Among fans of Pink Floyd, the album is not liked. Waters cannot forgive creative selfishness and ambition, which summed up the final line under the joint activity of musicians. For many, the Final Cut seems devoid of branding. This is true, and considering the purely formal involvement in the process of recording Gilmour and Mason and the complete non-participation of Wright in it, the expectations of the other would be unjustified.
On the other hand, it’s hard to argue that The Final Cut is definitely a logical extension of The Wall, and The Wall in its cinematic version. It seems that during the work on the film, Waters further deepened the issues raised in the film: the relationship of power and personality, violence and alienation, injuries post-war and post-totalitarian world.
It should be noted that social issues have always been more interesting for Roger than for other members of the group, and the subsequent work of each of them has clearly demonstrated this. The direction set by The Final Cut was successfully continued by Waters, and from this point of view, the end of the “old”, “classic” Pink Floyd was the start for the solo career of the musician, to find his own niche in the music world. All that he wrote over the past few years, in one way or another, has a political, already anti-war character.
Therefore, to consider the album, in my opinion, it is necessary from this point of view.
After World War II, Britain lay in ruins, although for the island state the consequences of the war were significantly less than for its continental counterparts. Returned from the front of the soldiers, survivors of the horrors of bombing civilians, including children, simultaneously experienced gratitude for the saved life and despair. The recovery took years, and it seemed successful, but the social cataclysms of the 1970s and 80s, again raised the question of whether or not the achieved progress was realized in the interests of the country and people.
In the lyrics of Waters, here and there, references to the past arise, and his characters, experience time and again experience military experience, and this horror looks even more ruthless in the dimension and comfort of modern life. At the same time, the monsters of the past are not only individual experiences or neuroses of old people – veterans. The author hints that the war is not over, that the world as ever hangs in the balance from falling into the abyss of mutual violence, and the more attempts to hide existing problems under the guise of prosperity and material prosperity, the more fragile this world is.
In terms of conceptualization, The Final Cut is not inferior to the best works of Pink Floyd. In it there is a scale of a plan, complexity of the declared subject and honest modesty, consistency of realization. Many critics call this album almost flawed in terms of the arrangement and quality of the recording; they blame the performing limitations of Waters. So, the most successful composition of the album is represented to many by Not Now John (is it because this is the only song on the album, performed by Gilmour?), which, to be sure, differs from Pink Floyd’s evil malice and is perhaps the most “politically incorrect” For the whole history of the group’s work.