| The Post War Dream | 3:02 | ||
| Your Possible Pasts | 4:22 | ||
| One Of The Few | 1:23 | ||
| The Hero's Return | 2:56 | ||
| The Gunners Dream | 5:07 | ||
| Paranoid Eyes | 3:40 | ||
| Get Your Filthy Hands Off My Desert | 1:19 | ||
| The Fletcher Memorial Home | 4:11 | ||
| Southampton Dock | 2:13 | ||
| The Final Cut | 4:46 | ||
| Not Now John | 5:01 | ||
| Two Suns In The Sunset | 5:14 |
| Title | Label | Cat# | Country | Year | |
|---|---|---|---|---|---|
| The Final Cut (LP, Album) | Harvest | SHPF 1983 | UK | 1983 | |
| The Final Cut (Cass, Album) | Harvest, EMI, Harvest, EMI | 1C 264-65 042, 1C 264-65042 | Germany | 1983 | |
| The Final Cut (Cass, Album) | Columbia | QCT 38243 | US | 1983 | |
| The Final Cut (Cass, Album) | Harvest, Harvest | TCP 2095, 7 4129 4 | Turkey | 1983 | |
| The Final Cut (LP, Album) | CBS | 120370 | Argentina | 1983 | |
| The Final Cut (LP, Album) | CBS Records Australia | SBP 237817 | Australia | 1983 | |
| The Final Cut (LP, Album) | Pathé Marconi EMI | 2C 070-65042 | France | 1983 | |
| The Final Cut (LP, Album) | CBS | 13-1668 | Colombia | 1983 | |
| The Final Cut (LP, Album) | Columbia | QC 38243 | US | 1983 | |
| The Final Cut (LP, Album) | CBS/Sony | 25 AP 2410 | Japan | 1983 | |
| The Final Cut (LP, Album) | Columbia | QC 38243 | Canada | 1983 | |
| The Final Cut (LP, Album) | Columbia | AS 1636 | US | 1983 | |
| The Final Cut (LP, Album) | Harvest | 1C 064-65 042 | Turkey | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 10C 072-065 042 | Spain | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 1C 064-65 042 | Europe | 1983 | |
| The Final Cut (LP, Album, Gat) | Discos CBS | 230.500 | Brazil | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest, Harvest | 2C 070-65 042, 2C 070-65042 | France | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 3C 064-65 042 | Italy | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 1C064-65042 | Netherlands | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 11C 078-65042 | Portugal | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 14C 064-65042 | Greece | 1983 | |
| The Final Cut (LP, Album, Gat) | CBS | CLS-5784 | Mexico | 1983 | |
| The Final Cut (LP, Album, Gat) | Jugoton | LSHV 11030 | Yugoslavia | 1983 | |
| The Final Cut (LP, Album, Gat) | Harvest | 1C 064-65 042 | Germany | 1983 | |
| The Final Cut (LP, Album, Gat) | CBS/Sony | 30 AP 2534 | Japan | 1983 | |
| The Final Cut (VHS, PAL, EP) | Castle Music | CMVG 5015 | Germany | 1983 | |
| The Final Cut (CD, Album) | CBS | CDCBS 25416 | Australia | 1985 | |
| The Final Cut (CD, Album) | CBS | CK 38243 | US | 1985 | |
| The Final Cut (CD, Album) | CBS | CK 38243 | US | 1985 | |
| The Final Cut (CD, Album) | Columbia | VCK-38243 | Canada | 1985 | |
| The Final Cut (CD, Album, RE) | CBS/Sony | 32DP 364 | Japan | 1985 | |
| The Final Cut (CD, Album, RE) | CBS/Sony | 28DP 5010 | Japan | 1988 | |
| The Final Cut (CD, Album, RM) | EMI United Kingdom, Harvest, EMI United Kingdom | 7243 8 31242 2 0, CDEMD 1070 | Italy | 1994 | |
| The Final Cut (CD, Album, RM, RE) | EMI United Kingdom, Harvest, EMI United Kingdom | 7243 8 31242 2 0, CDEMD 1070 | UK & Europe | 1994 | |
| The Final Cut (LP, Album, Unofficial) | Santa Records | П94 RAT 30737 | Russia | 1994 | |
| The Final Cut (MD, Album) | Columbia | CM 38243 | US | 1994 | |
| The Final Cut (CD, Album, RM) | Columbia | 489107 2 | Australia | 1997 | |
| The Final Cut (CD, Album, RM) | Columbia | CK 68517 | UK | 1997 | |
| The Final Cut (Cass, Album) | Sony Music Entertainment (India) | 038243 4 | India | 1997 | |
| The Final Cut (CD, Album) | Columbia | 2 25416 | Chile | 2002 | |
