Sold Date: February 7, 2017
Start Date: January 31, 2017
Final Price: £160.00 (GBP)
Bid Count: 15
Seller Feedback: 4365
Buyer Feedback: 69

In my rear view mirror the sun is going down,
   Sinking behind bridges in the road,
  And I think of all the good things
   That we have left undone.
And I suffer premonitions,
   Confirm suspicions,
  Of the holocaust to come.
 
  The wire that holds the cork,
  That keeps the anger in,
   Gives way......
  And suddenly it's day again.
  The sun is in the east,
   Even though the day is done.
  Two suns in the sunset,
  Could be the human race is run.
  
  Like the moment when the brakes lock
   And you slide towards the big truck,
   "Oh No!" ------- Daddy! Daddy!"
   You stretch the frozen moments with your fear,
  And you'll never hear their voices,
  And you'll never see their faces ,
  You have no recourse to the law anymore.
  
  And as the windshield melts,
   My tears evaporate,
  Leaving only charcoal to defend.
   Finally I understand the feelings of the few,
  Ashes and diamonds,
   Foe and friend,
   We were all equal in the end.

  Tell me true, tell me why was Jesus crucified?
Is it for this that Daddy died?
Was it you? Was it me?
Did I watch too much T.V.?
Is that a hint of accusation in your eyes?
PINK FLOYD: "The Final Cut" LP.  UNPLAYED UK 31st MARCH, 1983 FIRST PRESSING, IN EXTREMELY RARE
SHRINK WRAPPING.  100% COMPLETE, SO THE GATEFOLD COVER HAS NEVER BEEN OPENED!
This is the first  time I have ever sold an unplayed, Mint UK 1983 very first pressing of "The Final Cut" in shrink wrapping.
I have sold a shrink wrapped 1885 UK second pressing, with a bar code several years ago, that was very rare and inspired me to
  continue looking for a first pressings. Like the 1985 pressing, the shrink wrapping was not sealed but finished just before the
opening side, still 100% complete, so the gatefold has never been opened.  


EMI / HARVEST LABEL: SHPF 1983

MAITRIX: SHPF 1983  A - 1U - 1 -  2 -  1 ?  /  SHPF 1983  B - 4U - 1 -  2 -  1 ?
I include the full amount of digits after the main 'A - 1U' & 'B - 2U' indexing, both sides had such faint stamping's that are
  most likely meaningles and just how the stamping machine lifted. Not that it matters, I do not read a great deal of significance
in them.  Only the digits after 'A' & 'B' matter, the '1U' above for Side 1 is the lowest possible and the starting point, Side 2
has risen to '4U.'  I do not want to ever create the impression the lowest digits in any way affect the desirability over the
pre-release records pressed for the March, 1982 release, for me an unplayed first pressing in a shrink wrapped first issue
gatefold cover is extremely rare after 34 years. Leaving aside the acute rarity of UK shrink wrapping in the 1980's in general,
EM's indexing for an anticipated huge selling album set audio standards Britain can be proud of.  Shame EMI never continued
pressing vinyl into the 21st century, in the 20th century, every single record made was meticulously indexed individually to
to ensure perfect sound quality, I will detail how the sequence ran immediately below.


