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LUCIFER RISING


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Just very gently had a look at mine. The text on it is as follows:

The music presented here was recorded in my home studio in Plumpton, Sussex.

Experimenting with the theatre of the avant-garde, during the early seventies on eight-track,

one-inch analogue tape. I had been asked to provide some music for the soundtrack of

Lucifer Rising by Kenneth Anger. I had already been experimenting with some textures

I thought might work and went about doubling the length of a piece for the film.

The instruments and overdubs were treated at source with processing and sonic effects.

In some cases sub-mixes were employed.

The current mixes involved balancing the track levels with no additional effects for the

final mix. Two of these ideas were to surface on Death Wish II ten years later.

I'd been quite involved in what had gone on in art labs prior to Lucifer Rising. I had an

interest in underground everything. Art college was a hotbed of everything that was

alternative, whether it be poetry, music, film and certainly art. It's not well known but in

The Yardbirds we did a number called Glimpses, and Glimpses was something that involved

a bow. The bowed guitar wasn't a novelty to me; I really considered that it was making music.

The manifestation of that is in The Song Remains The Same with the bow and the whole

imagery of the hermit. Anyway, with Glimpses I was playing with tapes. I had all these

sound effects, like the Staten Island ferry, crunching noises and the rattling of a locomotive

with its lonesome horn. The juxtaposition of sound you could have taken out of the Fillmore East

and put into an art lab. The bow was used extensively on the music featured here.

When light beams were used with security alarms I had an idea of using tape recorders that

were triggered by the beams. You could have a dancer affecting the music, interrupting the

light beam. The musical combination was whatever the dancer would be inspired by; by the

ambience of the audience and their own imagination.

So the fact that I got involved with Kenneth Anger and Lucifer Rising was really just a step

along the road of my interest in the extreme and alternative.

Jimmy Page, March 2012

side one

1. LUCIFER RISING - MAIN TRACK

Whilst in India I had acquired a bass tanpura, that provides a majestic drone.

I applied a chant, tabla drums, bowed guitar, acoustic twelve string guitar,

mellotron and a newly acquired ARP synthesiser that provided the Horns of Jericho.

A mix of music was presented to Kenneth Anger and was used

on showings of the first third of the film but not in the final cut.

side two

1. INCUBUS

This suggests the icy scratches and cutting embrace of the incubus at play.

Instrument: Guitar

2. DAMASK

Inspired by my journeys both on foot and through the

recordings of the masters. A simple homage to the sarangi.

Instrument: Six String Bowed Guitar

3. UNHARMONICS

With the harmonics and demonstrative bowed glissandos the

naked solo guitar moves cautiously through a sonic landscape.

Instruments: Six String Bowed Guitar, Bowed Guitar

4. DAMASK - AMBIENT

Damask Mix II returns from the original recording

with a more dense, heavily perfumed ambience.

Instrument: Six String Bowed Guitar

5. LUCIFER RISING - PERCUSSIVE RETURN

The main title with a surprise visitor. I had forgotten about

a percussive overdub courtesy of the ARP Odyssey synthesiser.

Instruments: Phased Chants, ARP Synthesiser, Mellotron,

Twelve String Guitar, Tabla

All songs written by Jimmy Page, published by Succubus Music Limited

All instruments played and recorded by Jimmy Page

Original engineering and mix Jimmy Page

Additional engineering and mix Drew Griffiths

Mastering John Davis

Art direction Tex Higgins

Cover image based on Gustav Dore's The Eagle

Produced by Jimmy Page

Inscribed on the laquer bit middle thing of the first side is 'LUCIFER RISING 0001 A-2'

And on the second side is 'LUCIFER RISING 0001 B1'

There is a cardboard slipcase that contains the record itself, with the text I have provided above on either side. The record itself comes in a plastic sleeve and is protected by bubble wrap.

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It seems that Jimmy reused some of his answers to the Lucifer Rising interview in the Summer 2006 issue of Classic Rock Magazine:

http://archive.class...6/44/jimmy-page

From the interview:

Prior to your collaboration with Anger did you have an interest in underground films?

“Well I had an interest in Underground everything. Art college was a hotbed of everything that was alternative, whether it be poetry, music, film certainly art.”

Did you use what you learned at art school into your music?

“I would say so. I’d been quite involved in what had gone on in art labs prior to Lucifer Rising. It’s not well known but I remember in The Yardbirds we did a number called Glimpses. And Glimpses was something that involved the bow. The bow guitar wasn’t a novelty to me; I really considered that it was making music. The manifestation of that is in The Song Remains The Same with the bow and the whole imagery with the hermit. Anyway, with Glimpses I was playing with tapes. I had all these sound effects, like the Staten Island Ferry, all these crunching noises and horns; there might have been Hitler’s speeches in it as well. All this stuff which you could have taken out of the Fillmore East and put into an art lab. When they used light beams as burglar alarms I had an idea of using tape recorders that were triggered by the interruption of light beams. You could have a dancer affecting the music. The combination was whatever the dancer would be inspired by, by the ambience of the audience and their own imagination.

