Late 70s Roger Waters had long since taken control of his band Pink Floyd and had 1977 different music material composed, it assigned two different conceptual ideas and recorded some demos of it. Both concepts he introduced the rest of the crew and let them decide what material should be worked out as a Pink Floyd album and that would realize Roger as a solo project. It was decided at PF for the material, which should then be remembered as "The Wall" in 1979 in the history of music. With the remains of Roger brought then under the name Pink Floyd released his solo album "The Final Cut". The then rejected material is now here before with the name "The Pros and Cons Of Hitchhiking". Roger released the album in 1984, shortly after he had PF unilaterally declared dissolved (there are also reports that he did so only in 1985, however). For TPACOH he presented an illustrious band of outstanding musicians zusammen.Am Sax David Sanborn delivers a great performance from, at the electric guitar you can actually hear Eric Clapton, otherwise you have it with Ray Cooper to do Andy Newmark and other high-class musicians .Some women for short, rocking chorus deposits, the National Philharmonic Orchestra under the direction of co-producers and man at the piano, Michael Kamen, complete the picture. Although theme and artwork of the album of "The Wall" and "The Final Cut" differ significantly, the music can not deny its closeness to mentioned albums. While listening to you every now and then the feeling of being in fall briefly in "Wall" or especially "Cut", which has to sing with Rogers nasal, often accusatory, indignant way of doing. What the album gives a significant autonomy, the guitar playing of Clapton, which differs from the David Gilmour is unterscheidet.Clapton audible rock but also blues guitarist and makes the music seem more relaxed, exhilarating. The Story of the concept album about a man who is traveling by car in the early morning hours in Central Europe and in the mid-life crisis befindet.Dementsprechend his thoughts and impressions turn fears, paranoia, sexual fantasies etc.The story runs in real-time, so that the tracks are named after times, however, with subtitles in parentheses. The whole album is looser, more pop, less gloomy over, as "Wall" and "Cut", yet Waters maintains a high level, and the lyrics are once again very stimulating. Even when the production was padded properly. The recording quality is fantastic, Andy Jackson and Laura Boisan should be mentioned here quietly for her performance. The mastering took Doug Sax, along with Mike Reese.Dynamikwerte and modulation were okay. For an exceptionally spacious sound they took Zuccarelli Labs (Holophonics) to complete. The result is tonally a hammer. A remastered edition, I think actually not necessary, but there is probably one that I, however, do not know. She came out in 2000 and is to get only as an import. The fact that the vinyl edition meets the highest standards, it should be mentioned for completeness only here and is quite clear. For the artwork Gerald Scarfe had been committed; the naked woman on the cover could not befriend everyone. The US edition of Columbia was getting temporarily just with black bars on the bare buttocks of the lady. The sales figures were a big disappointment for Waters, the album was virtually ignored as lead on the shelves. The interesting music and the madness sound one at that deserved more attention.