FOR THE FIRST TIME ON A FIRST ISSUE UK PINK FLOYD LP, THERE WERE NO LONGER EMI STAMPING CODES IN
  THE RUN-OUT GROOVES AT 3 & 9' OCLOCK, THE ABOVE MAITRIX NUMBERS NOW COMBINED ALL THE INDEXING.
Fully expecting "The Final Cut" becoming a huge selling album, it indeed reached No.1, as usual EMI pressed accordingly and
  indexed the mountain of records made before the late March,1983 release date.  Every single one was a first pressing, making it
  possible to identify them all individually, they were prepared in monitored batches indexed by the digits following 'A' & 'B',
  only the first pressings had the digits followed by 'U', exactly how EMI had started indexing the maitrix in the 1970's decade.
    The starting point of the indexing was,' SHPF 1983  A - 1U - 1 / SHPF 1983 B - 1U - 1,' then the digits per side rose per batch,
  this record's first side is indeed still, 'SHPF 1983  A - 1U - 1.'  The second side only had one digit increase to 'B - 4U - 1,'
  it really is that simple but the simplicity has become  manipulated on ebay and the  truth distorted by those stating there is
  only ever '1' digit available AND exclusively used for all first pressings, which is too ridiculous for words and not the reality
  of meticulously controlled record manufacturing.  The records made before the release date, including all with the necessary
  digit rises, were distributed at random to British record shops, then bought at random and not sold according to the maitrix
  ending digits!  In other words, the only true definition of a first pressing / first edition / first issue/original, is it was in
  a UK record shop on the very first day of release.  All the same first pressing only details given here, apply to the records
  that qualify as pre-release pressings, regardless of the ending digits.  The whole point of indexing individual batches was no
  different to how EMI pressed in the 1960's and 1970's, only the maitrix configuration had changed in 1982, the reason was to make
  every one of the massive volume without any sound flaws, a strict quality control that should be applauded, not misrepresented to
  collector's.
  EMI succeeded yet again in 1983 and went that 'extra mile' by incorporating stunning Holophonic 3D Sound into the grooves of the
first pressings. Every record with a 'U' letter before the main digit, is best visualised as part of an extremely long chain made
  up by multiple links, the links in the chain had a numerical order, I purposely included that information when listing such a low
  record and for the higher indexed first issues.   You can see both maitrix in my close-up pictures, Side 1 was stamped near the
  mastering logo's, they were also machine stamped and here is both side's, 'TML' is an abbreviation of, 'The Mastering Lab.'

SIDE 1: TML S   (S = Slave)
SIDE 2: TML M  (M = Master)


UNIQUE FIRST ISSUE ONLY, POLY-LINED BLACK EMI INNER SLEEVE IN UNUSED, MINT- CONDITION.
This was custom made for the first issues of "The Final Cut", the later re-issues had white EMI inners of that particular era.

'Garrod & Lofthouse' PRINTED,  =FIRST ISSUE GLOSSY GATEFOLD COVER ON THE OUTSIDE AND INSIDE,WITH
THE VERY RARE SHRINK WRAPPING 100% ENCLOSING AND PROTECTING THE ENTIRE COVER. ONLY THE OPENING
  EDGES WERE NOT COVERED, IN SAYING THAT, THE FINISHING POSITION IS RIGHT ONTO THE EDGES ON THE FRONT
  AND EDGES.  SO  A PERFECT SPINE, ALL EDGES  AND CORNERS, INCLUDING THE UNSEALED RIGHT SIDE CORNERS.
  NOT ONLY SHRINK WRAPPED,THIS WAS ALSO KEPT INSIDE A PLASTIC OUTER SLEEVE FROM DAY ONE.

WITH THE FIRST EDITION "The Final Cut" MATT BLACK AND WHITE  ALBUM STICKER TITLE ON THE FRONT.
  THE INSIDE OR RECORD COMPARTMENT IS PURE WHITE ON FIRST UK ISSUES, THE BACK HAS THIS IN TINY WHITE
  PRINTING AT THE BOTTOM OF THE CREDITS;
 
  "TM 8303 gl"
 
  Which translates as; 'Trade Mark - March 1983 Garrod & Lofthouse.'

WITH  DATE CODING, INDEXING WAS UNNECESSARY FOR THE COVERS , LIKE THE FIRST PRESSED RECORDS,
THE COVERS WERE ALL MADE IN MARCH,1983.
 'Garrod & Lofthouse' PRINTED  GLOSSY GATEFOLD COVER ON THE OUTSIDE AND INSIDE, WITH THE VERY RARE
  I DO NOT GRADE SHRINK WRAPPED COVERS FOR OBVIOUS REASONS FOR THE OUTSIDE, BUT FOR GATEFOLD COVERS,
  THAT ALSO MEANS THE GATEFOLD HAS NEVER BEEN OPENED, IN THIS CASE, FOR 34 YEARS!
 
THE IMMACULATE MATT LABELS HAVE NO SPINDLE TRACES AT ALL, THIS HAS NEVER BEEN PLAYED AND BOTH
SIDES ARE GLEAMING LIKE BRAND NEW, WITHOUT ANY FORM OF PLAYING SIGNS LET ALONE MARKS.
THE RECORD IS IN UNPLAYED, MINT CONDITION.

