Pink Floyd At Pompeii - MCMLXXII

Here finally is the re-release of the remastered 4K scan restoration and surround remix of the theatrical film, PINK FLOYD AT POMPEII MCMLXXII (1972). Originally, French director Adrien Maben had an idea to film "The Floyd" (as they were referred to back in the day) in front of classical paintings. The band rejected the idea. After quite a bit of time had passed and the director and the band had still not managed to meet, he went on holiday to Pompeii with his wife. Sometime during his walks around the ruins, he lost his passport. Returning there in the evening to search for it, he found himself inspired by the stillness of the ruins and its atmosphere. Thus was born an idea. Contacting The Floyd again, he proposed that he film them live amongst the ruins in the Roman Ampiheater of Pompeii. They liked the idea and agreed. One of the city council memebers was a Floyd fan in Pompeii, and he convinced the city's elders to do the unprecedented: Allow a rock band to perform and record amongst the ruins of the ancient city. No one would be allowed to do so again for 45 years until, David Gilmore, by then a legend, came back and performed an actual concert in Pompeii at the same site in 2016. This is also available on Blu Ray, BTW . Despite his initial good fortune, Maben's troubles began. Maben soon discovered that the cables he had run out to the Ampitheater where gladiators once battled were inadequate for the massive power supplies needed, and ultimately he had to run a massive cable all the way back to the city of modern Pompeii with persons posted to guard it. His one week of filming was now down to 3 or 4 days. Still, he wanted to create an "anti-Woodstock." The trend had been to record a band live with the audience becoming another member. In THIS case, Pink Floyd would be performing only to the crew, and we viewers would be their audience--along with a few children who managed to sneak in (one of my friends' cousins in Vico Equense recounted how he snuck in with his friends.) Even in early October, the band perfomed under the burning sun, resorting to even filming some night time shots perhaps because the ampitheater was so much cooler. It also made for some very creative use of lighting to have Waters and Gimour appear and disapppear. Track shots and varius techniques showed the band walking along Veusvius (and Etna?) and when the film was intitally shown, despite good reviews Adrien Maben decided it was a bit too short. He also filmed the band doing some more performances in Paris and rehearsing back in Abbey Road Studies, where they would work for the next year experimenting and recording what would become thier number one album, THE DARK SIDE OF THE MOON--selling over 50 million copies, and staying on the billboard top 200 for 741 weeks- over 14 years. This second release in 1974 would become the definitve theatrical Pompeii film. For years growing up, I would go over to friend's parties. In those darkened parent’s living rooms we would hang our with our girl friends and watch this film on low res VHS tapes. The audio often wouldn't track well. Eventually I would pick up my own "HI FI" stereo copy of the film -that was still new technology. Later,I would snag a much better looking release on Laserdisc in my quest for the perfect copy. Finally, in the early 2000's the film was released on DVD. Alas it was a new, "Director's Cut." Usually, I prefer these cuts in movies, but in this case it was far inferior, and picture quality is middling. Maben added video game-like computer graphics, very dated looking even for then, cutting away from the band and distracting from the film. Additional inteviews that he shot in 16mm black and white were added, but they only served to slow down the film. Digging into the sub menus, one could find the first cut of the film- but it is only the performances. Interviews with Nick mason ordering breakfast, “I’ll have egg, sausage, chips and beans – and a tea,” and seeking in vain a pie without the crust. Along with the band’s reminiscences, Waters arguing about over active imaginations hearing a sibilance on a second cut of Obscured by Clouds ( foreshadowing their later acrimonious breakup), and some very stoned and funny commentary by Gilmour and Waters, the former assuring us that they are not a "Drug-orientated group. Trust us" while being very red-eyed and obviously stoned, had audiences laughing quite strongly. None of that was visible on the DVD as a fluid cut. One could also find an interview with driector Maben, which is unfotunately not available on this release. What is available is a MUCH sharper (Finally) higher resolution presentation, with the same cut much as I saw on VHS, Laserdic, and finally in IMAX at the theaters last week, which should please most buyers. Unfortunately, they did not make the film available in 4K UHD, I suspect beacause they think that demand might not warrant it, but this copy is the highest quality home release we Floyd fans have ever had. Acoustically, much as in the IMAX presentation, this cut is a revelation. The soundtracks are available in three flavors: 2.0 uncompressed LCPM: linear pulse coded Modulation, which is the highest possible quality for a two channel stereo presentation and probably close to how it was originally presented in the best theaters back in the 70's. You also have 5.1 Dolby True HD surround, and Dolby Atmos, in which if you have the right speaksers and set up sounds will seem to emanate from your ceilings as well as to be a totally emersive wrap around experience. I had my head cocked and turning behind me in the theater as I could hear Richard Wright and Dave Mason's separate voicies behind me, as well as sound swirling around the theater. The famed Steve Wilson has done an amazing job remixing and cleaning up these old recordings, which sound like today's best reference grade audio; that’s no small achievement for a 53 year old film. Subtitles are available in German, Italian, Spanish, and others- but no English, and they are limited to speech and not whilst singing, as is typical of most concert discs, unfortunately. The film is both surprising, at times humorous, and strangely meserizing, with Maben's tracking shots around drummer Nick Mason, and other cuts of the band bringing us into a near trance-like state. Images of frescos from ancient Pompeiian homes, and statues seem erie and fit in with shots of the city and the music, making for a unique experience. I would not throw out my old copy just for the additional interviews and Maben's commentary, but this is clearly the superior and only copy to have if you wish to see Pink Floyd in concert as they were intended to be seen. Online you can find an audio only recording of Nick Mason and Steven Wilson discussing the film after watching it with audience on its 2025 premiere. I’ve waited 40 years to see this properly released. Highly recommended.

