" data-original-title="" title="">Pink Floyd these days, now over fifty years since the release of Dark Side of the Moon (Capitol, 1972) compels all manner of 'What if?...' hypotheses. And hearing At Pompeii MCMLXII, work preserved for posterity during the gestation of the aforementioned breakthrough album, evokes particularly thought-provoking notions about the evolution of this quartet (or subsequent line-ups) if the musicians had retained the proclivity to improvise as in their earliest days as a band.

It is not even necessary to watch the latest version of the film (or that included in The Early Years 1972 Obfusc/Ation (Pink Floyd Records, 2017) to conjure such thoughts. Given the musicians' obviously intense concentration, how much of a leap of faith would it be to fully and intricately interact in the spirit of the moment, even on a number as relatively abbreviated as "Pompeii Intro?"

Naturally, to proceed with such spontaneity would preclude (or at least limit) carefully-timed orchestration of the lights and other production effects that eventually adorned Floyd concerts. But savvy and courageous practitioners of probing musicianship would certainly find a welcome challenge of creativity on both "Echoes Part 1" and "Echoes Part 2"; the ghostly vocals on both pieces would present ideal contrast and complement to extensive instrumental work.

The optimum sound quality that has earmarked Pink Floyd releases over the years—here in the form of a Steven Wilson remix—would also become an even more invaluable asset under those circumstances. Discerning the nuances of