The final cut (album dei Pink Floyd del 1983)

THE FINAL CUT è il dodicesimo album dei Pink Floyd pubblicato nel 1983 e composto da 12 tracce. È l’album con cui il tanto amato-odiato Roger Waters si congeda dal gruppo.

The post war dream apre con vari effetti sonori poi, mentre il brano scorre, il testo narra della contesa delle Isole Falkland puntando il dito sul primo ministro inglese Margareth Thatcher. L’appasionante Your possible pasts segna un’impennata grazie anche ai notevoli stacchi di batteria di un potente Nick Mason. One of the few, col suo orologio inquietante, tratta di un professore sopravvissuto al secondo conflitto mondiale. The Hero’s return entra portentoso con uno squarcio sonoro che poi si apre a notevoli bordate di batteria ma trova anche la sua fase più distensiva. The gunner’s dream, per la sua vena poetica, spinse alcuni addetti ai lavori a scomodare Shakespeare: il protagonista, un aviatore colpito in azione, precipita verso la morte rimembrando il passato. Paranoid eyes racconta il rientro di un soldato sfiduciato verso il futuro, e di esso tornano poi impetuosi gli effetti sonori nel pezzo Get your filthy hands of my desert. The Fletcher memorial home gode di un bell’assolo di chitarra di David Gilmour, mentre Roger commemora il padre caduto ad Anzio. Southampton dock è un dolce passaggio chitarra/voce preludio alla struggente The final cut, tra sogni e realtà con un impianto musicale contrapposto tra passaggi trionfali e bui. Not now John suona potente tra organo hammond, chitarra elettrica e cori. Chiude Two suns in the sunset, con Roger che canta la paura di uno scontro nucleari generato dalla contrapposizione delle nazioni in guerra: bello l’assolo al sassofono di Raphael Ravenscroft. Per concludere, When the tigers broke free, dedicato ancora al padre di Waters caduto in guerra, risale alle registrazioni di THE WALL e fu svelato nella colonna sonora dell’omonimo film, ma rimase fuori dall’album e quindi incluso in questo.

Integrato da materiale rimasto fuori dal precedente disco, è ufficiosamente il debutto solista di Roger Waters che fagocita Gilmour e Mason, accreditati sul retro dell’album come turnisti. Basta citare che i brani sono tutti composti e cantati dal bassista e solo in Not now John lo assiste la voce di Gilmour. Sempre attenti alle innovazioni, i Pink Floyd utilizzarono il l’olofono in sala d’incisione, ovvero un microfono in grado di rendere tridimensionale il suono.

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