By the way, which one's Pink?-Pink Floyd reviewed (lyrics, soundtrack)

jackhammer · 05-27-2008, 06:50 PM

THE FINAL CUT (1983)

There is a strange dichotomy with this album. This is invariably a Waters solo album. Wright was long gone and Gilmour could barely be in the same room as Waters. All music and lyrics is credited to Waters, yet the album has a significance and emotional attachment that overides the (subjective) achievements of The Wall.

Once again the album is metaphorical for Waters and it provides an emotional exorcism regarding his grandfather who was killed in WW1. What remains such a strange sidenote is that the album features two of the Floyds most gut wrenchingly emotional pieces of music ever. The Fletcher Memorial Home and The Gunners Dream. The Gunners Dream is one of Waters Finest hours lyrically:

Floating down through the clouds
Memories come rushing up to meet me now.
But in the space between the heavens
and the corner of some foreign field
I had a dream.
I had a dream.
Good-bye Max.
Good-bye Ma.
After the service when you're walking slowly to the car
And the silver in her hair shines in the cold November air
You hear the tolling bell
And touch the silk in your lapel
And as the tear drops rise to meet the comfort of the band
You take her frail hand
And hold on to the dream.
A place to stay
"Oi! A real one ..."
Enough to eat
Somewhere old heroes shuffle safely down the street
Where you can speak out loud
About your doubts and fears
And what's more no-one ever disappears
You never hear their standard issue kicking in your door.
You can relax on both sides of the tracks
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.
And no one kills the children anymore.

Night after night
Going round and round my brain
His dream is driving me insane.
In the corner of some foreign field
The gunner sleeps tonight.
What's done is done.
We cannot just write off his final scene.
Take heed of the dream.
Take heed.

It also takes in a chance for saxophonist Raphael Ravenscroft to add emotional depth that was not noticed before.

There is also the argument that Waters expertise is in maybe in imagery and his lyrics are better suited to imagery.

There is no doubt from me that The Final Cut has more credence concerning a musical project and Waters finally shed his anger on this album, whilst making arguably better music than The Wall.

As a Waters dominated track, I can think of no better track than probably his last and finest contribution to Pink Floyd before he left:

05-27-2008, 06:50 PM	#10 (permalink)
jackhammer Ba and Be. Join Date: May 2007 Location: This Is England Posts: 17,331	THE FINAL CUT (1983) There is a strange dichotomy with this album. This is invariably a Waters solo album. Wright was long gone and Gilmour could barely be in the same room as Waters. All music and lyrics is credited to Waters, yet the album has a significance and emotional attachment that overides the (subjective) achievements of The Wall. Once again the album is metaphorical for Waters and it provides an emotional exorcism regarding his grandfather who was killed in WW1. What remains such a strange sidenote is that the album features two of the Floyds most gut wrenchingly emotional pieces of music ever. The Fletcher Memorial Home and The Gunners Dream. The Gunners Dream is one of Waters Finest hours lyrically: Floating down through the clouds Memories come rushing up to meet me now. But in the space between the heavens and the corner of some foreign field I had a dream. I had a dream. Good-bye Max. Good-bye Ma. After the service when you're walking slowly to the car And the silver in her hair shines in the cold November air You hear the tolling bell And touch the silk in your lapel And as the tear drops rise to meet the comfort of the band You take her frail hand And hold on to the dream. A place to stay "Oi! A real one ..." Enough to eat Somewhere old heroes shuffle safely down the street Where you can speak out loud About your doubts and fears And what's more no-one ever disappears You never hear their standard issue kicking in your door. You can relax on both sides of the tracks 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. And no one kills the children anymore. Night after night Going round and round my brain His dream is driving me insane. In the corner of some foreign field The gunner sleeps tonight. What's done is done. We cannot just write off his final scene. Take heed of the dream. Take heed. It also takes in a chance for saxophonist Raphael Ravenscroft to add emotional depth that was not noticed before. There is also the argument that Waters expertise is in maybe in imagery and his lyrics are better suited to imagery. There is no doubt from me that The Final Cut has more credence concerning a musical project and Waters finally shed his anger on this album, whilst making arguably better music than The Wall. As a Waters dominated track, I can think of no better track than probably his last and finest contribution to Pink Floyd before he left: __________________ It be my music and film collection. “A cynic by experience, a romantic by inclination and now a hero by necessity.”