With such pristine labels confirming an unplayed record, which is in absolutely perfect Mint condition, I could take the option
of offering this without sound grading or playing it first, after all, an immaculate EMI very first pressing does not require any
intervention.  Since first becoming a professional record seller way back in the 1980's I have always sold unplayed records and
  often decide to take one play to confirm a perfect pressing, plus add any audio or contents comments, often it is just because at
  that particular moment in time.... I just want to hear the music.  All records have an individualistic sound and for loved albums
  like this, 'sound' is very much interwoven with the contents, in fact, out of all that wonderful range of Pink Floyd albums, for
  "The Final Cut", never before, or after this, was so much time and care lavished onto how the listener experienced a work of
  sheer genius.  I wrote that as a Pink Floyd fan since live encounters in late 1966, who was one of the first into a record shop
  in 1967 to buy their debut single and stayed along for all that followed.  Experience with vinyl began before 1967, I carefully
  lower my perfect and religiously replaced stylus, and leave no audible or visible traces of having done so, being a professional
  record seller way, way before joining ebay, that does not detract or alter the 'Mint' status of a record.  In my era record shops
  did play them before they were purchased, like a car's delivery miles only, one undetectable play hardly warrants explanations,
  having regularly declined opening several sealed albums, I felt it appropriate to say a few words on the subject. I will give full
  details about the album before playing and describing the record to keep that down to just minimal text.
 
  "The Final Cut" was a really important chapter in Pink Floyd's history, Roger Waters had developed his songwriting ability after
  the loss of Syd Barrett in 1968, in a way he was forced into providing the majority of the material for the band. Then during the
  1970's decade Roger Waters certainly went from strength to strength, until at the end of the decade he was now writing a whole
double album virtually on his own, with even one really stunning song left spare, that was not used for "The Wall" until the film
was made three years later. "When The Tigers Broke Free" was issued  as a single only to accompany the film in 1982, between
  the 1979 "The Wall" double album and "The Final Cut" in 1983.  "The Wall" was so huge it was constantly returned to, apart from
the film, it was also released as various live projects as well.
 
  Roger Waters own songwriting genius stemmed from his own experiences and views of the word around him, that all started when
  Syd Barrett burnt out by 1968.  Roger's leading role in providing Pink Floyd's new material during the 1970's, saw his music and
  lyrics growing and flourishing, by 1977 "Animals" became the first step taken along the way that would lead directly to creating
  "The Final Cut."  I believe "The Wall" was just the beginning of something and "The Final Cut" is best viewed as a continuation of
  that, but still incorporating many elements from "Animals " in the themed, conceptual manner Roger Waters drew his inspirations
  to compose.  Roger was so single minded he wanted and needed the full control of the band, in hindsight friendship should always
  be placed in front of artistic expression, but often friction becomes the catalyst that creates a masterpiece. By 1983 Pink Floyd
  were a trio, whether Richard Wright 'jumped or was pushed' is irrelevant, the line up of David Gilmour, Nick Mason & Roger Waters
  was more than enough to produce a really amazing album.  There were several additions to that trio, I will shortly give the full
  details of all the personnel involved making "The Final Cut," I felt that and the album titles etc. were best listed after some kind
  of personal input. This was the beginning of the quartet making records together, developing cracks and starting to fragment, but
  not the inspiration to make absolutely staggering records and in this case, a listening experience so extraordinary, it was almost
  necessary for Roger's last album with Pink Floyd to be recorded by a trio.  The first thing to clear up is the album title, it was not
  intentionally referring to this being the last Pink Floyd album, or the last with Roger, although it was perfectly understandable
  at the time to think it could be the final time they ever recorded together, then Roger Waters was always looking like heading
  towards becoming a solo artist.

