound of the shotgun makes it unable to hear Roger saying " The next song is the only contibution of David Gilmour to this album. Though being a great song, I don't really think it fits in with the other songs, when I am in the mood of the more quiet songs on the album I can't really enjoy this one.

Just as the opener of the album it's about nuclear weapons, "The sun is in the east, even though the day is done". After two verses there is a very powerful part, probably the most powerful part of the album, including "Not Now John". A heavily distorted guitar is heard while a child is desperately screaming and Roger creates one of those special "Roger moments" with powerful "shrieking" vocals. The song ends with a nice saxophone solo.

Though people are saying this is just a Roger Waters solo album, I think it's very different from Roger's solo albums. Even though David Gilmour hasn't been able to have a larger contribution to this album, his unique style of guitar playing gives this album the finishing thouch it needs to become such a dark and amazing album. Roger and Co. Which it focused on the ''Falklands War'' which had happened recently, and had concerned a lot to Roger.

If we talk about war in music, you definitely will know from the very beginning it will be something pretty depressing, and not very up-lifting to say the least. Though, that was not it, depressing albums can be done wonderfully and be a work of art, though this was not the case due to Roger's, already achieved in their previous work, complete domination over the band, not letting any other member interfere in the album's compositions, this leading to Rick's already kick-out from the band, way back in The Wall sessions, however he played, nonetheless, in the following massive tour for it.

So just like The Wall, this was really another Waters album, with Pink Floyd half of it really as a decent backing-band, however, Dave and Nick didn't let Roger make it a solo-effort, since they said that ''they knew songs didn't grow on trees'', whatever that means.

Despite the down's of pretty much everything said before in which Roger was the song-writer and was deeply influenced by the recent war, making a total personal, depressing album, the album as a whole resulted very cohesive and sounds well from start to finish, yes, it is depressing and it obviously doesn't sound like a 'Pink Floyd' album, but still with David apporting some few brilliant guitar solos, it can still be considered a 'Pink Floyd' album as much as The Wall was.

The album carries a very slow and gentle, yet emotive, feel, very much in the likes of Side 3 of The Wall, with the exception of the one-song that was supposedly to be a single, 'Not Now John', which ironically, was the only song off of the album that sounded out-of-place, since it was rock-headed and featuring the only vocal-duties by David, which really corrupts the whole gentle and slow flow the album was having due to Roger's low-timbre vocals and melancholic melodies, as well as the effective, though a bit excessive, bomb sounds, and of the like, to make it as most war-driven as possible.

Another positive factor are the lyrics, while definitely not positive, they're very powerful and meaning, also the already mentioned dark, low-timbre, mood, ends up being very effective for some specific times of your life.

Besides the album as a whole, I would really like to dedicate this review to dear Antoine, a forum member, which really motivated me and was a grandiose music fan, as well as a marvellous person, unluckily never had the chance to meet him personally.

He was, surely, the biggest Final Cut fan, he loved it to pieces even if during his life-time in the forum talking with me, I bashed it, of course intentionally in a friendly way, saying it was the most depressing piece on earth.

Now I am proud to say I have found a lot to enjoy from this album, the already mentioned calm and tranquil moments are moments which are great to contemplate and listen, and very effective to sleep with, despite the 'war sounds'. Lovers of tranquil generally, yet with effective war-themed lyrics, music, this album is waiting for you.

But they weren't. At times it gets difficult even to include in the PF catalogue as it's more of a Roger Waters' solo project than a true collaboration with his soon-to-be at that time ex-bandmates. The music is similar to that of The Wall but completely devoid of the energy, the impulse, the melodies, the story-telling, and the brilliance of the tracks in the double-disc masterpiece.

Here, in The Final Cut, the music sounds repetitive, all songs seem to play in the same time, at the same speed, with the same themes. To add insult to injury, Rick Wright was left out of the band so even the keyboard has lost any distinctive touch. A disappointing follow-up to the masterpiece. It kicks in after a minute as contrasts continue. The lyrics are so emotional as he looks at those who have been changed by the war.

How we used to be? Do you think we should be closer? Roger has a right to be angry, to be sad,to be broken. Who needs guitar solos and bombast with words like these. It ends with these words "but in the bottom of our hearts we felt the final cut". This album sits beside "Amused To Death" on my shelf. Two special and meaningful recordings. The album features 12 tracks. The quality is as such still high enough and I rather enjoy the album albeit mostly in small doses.

