Longed for. That is what Live at Pompeii is to many Pink Floyd fans. Rightly so. It is a legendary concert, worthy of the bootlegs which are in circulation. No need for those, now. Distribute them into various public bins or turn them into pizza serving platters. After selling their backlog, Pink Floyd members are freed from talking to one another, which is great news for fans hoping to hear taped live shows. Echoes: Part One, is a sweet tease of what is to come on the Live at Pompeii: MCMLXXII mega release. A fresh mix and Atmos sound are the difference makers. Careful restoration, which Pink Floyd works are no stranger to, is right at the core of Live at Pompeii. Similar care can be heard on the Live at Wembley release from 2023, anything less would be considered blasphemy by fans.
Rightly so. They are long-suffering in their ongoing listening experiences, and rare it may be now to receive works of quality from the Pink Floyd collective, here is one worth noting. Echoes: Part One, is a tease of the brilliant work behind the scenes. Not the full Meddle track, but enough to leave a mark as we wait for the release of Live at Pompeii. Outstanding. Not just as an audio experience but a visual piece. Live at Pompeii looks and sounds incredible. For those who have spent years listening to the album obsessively, this will be a heavenly experience, like gazing at the cracks of pure white light once the clouds clear. For the passive fan, those who had not yet had the time to hear Live at Pompeii, what a time to start. Simply unbelievable, breathtaking work is taking place. From the mix to the new surround sound, all of it falls in line with the high expectations at play.
Just a snippet, but what a snippet it is. For those who loved Meddle and wanted to hear its adaptation to the stage, this is the perfect song to start with. Pitch corrections, brilliant percussion and a high definition deserving of such a performance, Echoes: Part One is a perfect blur of those quality Pink Floyd moments from the past and the sharp qualities of technological improvements. What becomes very clear on this remastering is the contrast of ancient architecture, the beauty of vivid and planned creation with the coral beds mentioned at the start of Echoes. Beauty in every place is what gives the song a wild kick, and this is maintained on the mastering. You can hear the effect the amphitheatre has on the recording process, that little boost given to studio-like sounds from the eight-track, touched-up carefully here.
Echoes: Part One is an important test of the waters ahead of the master release. Where part of the show had been adapted in 2016, Live at Pompeii MXMLXXII looks set to provide that perfect overlap of genuine intent and overhauled sound. All those little details, the decision to record at an ancient amphitheatre, to the editing style on the film which presents a collage of guitar work from David Gilmour and bubbling nature, feels assured. Pink Floyd has always been a visual band and where later works from solo members may feel a bit staggered and short-sighted, the energy and effort in preserving the source on Live at Pompeii is touching. Incredible how striking just part of a song can be when paired with the right visuals, and Pink Floyd has that here, with Echoes: Part One.
