Pink Floyd Philosophy

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• Create Date December 4, 2020
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By 1971, Pink Floyd had set the controls for the heart of philosophy. That year, Adrian Maben made his extraordinary concert film, Pink Floyd at Pompeii. It begins with the desolate, lonely strains of “Echoes” as Maben’s camera—impossibly high above the ancient Roman amphitheatre at Pompeii—descends with almost imperceptible slowness into the circular theatre of stone. The band, its truckloads of equipment, and miles of cables are set up in the middle of the enormous circle below.
Pink Floyd had just begun writing and recording Dark Side of the Moon and had yet to be jolted by the international stardom that would propel them through the 1970s and culminate in their second monster album, The Wall, in 1979. That’s why the setting and venue could not be more perfect—or ironic. For this enormous stone amphitheatre is a circular wall, built up long ago brick by brick, isolating Roger Waters, Nick Mason, David Gilmour, and Rick Wright from the outside world. It was originally designed to hold a live audience, of course. But there is none in this film. Pink Floyd simply plays—to themselves, to each other, to a handful of sound technicians—with the ...