The production and the musicianship on the album are of good quality. The album sounds as some transition work between The Wall DJ Patience - Falling Down / Vortex (Vinyl) Waters solo albums. In fact, you have there everything you are waiting from good PF album: melodic songs,guitar solos, perfect sound, Floydian atmosphere.

The main difference is I think the music there is too dark,too slow and too depressive even for Waters era PF. Because of that all album sounds a bit bulky, not focused, or even heavy depressed. You can't help. No-one can help. It just like the end of the world. And the music is enough monotonious as well. Strong 3,5. There are some very strong lyrics as usual and occasionally emotive music. The concept is war; interesting to experienced listeners but not really something I can relate to.

The sound effects are abundant again, as usual and add to the storyline, but not the quality. And the singing is often cringe-worthy; it's out of Waters' range. Plus Mason's drumming here seems to be as unenthusiastic as Gilmour's guitar playing. No musician on this album actually seems to care, other than the "Jolly Roger".

It's hard to think of what else to say about this album, other than that it is exactly in the same vein as The Wall, just a bit worse. One of the most fascinating things about Pink Floyd is that even though almost all of us love them, the list of preferred albums is very different for each individual. You might even find yourself defending very contrasting views about a particular album with people that you usually share a similar taste with.

For me, that's only another indication of the diversity, uniqueness and versatility of this band. There are so many layers to be found and appreciated in their work that everyone seems to pick and discover other ones.

So it's pretty safe to say that the only consensus about The Final Cut is that it's more of a Waters' solo album rather then a Pink Floyd album. Richard Wright had left the band and his absence is clearly felt. Musically it's as if an entire dimension of the Pink Floyd sound is missing. Wright's unique taste for texture and arrangements had already been subdued on The Wallbut now there's a giant void marking his absence.

Wright happens to be one of my most appreciated keyboard players so I sure do miss him here. A whole classical orchestra is brought in again to fill the gap, but it doesn't entirely succeed.

But it's not just Wright that's gone missing. Listening to this album one wonders how many percentage of the time Gilmour made his appearance in the studio. I believe he has about two or three solos and one vocal here. But when he does join for a shred, he truly shines. Roger Waters is all over the place obviously, and thankfully he is in amazing shape. I don't think I've ever heard him perform so intensively on the vocals. He certainly hasn't ever since.

I also find the song writing very solid here. But most of the album doesn't focus on songs but rather on the narrative style of music.

It's that aspect which makes the album truly unique and appreciated. I also enjoy the grave mood of it, and I'm not surprised it's a favourite of the Anathema boys.

Amidst all the polemic surrounding this album, I find myself in rather neutral ground. It's just the kind of album I simply seem to forget all about. So forgetting to review it is quite symptomatic. Where is Richard Wright on this album? Oh yeah, Roger did away with him during the recording of The Wall.

Richard's not even on this album! Where is Kill Or Cure Mason? He's out right now. Roger criticized his drumming and he's really feeling self-conscious about it!

Where is David Gilmour? Oh, he tried to contribute ideas but they were considered "interference". He finally walked out with the retort "whenever you need a guitar solo, call me".

Don't worry, he wouldn't be needing many of them. Four perhaps? And they would be shorter than usual anyway. And Roger will fade then in and out, mix them up and down whenever and where-ever he feels like it anyway. They are the session musicians who do whatever Roger Waters says whenever he says to do it! Of all the Pink Floyd albums, this is the only one in which Roger Waters gets credit for writing every song.

Of the 12 songs on this album, only one is graced with a vocal from David Gilmour. The album cover says it well. So it seems Roger finally got what he wanted: the total and utter domination of Pink Floyd. And he reduced the band's dynamic range to a dull thud in the process. After a complete turmoil where Richard Wright finally called it a day, Roger Waters was now in complete control over every aspect of Pink Floyd's work. With David Gilmour and Nick Mason functioning almost like session musicians, the idea for the next concept album began to take shape in Waters' mind and grew into the nightmarish voyage that is The Final Cut.

Logically there's just no way this project could have been merely as good as The Wall or anything that came before it. After all, this album was originally based on the left-over material from The Wall -sessions.

