Discográfica: Columbia Records.
N° de catalogo: QC 38243.
Edición: 2ª Promocional • U.S.A • 1983-04.
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pink floyd
the final cut
a requiem for the post war dream
the final cut. The fifth album by Pink Floyd on Columbia Records in the United States.
Twelve new songs composed by Roger Waters.
Consider the premise of the scenario: The modern-day protagonist's daydream is spurred by a radio newscast on the Falklands war, and his imagination is carried into a series of rememberances. These observations, inasmuch as they reflect the disillusionment of a generation that saw the hopes and dreams coming out of the Second World War go unfulfilled, do eventually broaden in scope to include the delicate balance of contemporary conflicts, personal and political. The frustration and anger brought to mind by all conditions of economic upheaval, impending war, poverty, or another holocaust are juxtaposed in the imagination of the protagonist, and then realized in one of the most intense statements ever made by Pink Floyd.
the final cut was recorded in England between July and December, 1982. It was produced by Roger Waters, James Guthrie (co-producer and engineer of The Wall), and Michael Kamen (orchestral arranger of The Wall). Coincidentally, while the LP's title seems to have a filmic interpretation, it does not necessarily relate to the 15-minute short film that visualizes three songs ("The Fletcher Memorial Home," "The Gunners Dream," "Not Now John"). Nor does the track on side two, "The Final Cut," have any intentional reference to Pink Floyd "breaking up"; instead the expression becomes a double-entendre whose meanings are left open for the listener.
Notwithstanding the departure of Richard Wright to pursue a solo career, Pink Floyd stands firm with Dave Gilmour, Roger Waters, and Nick Mason comprising the group. Wright, who left on account of musical differences, is looking forward to his second solo album on Columbia Records. Roger Waters is also looking forward to a solo album, his first.
the final cut represents another breakthrough for Pink Floyd, incorporating the Holophonic Sound technique in the recording of the album. While it is still in the experimental stages, the Holophonics of audio scientist Hugo Zuccarelli produce an all-encompassing three-dimensional presence which results in extraordinary special effects throughout the new album. While these effects create remarkable moments in sound, especially on point-of-source loudspeakers and the new inexpensive headsets—they cannot be re-recorded (for exam-ple, from an FM source) with the same quality achieved. Nevertheless, Pink Floyd aficionados will be able to appreciate the role of Holophonics on the album and pre-recorded tape versions of the final cut for years to come.
QC 38243/AS 1635/AS 1636
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