Roger Water's theme in 1983 started with "The Wall" and "The Final Cut" places the fullest focus onto the horrors of all wars, in
  particular, World War Two, while staying current to the UK's Falkland Islands war with Argentina and that chilling potential of
  being an all out use of nuclear weapons during a World War Three.  Waters was also concerned with the other issues, he again
  began on "The Wall," that "leave those school kids alone" ethos cropped up and was also related to wars.  This time Waters was
  not dealing with the events of World War Two and the personal loss of his own father who died as a soldier, as contained in the
  "When The Tigers Broke Free" lyrics.  His anger was still there, only this time there happened to be a current war armed forces
  were dying in and Roger also vented his anger against an 'evil woman,' (our former Prime Minister, Margaret Thatcher) and his
  biting social comments were very skilfully blended in with fantastic music, plus the most stunning use of sound effects ever to
  be placed on album.  They actually took you deep inside the individual tracks with a realism that was enhanced by the uniqeness
  of the special '3D' sound, Dave Gilmour's guitar supplied the emotional input when needed, which was constantly.
  Here's a full track listing and some other related album info;
SIDE 1
"The Post War Dream"
"Your Possible Pasts"
"One Of The Few"
"The Hero's Return"
"The Gunner's Dream"
"Paranoid Eyes"

SIDE 2
"Get Your Filthy Hands Off My Desert"
"The Fletcher Memorial Home"
"Southampton Dock"
"The Final Cut"
"Not Now John
"Two Suns In The Sunset"
 
Additional Musicians:
Michael Kamen - piano, harmonium
Andy Bown - Hammond organ
Ray Cooper - percussion
Andy Newmark - drums on "Two Suns In The Sunset"
Raphael Ravenscroft - tenor sax
The National Philharmonic Orchestra was conducted and arranged by Michael Kamen.
 
Recorded in England at these studios; Mayfair, Olympic, Abbey Road, Eel Pie, Audio International, RAK, Hookend and
The Billiard Room, between July and December,1982.
Produced by Roger Waters, James Guthrie and Michael Kamen.
Sleeve design By Roger Waters
The album was dedicated by Roger Waters to his father, Eric Fletcher Waters, 1913 -1944.

When released 31st March, 1983, "The Final Cut" sold in massive numbers and it made the No.1 spot in the UK, remaining in the
charts for over six months.   As ever, the very experienced EMI swung into record production on the scale necessary to meet all
  the anticipated demands that a now four year gap between "The Wall" and this freshly recorded, latest Pink Floyd album created.
  Since 1979, only the compilation "A Collection Of Great Dance Songs" had been released, so these pressing details are somewhat
  unusual for "The Final Cut," unless you followed all of the changes decade by decade, of their music.  I could easily not give info
for their later albums, but having started buying their records with "Arnold Layne" in 1967, every single one is as precious and
as things stand with that sad death, it's unlikely anything else will be made now.  Today people just 'hop on' for the ride between
1967 and 1975, a real shame because Pink Floyd continued to make staggering albums,  I always find it bizarre how Pink Floyd's
albums are viewed in isolation.  There was a positive connecting thread between the 1967 "Arnold Layne" and "The Division Bell"
and every individual stage was not only inter-connected, fantastic music was made with every one of their records.  That's why I
I refuse to just list any of their LP's without giving an overview and correct perspective, I had better deal with pressing info and
  get back to the music shortly.

I have given an account of the pressing sequences in my headings, but there is more to add, in 1983 even the expected Harvest
  matrix pre-fix of 'SHVL' acknowledge the importance of the long wait to hear a new Pink Floyd album.  The four year absence was
  immortalised within the changed 'SHPF 1983', the 'SH' was the only recognisable part of the normal prefix letters, 'P.F.' was of
  course the initials of Pink Floyd and '1983' was the actual year, a unique configuration specific to only to this album, never to
  be used again.  Another unique feature of all the UK original / first issues / first pressings, was EMI no longer stamped codes
  in the run-out grooves at 3 'o'clock or 9 o'clock, so the only indexing or pressing info was in the maitrix's ending digits, in place
  since 1982.  The Final Cut" became the last Pink Floyd album to be released without a bar code on the back cover, that alone
makes identifying the following 1980's re-pressings of "The Final Cut" very easy!   On the back of this first issue gatefold cover
at the bottom left is the tiny printing "Available On Cassette," which only just pre-dated the digital era when CD versions were
  going to appear on covers along with the cassette versions.
  