But even if everything spoke against anything worth a while coming out of Roger Waters' ego project, the final product was a surprisingly effective little rock opera! Based around the concept of anti-war, Waters' lyrical content explored what he considered to be a betrayal of British government towards its own servicemen.

Of course it's easy to dismiss the story as Paranoid Eyes - Pink Floyd - The Final Cut (CD another one of those "Waters having daddy issues"-kind of concept albums, but then you're definitely missing the bigger picture here.

World War II is only functioning as a premise to the story that's suppose to promote an idea of a post-war dream that felt like something important to fight for.

The post-war dream implies that victory would create a more peaceful society for everyone and no longer would there be a reason to resort to war, wherever a dispute occurs. Let's get together, win this war, and make sure that future generations will remember that war is never a solution.

Many people never cared to understand the underlying themes of this album and instead plainly assumed that it was just a continuation of the previous release, due to rather obvious similarities to The Wall. One of David Gilmour's main complaints about the album's content was the inclusion of the previously rejected material from The Wall sessions. He was even quoted saying--" If these songs weren't good enough for The Wall, why are they good enough now? To me, that's certainly not the issue mainly because these tracks merely didn't work as a Paranoid Eyes - Pink Floyd - The Final Cut (CD of that story arc.

When the material was rearranged and put in it current order then new concept created a completely different story progression. Everything from the packaging design to the, for once, very passionate sounding vocals by Roger Waters made me fall in love with The Final Cut even since I heard it for the first time almost a decade ago.

The music itself might not seem that varied, with only a few sections featuring a tenor sax or a guitar solo, but it fits the concept like a glove without ever making it all feel over the top or pretension. It's a dark little tale that doesn't give the listener a moment of rejoice and it seems to be asking a lot of an average-Pink Floyd fan since not many have managed to embrace the sheer power behind this album.

Musically this whole release is masterful from the beginning and right to the very end, with a minor exception of the completely uninspired rocker called Not Now John. This track just doesn't work well in contrast to the rest of the album and I generally prefer to skip it by going from the album's title track and right to the mighty Two Suns In The Sunset.

If you though that the ending of The Wall seemed very dark, then The Final Cut will literally make you want to weep for the stupidity of the human race. That's something only a masterpiece of music should be capable of doing. Please remember that this opinion comes straight from the heart of a very passionate prog rock fanatic. I wouldn't want it any other way. What Waters not Pink Floyd created here is a very personal, emotional and dark album. The lyrics are the best he has probably ever written and the few moments Roger lets Gilmour shine, he really shines.

Musically, it's the weakest Floyd effort but the lyrics in my opinion make up for them close to completely. I don't even have his political views and I think the lyrics to this The Entertainer - Scott Joplin, Joshua Rifkin - Piano Rags By Scott Joplin (Vinyl, LP) are amazing.

It's not a Longing For Bahia - Ben Sidran - Too Hot To Touch (Cassette) album, I'll go ahead and say that, but it is a journey when one listens to it with complete focus and those who get it, I feel happy for you. Don't let the low rating fool you, it's a great album.

Four stars. It can be considered Paranoid Eyes - Pink Floyd - The Final Cut (CD follow-up to The Wall, even if it seems that some songs were already written at the time of the Animals tour. Surely it contains, enhanced, all the personal problems that were affecting the personality of Roger Waters.

Yes, the album is dedicated to his father, but there are some references to Syd Barrett hidden in the songs. Not many people knows that Barrett was orphan as well as Waters and some of the situations described on The Wall and on The Final Cut are speaking of Syd instead of Roger only. Let's go to the music now: Star - Gigi DAgostino - Tanzen EP (Vinyl) Post War dream" opens with the usual gimmicks and the music in introduced by an explosion.

This song is about the Falklands war which represented the end of the "post war dream": the illuson that after the 2nd world war the world would have been a better place.

From a musical perspective this is just an opener. Here the absence of Rick Wright is clearly perceived. There are almost no keyboards, at least not what we were used with on previous PF albums including The Wall, and this absence is anhanced by the "olographic sound" that was the technical characteristic of the album. The concept is interesting. If you look at the past starting from the present, forgetting what the past was, it's the same as looking to the future.

