Pink Floyd
Live At Pompeii

Alright, calmly, because here we speak of sacred monsters.

I will describe this live performance, and I don't think I'll manage to be concise, because there is so much to say, but bear with me because I believe it's worth it, especially if you love the band in question and/or have never heard of this video. In 1972, Pink Floyd were riding the wave, on a continual rise, and soon "The Dark Side Of The Moon" would be released a pillar of contemporary music, and they wisely decided (or someone did on their behalf) to record a video/live performance in Pompeii. But not in the modern city, rather in the one from the Roman era 2000 years ago, buried by the historically and sadly famous eruption of 79 A.D., right in the middle of the amphitheater present there. A choice in my opinion genius, unequalled, which perfectly marries the music that Floyd proposed at the time: psychedelic and visionary to the limits of the imaginable, or if you prefer the definition found on the videocassette: "colorful, imaginative, surrealistic and highly inventive."

The location creates an incredibly mystical and transcendental atmosphere, and the excellent scenography makes this video/live a cult piece. The tracks performed are among the most classic masterpieces (and flagship pieces) of the group: "Echoes" (parts I and II), "One Of These Days", "Set The Controls For The Heart Of The Sun", "A Saucerful Of Secrets", "Careful With That Axe, Eugene" and "Mademoiselle Nobbs". The latter is a real gem. It's a blues with Rick's dog "singing," Waters on guitar and Gilmour on harmonica duetting with the dog, unmissable! "Careful With That Axe, Eugene" and "Set The Controls For The Heart Of The Sun" were filmed at night with very little lighting that creates a lot of suspense, also thanks to the sound of the pieces in question. The recordings of the other songs are in daylight, and the videos also alternate with scenes depicting the historical atmosphere of the excavations, with mosaics, paintings, and temples. The performance of the four is musically impeccable, and the stage presence is respectable, with Gilmour, hair in the wind and bare chest, giving us beautiful solos and effects, Wright hidden behind the keyboards creating atmosphere, Mason beating the drums like I've never seen him do in my life, and Waters, charismatic as only he can be, with his bass strapped on.

In the various performances, the guys let themselves go completely, tapping into all their extroverted genius, in particular, I point out "A Saucerful Of Secrets" where in the initial part (the most psychedelic one, to be clear) Gilmour fiddles with the effects lying on the ground Woodstock-style while Waters jumps in backlight hitting the gong, all supported by the incessant and hypnotic drumming of Mason and Wright who literally "pounds" the keyboard. Or "One Of These Days" where the filming is focused exclusively on Mason, with a double bass drum (who loses a stick in the air at one point and immediately grabs another one on the fly). The whole is finally accompanied (alternating between the various performances) by studio footage during the recording of "Dark Side Of The Moon", specifically the tracks "Us And Them" and "Brain Damage", interviews with band members, and backstage footage of the sessions with Pink Floyd sitting at a table eating. A real film/documentary of Pink Floyd captured at the height of their glory. Watching "Live At Pompeii" is like taking a journey through time, being carried away by its sounds and evocative images, and why not by the nostalgia of those times and the charisma of a band like few there have been (personally, I consider them unique), which on this occasion really gives its best.

One last important note goes, of course, to the director Adrian Maben and all the people who worked on making the film as the production was truly excellent (the wonderful split/multiplication effect of the image on the Echoes part I solo). There are dozens of versions of the live video in question, videocassettes and DVDs, each with its own peculiarities, possible subtitles, etc., etc... The version I have described is the so-called "full-length" (obvious, isn't it?), which contains in addition to the performances of the pieces what I have told you. As for the cover, I sent you the one that (in my opinion) is the most beautiful of all the versions.

I'll give you just one piece of advice: get it (through whichever means you find most appropriate...) sit on the couch in front of a gigantic TV with a proper audio system and enjoy it. Oh, I almost forgot: turn off your cell phone! Timeless emotions!