   EMI and Pink Floyd quitely informed record buyers about the new Holophonic sound without a fuss, I think that was missed in 1982
and even right up tp today.  Many have not realised the first UK issues / originals have all those amazing sound effects and the
the fantastic sound of the music, was presented in radically advanced technology, '3D' sound processing and not 'Q-Sound.'
  This was after all an album recorded intentionally to give you the Hi-Fi experience of your life, in effect, without anyone even
knowing it back then in 1983, "The Final Cut" as a first pressing was representing analogue sound arriving at the very apex of
  decades of audio power, before digitalised sounds totally took over.  'Sound' was exactly what Pink Floyd were always all about
right from their debut single and album in 1967, those old enough who stayed along for the ride since that era will not need me to
outline where "The Final Cut" evolved from.  That and the below record and labels details, explain why I set such high standards
for both visual condition and the sound reproduction of "The Final Cut." If anyone thinks this record is easily found still with the
audio perfection it left EMI's pressing plant with, I might have set extremely high audio standards but there are some real horror
  jobs out there!

Both labels are in such pristine condition there is not a single spindle use trace on either label and that means this record has
  never been played, these are matt, easily marked in the centre labels and nobody in 1983 made a conscious effort to 100% align
the centre holes with spindles.  Not just the labels affect my grading though, they are combined with inspecting the vinyl and I
  have no hesitation saying this is an unplayed, Mint first pressing. The record has a beautiful deeply glossy sheen without any
  marks or traces of playing,  both sides are in 'as new'condition. It would be very foolish to suggest these first issues came on
heavyweight vinyl, for 1983 this is certainly a substantial thickness and weight, not remotely like those wafer thin and shallow
grooved re-pressings that immediately followed in the 1980's.  I could easily offer this without pre-playing or writing a sound
  and music description, but during our genuine long years spent selling Pink Floyd records at record fairs and since for ebay, I
  have found at least 95% of these first pressing now have dreadful sound quality, defeating all the band and Roger Waters set
  out to achieve, for an audio experience second to none.  So I will always play this album before considering any copy worthy of
   offering to others, which emphasises my opening point about when I feel it is appropriate to take the one undetectable play.
  In all honesty, like all the first pressings in Mint, I fully expect to hear the sound quality of a beautiful totally unmarked record,
   will be sheer perfection and not have virtually any surface sound, because that was positively how EMI's pre-release pressings
  were mastered and pressed.  Here I must stress the first play of any record will often have some form of pressing related static
and even an occasional 'click', microscopic droplets of vinyl fall back from the metal stamping plate as it lifts. After several
  plays the stylus dislodges them to leave ultra clean records, I cannot and will not play records in this ultimate condition over
and over again, my job is locating such rarities.  So when I play this soon, I am describing it with the realism of a record not
played for an astonishing 33 years.  I always make sure to leave my plays undetectable on all the vinyl I am sound grading,
  I will not be playing this beyond once for a restricted sound description, not a bad thing, because I could write endlessly about
  every one of these fantastic tracks.  My deepest respect for Mint vinyl, be it 34 years old or 53 years old, is precisely the same,
  this is always going to be vinyl, but outside of natural record playing sounds, I am confident all I will  hear is the music and the
  staggering '3-D Sound Effects'.  Today we live with 'surround sound', with the natural ambiance and the 'warmth' and real depth
  of analogue vinyl, this is some album!  For anyone hearing a Mint UK first pressing for the very first time, prepare yourself to
jump out of your chair several times, particularly if you listen through headphones!  You are lulled into very gentle tailing off
  pieces and suddenly, loud and life like sounds or music jolt you like a hammer blow, you literally 'feel' the raw emotions as well
as the exhilarating and rousing refusal to buckle under intensive pressure.  "Not Now John" is the most sensational Pink Floyd
track since Syd took us on a journey around the Universe, his best friend from school was writing like never before....or since.