There are possible potential pasts as well as possible futures. Who speaks is the teacher of The Wall: "Trying to clout these little ingrates into shape". It's an autobiographical track, even if Waters declared in an interview that the teacher who inspired the character was not really so bad.

After the rocky part, the acoustic coda mentions "the gunners dying words on the intercom". If you remember the gunner's death in The Wall The sax solo that starts over the waters' cry is probably the best thing of the whole album. The chords sequence is not trivial as on many of the album's tracks.

The key of this song is "And maniacs don't blow holes in bandsmen by remote control And everyone has recourse to the law And no-one kills the children anymore" The recourse to the law is what one can do against an injustice when in democracy.

Here Waters intends totalitaristic regimes like Argentina in those years, as well as in war, where no law exists or the evil guys are the law. There is a joke with the words "Desert" and "Dessert". Just few notes and few words to say "And Maggie over lunch one day took a cruiser with all hands apparently to make him give it back". This short song fades into "The Fletcher Memorial".

From a musical point of view this is similar to "The Trial". The interlude is grotesque. The powermen are children, "incurable tyrants", like the Valhalla Gods were in a Monthy Phyton movie.

It starts with "They desembarked in '45", but it's where the Falklands' fighters desembarked and 45 may be their number. The musical theme is the most recurrent. It speaks of media, majors, star system With a so big attention to the lyrics, the music in not the best of the album. There's one more song after, but it's a sort of "end titles". In brief, we defeated the Japaneses in the world war and now we have to compete with them form an economical point of view.

Then the invective touches the Russian bear, the Argentines, no need to worry about Vietnam The post-war dream is dead, that's all. This is the most rocky track on which there's also the only vocal performance of David Gilmour, together with a not bad guitar solo.

The last track "Two suns in the sunset" is imaginative. We are in the years of the Reagan's space shield. Many people is fearing for a possible nuclear war. One year after Waters will take part in the soundtrack of a cartoon produced by Greenpeace: "When the Wind Blows", about the long death of two innocent survivors to a nuclear attack.

The imagine of a "sun is in the east even though the day is gone" viewed in his car's rear mirror is incredibly strong. The song is another slow acoustic, but it's one of the album's best in terms of songwriting.

It's true that it's mostly a Waters solo album, but this is just the conclusive act of what was started with Animals. The lack of Wright, and keyboards in general is the weakest thing of the album and what gave to the fans the impression to be listening to something else than a Pink Floyd disc, but if we forget that it's branded Pink Floyd and try to rate it independently, I think it can deserve 4 stars for the lyrics and 3 for the music, also considering that no many good things were in the music shops in I can't say that's non-essential because it's the foundation for Waters' following works but I understand that not everybody can like it, so I roud it "odwn" to 3 stars because I can't sy that it's not good.

Not the Pink Floyd best, maybe the worst but not bad at all. There's the history, but is it any good? Does it deserve the panning it regularly gets? Yes to the first question, and no to the second. What people have to get is that this is a deeply personal work by Waters, in which he vents his spleen in a rage against the futility of war, the deeply dark and depressing reality of the state Britain was in at the time saw Thatcher effectively win an election by bashing the Argies in the Falklands War - many forget just how unpopular she was with unemployment at record levelsand, in fact, bemoaning the quality and decision making of virtually every single elected politician in the Western World, most of whom Waters confined to The Fletcher Memorial home, a madhouse for the crazed and powerful, alongside history's worst dictators.

Musically, there are some genuine highlights. The Hero's Return is a deeply moving and gentle paeon to the fallen. Kamen's piano work and Raphael Ravenscroft's sax on The Gunner's Dream eloquently bring Waters poem to the corner of a foreign field to sad and bitter life. In the same vein, Southampton Dock was refreshingly bought to life live in the Waters comeback live tour. Deeply moving and poetical, I love this track, and it serves as an introduction to the title track, which is beautifully understated throughout, and features a good Gilmour solo and more lovely orchestration.

The aforementioned Fletcher Memorial Home does bring Gilmour roaring into life with a trademark guitar burst one last time with his old sparring partner, if only, I suppose, to prove he could still do it. I actually think this is one of Waters' finest moments on record. The lyrics, ranting against these egotistical, mad, and inadequate leaders continues to have a profound effect on me, and the clever mix of subtle symphony and classic Floydian rock works extremely well.