I bought the old DVD quite a few years ago which was disappointing. So/so picture and bland audio. Missing some content. This new release Blu-ray is phenomenal. Although the picture is 4:3 so it has black bars on the side the pic quality is stellar. I’m simply amazed how well detailed and clean it looks. 4K quality despite it being a 1080p Blu-ray. Note I played it on a 4k bdp to a solid 4K quantum dot tv. The sound quality is remarkable. Dolby Atmos or Dolby TrueHD or pcm all top notch. Exceptional clarity and separation & oomph yet smooth. Of course I’m happy the picture looks good but it’s the sound I’m most after and this remaster delivers. I don’t feel it needs any EQing. Quite frankly that likely would sabatoge the sound. I believe this how all the members wanted it to sound. This is the marquis PF line up as well. You will hear this in numerous other reviews: it’s a must have for Pink Floyd fans or those that simply appreciate quality music presented in an exceptional way. Price is right too so take advantage of that rarity for legit PF hard copies. I do not have “golden ears” and I’m not young but I know what I’m talking about. Been into audio quality since my childhood in the 70s-80s. Was tinkering with home theatre as a high school & college student in the 80s before AVRs were a thing. Today I own numerous DVD-Audio/SACD players, AVRs, speakers, headphones, DACs, tube amps/preamps, etc and have an expansive collection of CDs, HDCDs, dts CDs, DVD-Audio and SACDs, Blu~ray Audio, concert video on both dvd & Blu-ray, and vinyl too. I steam hi-res and have my place set up to listen to any source throughout my house, up to 23 speakers and 3 subwoofers currently whether it’s streaming or a disc. I know sound quality, and this new version of PF’s Live at Pompey is a true treat.

Pink Floyd at Pompeii (blu ray version) This documentary is a great visual and musical rescue of the best ground-breaking, progressive rock band thus far. You will see an amazing combination of 4 hell of musicians: Nick Mason (drums), Roger Waters (bass, vocals), Richard Wright (keyboards, vocals), and David Gilmour (guitar, vocals). The original vinyl album was produced about 6 years after Syd Barrett left the band. So here you will see the creativity virtuosity of 4 out of the hell musicians: Nick Mason (drums), Roger Waters (bass, vocals), Richard Wright (keyboards, vocals), and David Gilmour (guitar, vocals). I was born in 1964, so my adolescence was marked by this band (despite the bad taste “disco wave” that marked the late 1970s and most of the 1980s). I truly think this blu ray release is visually and musically astonishing. Essentially, you have two main choices here. One is to go directly to the (non-live) concert at the Pompeii Amphitheatre. Here you will be astonished by individual and group creative process leading to the vinyl release. Alternatively, you go the same plus several inserts showing material from interviews to all members of the band. These exchanges are interesting as the reflect differences in personality when it comes to how strong or well-founded provide opinions. Finally, but not least, the images are also astonishing when it comes to the historical Pompeii images. Should I mention a negative issue, it you are interested in the blu ray release exclusively, the package is a bit disappointing. You get a cardboard envelope that opens in two halves with the blu ray in one and a small 6-page booklet. So, no standard rigid blu ray case.