As I just wrote about virtually no surface sound, Side 1's run-in grooves are indeed nearly silent before the 'whoosh' of the
  planes and the gradually faded-up sounds of a radio being tuned into a station.  A newsreader is giving the news about a nuclear
  fall-out bomb shelter being built in in rural Cambridgshire, Andy Bown's Hammond organ is the only instrument played during this
  first verse of "The Post War Dream." Roger sings the extraordinary lyrics really softly, for this record to be so clear and clean
  is how EMI pressed them, of course for such an exposed section I will not claim there are no vinyl playing sounds, such minimal
  static only, after several plays even that will no doubt disappear, unplayed is rare!  As I just said, microscopic pips fall from
the stamping discs during the molten vinyl pressing stage, a stylus removes them after a few plays and the sound I hear now is
relayed with the knowledge of a first only play through, right, I must concentrate on the album now.  I have only given the first
  verse as part of the lyrics at the top of the page, they compare how Roger Waters' father met his death in the Second World War
  to the crucifixion of Christ.  Strong emotional stuff indeed, I left off the rest because I felt they would cause offense, that is
  something I would never intentionally do, if ever another album has 'blood on the tracks,"The Final Cut" is definitely the one
  and that happens right from the opening seconds of the first lyrics.  The sheer power mastered into this first pressing record is
  suddenly unleashed when this track explodes after Roger sings this, a direct reference to the then English Prime Minister;
 
"Maggie, what have we done to England?"
The incredible volume here still has ultra clear sound, smoothly into the track concerned with the future,"Your Possible Pasts."
   The intensity of Roger Waters' vocals become chilling to hear as he pours out the rawest possible emotions and the band are right
  up there with him when the song moves into the fantastic instrumental section. Here Dave Gilmour's electric guitar displays and
   expresses those same open raw nerves exposed by Waters on the quieter moments, the sound is stunningly perfect on all of those
   volume extremes.  This really is sensational sound, then the ticking clock and an acoustic guitar are ultra clean for the powerful
   intro for "One Of The Few," when I say 'sensational,' that includes just how superbly this record plays but even more for the way
  the effects impact in with the music.  The genius of Roger's brilliant lyrics on "One Of The Few" can only be appreciated if I type
  a sample of them out because they are the very link with "The Wall" and it's down trodden, oppressed school children.  They also
  highlight the attitude to joining the teaching profession, how they should then condition the kids to obey any of their commands
   and to prepare them to be fodder to die in a war, growing up to become equally obedient soldiers;

When you're one of the few to land on your feet,
What do you do to make ends meet?
Teach.
Make them mad, make them sad, make them add two and two,
Make them me, make them you, make them do what you want them to,
Make them laugh, make them cry, make them lie down and die.