The weakest track is the one that, musically, is out of kilter with all else, and an effort, I suppose, to bring some commercial success or attention NBA (National Ballers Anthem) - Tarantado - The Warm Up Mixtape (CD) the album.

Not Now John fails on almost every level. The highlight of the album, to me, Album), is the final track. Two Suns In The Sunset is a gorgeous piece of music, written to reflect the fear that Waters, and, indeed, many of us inhad regarding a potential nuclear holocaust. It is easy to forget just how much this issue was alive at the time. The acoustic guitar work is superb, at last the drums come to life on the album, Brown contributes some great organ work, an excellent sax solo, and these combined with genuinely frightening sound effects when "she blows", create a very memorable track.

This is not the album you put on for a good old knees up at a party. It is not the sort of album that you put on in order to uplift your spirits. What it is, though, is a deeply thoughtful and moving testimony to one man's long dead father, other fallen heroes, the question as to what exactly they had fought for when all was falling apart in the modern world anyway, and the sheer and utter waste of it all.

But for Not Now John, this Declaration - Felt - Poem Of The River (Vinyl, LP) would merit five stars from me.

As it is, four stars. An excellent album and one that really deserves a thorough re-evaluation. The lack of Richard Ya Me Voy and the diminished role of Nick Mason results in an intriguingly sparse sound, and its intriguing soundscapes and carefully constructed arguments about the destruction of liberal Britain result in an album which at least more original and satisfying than the empty hard rock cliches of The Wall.

Recommended for fans of movie soundtracks, especially considering the more significant role played by Wall collaborator and regular soundtrack merchant Michael Kamen.

The good news is that the lyrics are the best he ever put down on paper. In particular 'When the Tigers Broke Free'. That's Tiger Panzers - not the stripey animals. It's heavy going throughout, but sounds straight from the heart and honest. There's not so much Dave Gilmour on this recording, as he was in a huff and had just about had enough of Roger by this point. Rick Wright was already sacked and Nick Mason does what Nick Mason always did - played solid but unspectacular drums.

Why the 5 stars then? It's the intensity of the lyrics. Overseas listeners won't get the malignant discomfort felt by citizens of the UK towards Margaret Thatcher in the 80's. The catastrophic decline of shipbuilding, Coal mine closures, greed is good, smash the poor and This is the only uplifting part of the record which is guaranteed to have Floyd fans singing at the tops of their voices.

There's also lots of sound effects within, which I'm always a big sucker for, particularly the pub scene in 'Paranoid Eyes'. Where it Downfall - Children On Stun - This Sideshow Burlesque - Archive Live Recordings (CD) most points is in the fact that this Floyd album actually conveys a meaning and a message that many people in Britain were in sympathy with at that time.

This is not to say that The Final Cut is a bad record. It is not. In fact, as I mentioned before, it may be Waters grand work after The Wall. Not an easy listening album, it still struck chord within the public at the time. And as the times changed, it was also quickly forgotten.

But not before it topped the charts and got some raving reviews Rolling Stone calling it a masterpiece when it came out. But again this is a totally uncharacteristic album: there are very few moments when it reminds of the band that made such colaborative works like The Dark Side Of The Moon or Wish You Were Here. If you liked The Wall, then chances are that you might enjoy this album very much although the word enjoy may not be fitting for such bitter and angry work.

I liked, even if it took me several spins to fully understand and appreciate the music. Rating: 3,5 stars. This is a special album because of its very different and very particular conceptual approach. For some it may not be an album that's easy to get into, but even back in my junior high school days I could feel there was something wonderful here and a couple of decades later I realized that this album was sadly missing from my CD collection and I purchased it and listened to it again with pleasure.

One thing I love about Roger Waters is his vocal abilities. I believe there are singers who have the skill to hit the notes with great power or subtly and who have a dynamic range.

The Final Cut was the last album written by Roger Waters as a member of Pink Floyd, and released in This CD re-mastered in has excellent sound quality, especially when replayed through my sound system that can synthesise a surprisingly full surround effect from proper stereo/5(). Dec 08,  · Many would probably disagree with me on this, but The Final Cut is by far my favorite Pink Floyd album. The poetic lyrics and dramatic sound are full of emotion and power. Unlike many bands from the 60's and 70's who became particularly, well, awful, during the 80's, Pink Floyd actually seems to improve in my opinion/5(). The Final Cut Lyrics The Final Cut is an album released in by English progressive rock band Pink Floyd.

