THE FINAL CUT

Completely removed from the slightest space-prog elements that lingered about on The Wall, The Final Cut is the best album that Pink Floyd shouldn't have put out. There is no lush keyboard work, few guitar solos and definitely no improvisation, though that could hardly be expected of Pink Floyd at this point in their career. No, The Final Cut is a simply arranged album, relying mostly on a piano and a guitar with occasional orchestral backup and other instrumentation. Though the music is sparse, it's impact is devastating.

The Final Cut is a deeply emotional and personal narrative from Roger Waters, without a great amount of input from the other band mates. It is a straight- forward concept album about WW2 and all things encapsulated in that subject. Waters writes some of the best lyrics ever heard, and almost comes close to toppling Fish (of Marillion) with the most effective use of imagery and creative language. I could quote practically the entire album as proof of this, but it would be unnecessary and unoriginal. If ever there was an artist who conveyed the desperation of war and it's after effects with such intensity, bitterness and sadness, it's Waters.

As I said, not many of the band mates besides Waters are given much chance to shine on The Final Cut, and this is especially true in the case of Nick Mason, who seems completely neglected on the album. But Dave Gilmour does have a chance to show that despite the constrictive atmosphere of The Final Cut, he still knows how to pull off a more emotive solo than almost anybody. Again, there are not many moments where Dave's given this chance, but when he does, most notably on "The Fletcher Memorial Home" and "The Final Cut," he steals the show.

Stand out tracks are the above two and several others. "The Fletcher Memorial Home" uses an orchestra to add a somber effect to Water's bitter lyrics. "The Final Cut" happens to be one of my favorite songs and sums up the album with tear- jerking resignation. On "The Post War Dream," an aching yet gentle piano introduction softly lifts up the tender lyrics while a lone trumpet (or perhaps a trombone) helps to emphasize the sadness. Also, a brilliantly effective chord progression breathes life into a somewhat average tune in "Paranoid Eyes" and "Two Suns in the Sunset" juxtaposes a happy verse with a dark middle section.

Well, The Final Cut is not really a prog album at all, so I can't honestly give it five stars, but it is a very good album. However, if you're a fan of Water's solo albums, you should scurry to the nearest record store and pick up a copy.