I always find it hard to describe Pink Floyd albums I love so much, you can only ever do your best, which I am certain cannot be
  enough to capture such intensity to the music behind the hard hitting lyrics. The sound itself is far easier and that can be done
   with two words, absolute perfection!  The acoustic guitar and the clock returns for the outro, linking with the 'whooshing' sound
   effect that cuts straight through you, this 3-D sound is just awesome when heard from these totally unworn groves, there is not
   a way I could articulate the effectiveness of that. "The Hero's Return" tells of a returning soldier after the Second World War,
   an extremely difficult subject for Roger Waters to be singing about, because his own father never made it back.  Dave Gilmour's
   acoustic guitar has a touch of "Wish You Were Here" and the fantastic sharpness of that guitar's notes make me glad this album
just pre-dated the digital era, this was analogue sound being taken up to the loftiest heights and peaks of breathtaking sounds.
     Mint vinyl is so vital, next the radio playing is accompanied by a massive explosion, a jet plane roars before a basic piano plays
  to introduces another deeply emotional song, "The Gunner's Dream."  They are mostly quite short inter-connecting songs, this is
   a very lengthy track with amazing sound effects, like a gloomy tolling bell, just before a stunning Raphael Ravenscroft sax solo
  takes the emotional weight from Waters' shoulders.  Roger sings this next verse with a deep intensity and when he powers out,
  "It's driving me insane!!", a scream carries on as he sings the final lyrics quietly.  It is hard to break individual tracks down
   into separate entities, because they all play as one continuous piece of music.  Footsteps now tell you that "Paranoid Eyes" has
  begun and this contains all the fear of facing up to reality, back home in the local bar or pub. Expected glory for the returning
  war hero, instead turns into a fear so strong, he hides away behind the beers he drinks to lose himself in.  Roger Waters was now
  writing with really heartfelt genuine understanding of experiences of returning soldiers from the battlefields of a horrific war,
   he had obviously lived with this for all his life.  In the same way John Lennon spent his whole life trying to exorcise the ghosts
   of his parents, Roger's extremely moving intensity here was the inspiration behind "Paranoid Eyes" and the whole of the album.
    Immaculate sound continues, so I want to take a moment to comment about some Pink Floyd 'fans?'  I have either heard them, or
  read sneering comments that, "The Final Cut" was just a Roger Waters solo project."  I'm sorry to say they have missed the whole
   point of this album, Roger Waters was Pink Floyd's leading songwriter and if he led them into the events that still haunted him,
   what could be better than having your best friends playing alongside you?  Bad feelings between musicians meant nothing when
   it was time to plug in and play, the three had been together for sixteen years, Roger Waters would make a solo LP during the next
    year and why shouldn't Pink Floyd reduced to a trio, record an album this magnificent together? My personal feelings aside, this
side has more than justified my faith In EMI's superb first pressing, such breathtaking sound quality was precisely as I know it
   is possible to be, sure, Mint vinyl is the toughest to locate, but inspired albums are worth all the dedication that takes.  All those
  really quiet and totally vulnerable to noise sections barely even gave a hint vinyl was producing such razor sharp,'3D' sound and
if ever faint natural static becomes an issue on Mint first pressed vinyl, I might as well give up and sell CD versions. In fact,
before "Paranoid Eyes" begins, there are only the sounds of footsteps and a cat meowing very quietly, the full potential of this
record is encapsulated here and and on the whole of this first side's last track.  There is no static on the footsteps or the entire
  length of the track, even when Roger sings the almost acapella verse, with no more than a faint piano's notes, I will extend that
  lack of any intrusive sound or pressing static / microscopic pips causing loud crackles or clicks on the entire length of the
  first side, as far as natural static is concerned, this was exactly how you bought "The Final Cut" 33 years ago, back in 1983.
 