On possédait ce documentaire en DVD et Blu-Ray depuis pas mal d’années maintenant. En octobre 1971, Pink Floyd a déjà 5 albums à son actif et a terminé « Meddle » qui sortira à la fin du mois, un de leurs chefs d’œuvre, sans doute leur premier. Toujours en quête d’innovation, le groupe demande au réalisateur Adrian Maben de les filmer lors d’un concert sans public dans les ruines de l’amphithéâtre de Pompéi. « Une sorte d’anti-Woodstock » selon les termes de Maben, une expérience comme l’appelle les membres du groupe, misant sur la qualité sonore obsessionnelle du groupe, plutôt que « les réactions du public ». Les prises de vues sont réalisées du 4 au 7 octobre. Puis de nouvelles sessions sont enregistrées du 13 au 20 décembre à Paris pour compléter le tournage de Pompéi qui a subi quelques problèmes techniques mais qui démontraient aussi que le groupe avait de l’humour et du second degré (« Mademoiselle Nobs », blague sympa enregistrée…avec une chienne !). Une version audio remasterisée existait déjà dans le coffret « The Early Years 1972 » en 2016 avec 5 titres et la version alternative de « Careful with that axe, Eugene ». Cet enregistrement est donc loin d’être une découverte. Mais 2025 est l’occasion d’avoir (enfin) une version remixée en audio (2 CD) et vidéo, et pas par n’importe qui car il s’agit de Steven Wilson, musicien passionnant mais aussi un excellent ingénieur du son toujours sur les bons coups, permettant de redécouvrir quelques-uns des groupes qui l’ont influencé et lui font confiance pour le meilleur rendu sonore possible (Pink Floyd bien sûr mais aussi King Crimson, Marillion, Yes, The Who, Black Sabbath, Jethro Tull…). A chaque fois, il frappe fort. Ici le son de chaque instrument ressort fabuleusement, en particulier la batterie de Mason, aucune comparaison avec la version d’origine ou même celle de 2016, le remixage était utile. Il faut dire que le son stéréo du documentaire était juste correct. Ce « Live at Pompeii » représente vraiment une charnière dans la carrière de Pink Floyd. Pas encore devenu le mastodonte qu’il sera à peine 2-3 ans plus tard, le groupe joue encore dans un style post-psychédélique avec une approche toujours expérimentale mais commence à s’en éloigner pour aller ailleurs. « A saucerful of secrets » offre l’occasion à Gilmour de triturer sa guitare comme jamais, tandis que Wright martèle son piano, que Waters s’acharne sur le gong, et que Mason n’en finit plus de frapper ses fûts. Le final du morceau tire plus vers le prog’ presque symphonique, dans une apothéose entre les claviers de Wright et la voix de Gilmour. Ce dernier sait tout aussi bien chanter d’une voix puissante ou éthérée, que distiller une atmosphère mystérieuse comme dans le lancinant « Careful with That Axe, Eugene ». Ambiance planante que vient rompre Waters par son cri strident et toujours aussi terrifiant. Des morceaux qu’on trouvait déjà dans le disque live de « Ummagumma », et qui appartiennent donc à la « première période » du groupe. Mais on sent un changement, une mutation… Si « Atom heart mother » marquait déjà la transition entre les sixties et seventies, mettant fin en quelque sorte au versant le plus psychédélique et expérimental du groupe, cette fin d’année 1971 annonce clairement les grandes heures du Floyd. Quand il joue le morceau en ce début du mois d’octobre à Pompéi, le groupe n’a pas encore sorti « Meddle » où figure la version studio de « Echoes ». Il arrivera dans les bacs quelques semaines plus tard. C’est donc presqu’un « inédit », au moins pour l’équipe de tournage. Cependant, cette pièce épique était en gestation depuis plusieurs mois, et était déjà jouée en concert depuis quelques mois. D’abord appelée « Nothing » (« rien »), puis « The son of nothing » (« le fils de rien ») et enfin « The return of the son of nothing » (« le retour du fils de rien ») en forme de boutade, cette suite de plusieurs idées musicales trouve son aboutissement en une longue symphonie rock. Mais à la différence de « Atom heart mother », le morceau « Echoes » comporte une partie chantée, et se joue uniquement avec le groupe, sans apport extérieur d’orchestre ou de chorale. Une pièce sublime qui préfigure l’apogée de Pink Floyd dans les années 70, de « The Dark side of the moon » à « The wall ». Pour ceux et celles qui souhaitent découvrir ce concert unique, je conseille d’abord la version vidéo très prenante mais pour les fans cette version audio est fantastique. J’ai monté le son et le résultat est tout simplement impressionnant.

Great music, good price, prompt delivery!

I was dubious about buying this because Steven Wilson’s previous remastering ‘work’, ie. Aqualung, was fairly poor compared to the original (of which I have both). Anyway, album in hand, this ‘vinyl remaster’ is as digitally clinical as your PC telling you ‘syntax error’ (sic). The fact is this LP has no more vitality than a dead cabbage. The original recording has been made to sound like a Porcupine Tree spin off. Whilst PT aren’t a bad band this variant is as soulless as stepping into a dog’s dark brown mound of unwanted shoe polish! Anyway, I wouldn’t recommend this LP and, if you’re into the Floyd, Ummagumma has a few of those destroyed songs that still retain their atmosphere and vitality. This disaster is only for completionists. Final say: barely listenable compared to the ‘unofficial’ releases on other platforms, including this one. A question, who splits up one of the Floyd’s greatest tunes - Echoes? Steven Wilson needs to stick to his day job. Enough said.

Maravillosa reedición. Sonido amplio, rico, detallado y de gran produndidad Para mi gusto es además la mejor época de Pink Floyd.

Maravilhoso! Qualidade do áudio excelente! Sempre Floyd!!