Jan 04,  · I absolutely love this album. Bought it on the day it came out, in March I rember Paranoid Eyes was playing in the store.I discovered PF with The Wall.I used the years between this and The Final Cut to acquire all the earlier albums, but TFC remains a firm alexmiccaitrodcu.icurdetacarrbidkiestaldemenputar.infoinfo has to do with the fact that this was the first new album in three years (an eternity in those days!) and it was.

Jul 04,  · Title: Paranoid Eyes Track: 07 Artist: Pink Floyd Album: The Final Cut Year: " Paranoid Eyes " is a song from Pink Floyd 's album The Final Cut. This song was one of several to be considered for the band's "best of" album Echoes: The Best of Pink Floyd. Personnel [ edit ] Roger Waters – vocals, bass guitar, acoustic guitarGenre: Progressive rock.

Pink Floyd Lyrics "Paranoid Eyes" behind paranoid eyes you put on your brave face and slip over the road for a jar fixing your grin as you casually lean on the bar laughing too loud at the rest of the world with the boys in the crowd album: "The Final Cut" () The Post War Dream. Your Possible Pasts. One Of The Few.

Paranoid Eyes Lyrics: Button your lip andon’t let the shield slip / Take a fresh grip on your bullet proof mask / And if they try to break down your disguise with their questions / You can hide. May 08,  · Pink Floyd - The Final Cut (FULL ALBUM) Pink Floyd's the final cut in order as per the remastered copy. Play all Share. Loading Save. Sign in to YouTube. Sign in. Pink Floyd Final Cut (1) - The Post War Dream Pink Floyd Final Cut (7) - Paranoid Eyes by KMRakaKAT. Pink Floyd FC (8) - Get Your Filthy Hands Off My Desert.

Download sheet music for The Final Cut. Choose from The Final Cut sheet music for such popular songs as The Gunners Dream, Paranoid Eyes, and The Fletcher Memorial Home. Print instantly, or sync to our free PC, web and mobile apps.


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8 Replies to “ Paranoid Eyes - Pink Floyd - The Final Cut (CD, Album) ”

  • The Final Cut is the twelfth studio album by Pink Floyd — er, by Roger Waters, performed by Pink Floyd — released in It is their last album to feature Roger Waters, and their only album not to feature Richard Wright at all (Wright appeared on their following album, A Momentary Lapse of alexmiccaitrodcu.icurdetacarrbidkiestaldemenputar.infoinfor, he didn't regain official status until The Division Bell).
  • The Pink Floyd HyperBase is the ultimate Pink Floyd source to lyrics, album and track information. Click your way through all releases from the group as well as Roger Waters, David Gilmour, Nick Mason, Rick Wright and Syd Barrett. Lyrics and information on different recordings. Search for info on albums, singles, films, videos, songs.
  • The Final Cut was also the first Pink Floyd album not to have a concert tour in support of the album as the band unofficially split up in January of as Roger Waters dove head first into the recording of The Pros And Cons Of Hitchhiking and David Gilmour recorded his solo album About Face. The second would be The Endless River.
  • On the back of the booklet: the final cut / a requiem for the post war dream by Roger Waters / performed by pink floyd For Eric Fletcher Waters (). Recorded in England at Mayfair, Olympic, Abbey Road, Eel Pie, Audio International, Rak, Hookend and The Billiard Room between July and December /5().
  • Paranoid Eyes From Wikipedia, the free encyclopedia " Paranoid Eyes " is a song from Pink Floyd 's album The Final Cut. This song was one of several to be considered for the band's "best of" album Echoes: The Best of Pink alexmiccaitrodcu.icurdetacarrbidkiestaldemenputar.infoinfo: Progressive rock.
  • Pink Floyd were an English rock band formed in London in Gaining a following as a psychedelic band, they were distinguished for their extended compositions, sonic experimentation, philosophical lyrics and elaborate live shows, and became a leading band of the progressive rock genre. They are one of the most commercially successful and influential groups in popular music history.
  • The Final Cut Lyrics The Final Cut is an album released in by English progressive rock band Pink Floyd.

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