  Side 2's run-in grooves only have natural low level static, near silence well before you hear gentle sounds of the wind quietly
  blowing before a distanced voice on the wind yells incomprehensibly.  This is vinyl on such totally wide open to noise and for a
  first play, just the lowest possible static and my volume is ridiculously loud to reveal all, the sound is especially sensational
  for a few minutes during the very loud sound effects of a jet plane hurtling from the right to the left speaker, what a pressing!
I find it absurd to mention static on an unplayed 31 year old record, I know after a few plays that will be long gone, now with
that said, I must concentrate on the music itself and the startling sound effects, this is a strictly one play through after all.
Amazingly loud noise of the engines moves away, beautiful strings play the actual intro to "Get Your Filthy Hands Off My Desert,"
Michael Kamen's minimalist orchestration works superbly on the very short opening track to the second side. If the intensity of
  the first side seemed out of the question to now pick up from,"The Fletcher Memorial Home" removes any doubts about that being
  possible. Also, Roger's lyrics contain the most overtly political statements ever to appear on a Pink Floyd album, Roger Waters
   sings the names of past and present world leaders with aggressive war mongering tendencies, making certain to also include the
  disgraced Richard Nixon.  An orchestrated backing adds a light and airy feel to the first part of the song, then thunderous drums
announce Pink Floyd are about to play out of their skins. Dave Gilmour is in inspirational form, delivering the staggering guitar
   solo, the sound during that section is stunning to listen to.  You have a combination of an incredible power with maximum audio
    clarity, then the final verse and into a deeply sad "Southampton Dock," sung at first so gently with only an acoustic guitar, the
   sound quality is simply astonishing, with no more than the merest reminders vinyl is indeed creating such fantastic sounds, for
most of this, absolutely minimal surface sound.  Nothing I write could possibly convey this track's intensity, then Rogers' lyrics
are able to, the best thing I can do is type out the first verse as a sample;
They disembarked in '45,
And no one spoke and no one smiled,
They were too many spaces in the line,
Gathered at the cenotaph,
All agreed with the hand on heart,
To sheath the sacrificial knifes.
As I always find writing previous description's for this album, it's very difficult to attempt, I really felt it could not be done
  and that same feeling that I am miles away from giving this record's awesome contents and sound, that is not a reason not to
  at least try to.  The track finishes with a very emotive vocal from Roger Waters and now seamlessly into the album title track,
  "The Final Cut." At so many points on this very moving track, Roger's vocals only have a gentle piano and the sound even there
  is staggering!  Hearing this record now for the first time, I am reminded of my bitter disappointment when hearing the CD version
  a few years later, provided that a record is in Mint condition as genuinely as this record, vinyl is light years beyond CD's for
  the dynamics of analogue '3D' sounds. With only the most minimal isolated vinyl background static, it's essential to not suffer
  those wear induced, explosively loud crackles and clicks and a general noise found on nearly every vinyl pressing around today.
  When mentioning faint static during the quietest segment on the whole album, I must add a reminder this record is being played
  and heard for the first time, a good few plays will remove it, by insisting on hearing the LP, I'm including something temporary.
Even a short section before the strings join the piano & voice has that minimal static, then into the following section which has
  perfectly clean sound and confirms a stunning pressing, a first play is always a pleasure for me, I just love the joys of vinyl!
EMI first pressings are beyond compare and this record is performing with staggering sound reproduction, yet I feel obliged to
react like playing a CD. I do insist on an honest description, but I cannot offer anything finer than an unplayed first pressing.
When Dave Gilmour's solo starts the music lifts even higher,I wrote before how if the first side is intensive, the second side is
  exactly the same..... only now it's time for the unbelievable, "Not Now John."  Lifting away any feelings of sadness and a dark
  gloom, "Not Now John" just has to be "The Final Cut's" most sensational track, if only for the sheer dynamics of the music alone.
   Then the lyrics are to say the least, rather unusual, you have the backing female voices singing this with such lovely harmonies,
  "F*ck all that, F*ck all that", as well as Waters, plus there is a hypnotic like use of lightning fast stereo panning movements on
  some of those amazing  vocals.  This is a track that rocks superbly and Gilmour played some of the greatest guitar of his whole
  career, Roger is just as inspired on the vocals as you will ever hear him, from any of Pink Floyd's decades spent making records.
Roger takes the opportunity to hit out at just about anyone who ever was involved with a war, a tirade you want never to end and
as one of the longest tracks on the album, this just runs and runs. Other's who have grown to love this really amazing Pink Floyd
  masterpiece do not need me to tell them how stunning the album is, but I know how there are people who have not even heard it.
  I do urge anyone yet to sample the sounds of "The Final Cut," to take a listen, because this is stacked out with the most amazing
  music and these are really extraordinary vocals from Waters and the ladies, even if this had become the 'final' Pink Floyd album,
what a way to go out!  He even speaks one verse in softer tones with those girly vocal harmonies sugar sweet, but just when you
think the song has begun to run out of steam, they once again sing out with a real power and a renewed vigour,"F*ck all that!!"
  and they now take this song into the lengthy and extended sections!   A truly amazing track that seems like you have reached the
  end of the record, but the acoustic guitar, the organ, the bass and the drums now kick really hard into,"Two Suns In The Sunset."
The 3-D sound effects include sea like or beach sounds and then an almighty injection of power into the backing sends the volume
escalating into being overpoweringly loud. Needless to say that however loud this record gets there is still no distortion, this
  is precisely as pressed, just crystal clear sound all the way, there is no surface sound in the quiet moments. The sax solo here
is stunning, I preferred how that was an instrument restricted to just a couple of these tracks, leaving Dave Gilmour plenty of
space on the album to express himself. Even as Roger sings the last lyrics acapella so quietly, my stylus glides so silently into
the side's run-out grooves, this is some pressing, describing it was pure indulgence from an old Pink Floyd fan, I'm glad I did!
 
  A fantastic Pink Floyd album that one day will be just as revered as "Piper At The Gates Of Dawn", what a joy to hear it in such
stunningly perfect sound quality.
{Roy}
    R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.

ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.

UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.


We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
  increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


  Pay me with PayPal.

I don't charge my buyers extra!