| The Final Cut (CD, Album, RE, RM, Pap) | Toshiba EMI Ltd | TOCP-67407 | Japan | 2004 | |
| The Final Cut (CD, Album, RM) | Capitol Records | 7243 5 76734 2 6 | US | 2004 | |
| The Final Cut (CD, Album, RM) | Harvest | 7243 576 7342 6 | UK | 2004 | |
| The Final Cut (CD, Album, Dig) | EMI | 50999 5111112 0 | UK | 2008 | |
| The Final Cut (CD, Album, RE, RM, Dig) | EMI | 50999 028956 2 8 | Europe | 2011 | |
| The Final Cut (CD, Album, RE, RM, Gat) | EMI | TOCP-71144 | Japan | 2011 | |
| The Final Cut (CD, Album) | CBS | CDCBS 25416 | Australia | ||
| The Final Cut (CD, Album) | EMI | CDP 7 46129 2 | Netherlands | ||
| The Final Cut (CD, Album) | EMI | CDP 7 46129 2 | UK | ||
| The Final Cut (CD, Album, RE, RM) | S.B.A./GALA Records | 50999 6 06861 2 1 | Russia | ||
| The Final Cut (Cass, Album, Unofficial) | Takt Music | 2034 | Poland | ||
| The Final Cut (Cass, Album, Unofficial) | Stebo | S 033 | Poland | ||
| The Final Cut (LP, Album, RE) | Columbia | QC 38243 | US |
referencing The Final Cut, LP, Album, SHPF 1983
referencing The Final Cut, LP, Album, SHPF 1983
referencing The Final Cut, LP, Album, SHPF 1983
referencing The Final Cut, LP, Album, SHPF 1983
Disclaimer: Videos may not match exact release
Certainly this is a record that can be respected in its story and narrative, but is not very enjoyable musically. The bleak subject matter is not helped by Waters's unsettling, howling vocals -- which were used to dramatic effect on The Wall, but are overused here, and sometimes come across as just screaming. The audio dynamics cover too wide a range; it is alternately too quiet and too loud. Some tracks start with nearly indiscernible sound effects, only to blow the listener out of his seat a moment later. This makes for a rather unpleasant listening experience. "Your Possible Pasts" is a particularly extreme example of this. You could easily damage your speakers cranking the soft parts, trying to understand what Waters is singing -- and then the drums and bass come thundering in, scaring the living daylights out of you.
The best songs are the last two. "Not Now John" is the only upbeat track. It was obviously made for the radio, and it's somewhat out of place in the context of the album. "Two Suns in the Sunset" is mostly a very good track, with its pleasant guitar lines (reminiscent of "Wish You Were Here") and haunting lyrics and Cold War imagery. But the middle section with Waters screaming again is terrible, so I took my CD and edited it out, making a seamless transition from the first chorus to the next proper verse. Now it's a great track. The sax solo should have been a breath of fresh air, but it's too loud and wailing. I also enjoy "The Hero's Return," a track that resembles some of the better moments on The Wall.
The Wall hinted at how Waters would operate on his own, but that album was totally developed into a thrilling musical statement. Here we see what he does all by himself: rigid, poetic, preachy, lyrically strong, but musically very weak. As a result, his subsequent solo albums were forgettable.
The inclusion of the awesome "When the Tigers Broke Free" on the remaster is still weird to me since it played a part in The Wall film. This outstanding track is so, so far from even resembling Pink Floyd, yet is still an incredible work. I would have put it at the end as a bonus, clearly indicating that it was not part of The Final Cut. The sheer breadth of music that falls under the Pink Floyd name is staggering; there's this track at one far end of a 3D spectrum, with tracks like "Bike" at another end, and "Shine On" occupying further, opposite dimensions.