“So the fact that I got involved with Anger was really just a step along the road of my interest in what was quite alternative.”

Interestingly he cut out the reference to Hitler for the vinyl record.

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Just very gently had a look at mine. The text on it is as follows:

The music presented here was recorded in my home studio in Plumpton, Sussex.

Experimenting with the theatre of the avant-garde, during the early seventies on eight-track,

one-inch analogue tape. I had been asked to provide some music for the soundtrack of

Lucifer Rising by Kenneth Anger. I had already been experimenting with some textures

I thought might work and went about doubling the length of a piece for the film.

The instruments and overdubs were treated at source with processing and sonic effects.

In some cases sub-mixes were employed.

The current mixes involved balancing the track levels with no additional effects for the

final mix. Two of these ideas were to surface on Death Wish II ten years later.

I'd been quite involved in what had gone on in art labs prior to Lucifer Rising. I had an

interest in underground everything. Art college was a hotbed of everything that was

alternative, whether it be poetry, music, film and certainly art. It's not well known but in

The Yardbirds we did a number called Glimpses, and Glimpses was something that involved

a bow. The bowed guitar wasn't a novelty to me; I really considered that it was making music.

The manifestation of that is in The Song Remains The Same with the bow and the whole

imagery of the hermit. Anyway, with Glimpses I was playing with tapes. I had all these

sound effects, like the Staten Island ferry, crunching noises and the rattling of a locomotive

with its lonesome horn. The juxtaposition of sound you could have taken out of the Fillmore East

and put into an art lab. The bow was used extensively on the music featured here.

When light beams were used with security alarms I had an idea of using tape recorders that

were triggered by the beams. You could have a dancer affecting the music, interrupting the

light beam. The musical combination was whatever the dancer would be inspired by; by the

ambience of the audience and their own imagination.

So the fact that I got involved with Kenneth Anger and Lucifer Rising was really just a step

along the road of my interest in the extreme and alternative.

Jimmy Page, March 2012

side one

1. LUCIFER RISING - MAIN TRACK

Whilst in India I had acquired a bass tanpura, that provides a majestic drone.

I applied a chant, tabla drums, bowed guitar, acoustic twelve string guitar,

mellotron and a newly acquired ARP synthesiser that provided the Horns of Jericho.

A mix of music was presented to Kenneth Anger and was used

on showings of the first third of the film but not in the final cut.

side two

1. INCUBUS

This suggests the icy scratches and cutting embrace of the incubus at play.

Instrument: Guitar

2. DAMASK

Inspired by my journeys both on foot and through the

recordings of the masters. A simple homage to the sarangi.

Instrument: Six String Bowed Guitar

3. UNHARMONICS

With the harmonics and demonstrative bowed glissandos the

naked solo guitar moves cautiously through a sonic landscape.

Instruments: Six String Bowed Guitar, Bowed Guitar

4. DAMASK - AMBIENT

Damask Mix II returns from the original recording

with a more dense, heavily perfumed ambience.

Instrument: Six String Bowed Guitar

5. LUCIFER RISING - PERCUSSIVE RETURN

The main title with a surprise visitor. I had forgotten about

a percussive overdub courtesy of the ARP Odyssey synthesiser.

Instruments: Phased Chants, ARP Synthesiser, Mellotron,

Twelve String Guitar, Tabla

All songs written by Jimmy Page, published by Succubus Music Limited

All instruments played and recorded by Jimmy Page

Original engineering and mix Jimmy Page

Additional engineering and mix Drew Griffiths

Mastering John Davis

Art direction Tex Higgins

Cover image based on Gustav Dore's The Eagle

Produced by Jimmy Page

Inscribed on the laquer bit middle thing of the first side is 'LUCIFER RISING 0001 A-2'

And on the second side is 'LUCIFER RISING 0001 B1'

There is a cardboard slipcase that contains the record itself, with the text I have provided above on either side. The record itself comes in a plastic sleeve and is protected by bubble wrap.

Thank You for providing that information. It was a good read. I'm waiting to getting my copy in the mail sometime this year....!

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Thank You for providing that information. It was a good read. I'm waiting to getting my copy in the mail sometime this year....!

No worries :) I Googled it and saw there was no digital version of the text about so thought I'd type it up. Came as a surprise that it's the same as the Classic Rock interview though.

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No worries :) I Googled it and saw there was no digital version of the text about so thought I'd type it up. Came as a surprise that it's the same as the Classic Rock interview though.

Thanks for the taking the time out to do this for everyone here :)

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There is a cardboard slipcase that contains the record itself, with the text I have provided above on either side. The record itself comes in a plastic sleeve and is protected by bubble wrap.

Is it a better cardboard slipcase than vinyls of old? Could you post pics of the slipcase itself?

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For those of you that have received your album, first, Congrats!!, and second did you receive a shipping notice from the website? I am wondering when I should expect delivery so I can be home to sign for it.

I never recieved a shipping notice from the website, good luck I hope you are there when it arrives...I was at work, but have someone at home who signed for it...
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