Page used a Sonic Wave Theremin in his Zeppelin days in a very guitar-like way—running it through a Maestro Echoplex and Orange amps and cabinets. .. For several months in 1971, writes fansite Achilles Last Stand, Page “used a double-stacked Theremin” for twice the sonic assault.
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Those in the know will know that Page put the theremin to use on one of the band’s most technically experimental recordings (though it also happens to be an appropriated blues stomper), “Whole Lotta Love” from 1969’s Led Zeppelin II. “I always envisioned the middle to be quite avant-garde,” Page recently told Guitar World, “The Theremin generates most of the higher pitches and my Les Paul makes the lower sounds.” Watch him rip out a theremin-and-guitar solo above in the live performance above from 1973, beginning at 1:45. Taken with the psychedelic video effects, the performance reaches mystical planes of rhythmic abstraction.
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Those in the know will know that Page put the theremin to use on one of the band’s most technically experimental recordings (though it also happens to be an appropriated blues stomper), “Whole Lotta Love” from 1969’s Led Zeppelin II. “I always envisioned the middle to be quite avant-garde,” Page recently told Guitar World, “The Theremin generates most of the higher pitches and my Les Paul makes the lower sounds.” Watch him rip out a theremin-and-guitar solo above in the live performance above from 1973, beginning at 1:45. Taken with the psychedelic video effects, the performance reaches mystical planes of rhythmic abstraction.
Those in the know will know that Page put the theremin to use on one of the band’s most technically experimental recordings (though it also happens to be an appropriated blues stomper), “Whole Lotta Love” from 1969’s Led Zeppelin II. “I always envisioned the middle to be quite avant-garde,” Page recently told Guitar World, “The Theremin generates most of the higher pitches and my Les Paul makes the lower sounds.” Watch him rip out a theremin-and-guitar solo above in the live performance above from 1973, beginning at 1:45. Taken with the psychedelic video effects, the performance reaches mystical planes of rhythmic abstraction.
via Open Culture
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