DOCSLIB.ORG

Robert Randolph & the Family Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Randolph & the Family Band artist bio ROBERT RANDOLPH & THE FAMILY BAND When Robert Randolph talks about his new album, Lickety Split, a few words come up over and over—"joy," "freedom," "energy." Which is no surprise, really, because those are the same things that immediately spring into a listener's mind when these twelve tracks from the virtuoso pedal steel guitarist and his longtime accompanists, the Family Band, explode out of the speakers. "My thing is really upbeat, uptempo, with great guitar riffs," says Randolph, summarizing his musical ambitions, "but also catchy choruses and lyrics that someday will make this music into classic tunes." “Robert Randolph is an American Original," says Don Was, President of Randolph's new label, Blue Note Records. "He has mastered what is, arguably, the most complex instrument in the world and developed a unique voice that is equal parts street-corner church and Bonnaroo. This album finally captures the energy and excitement of his legendary live performances.” But for Randolph, the road to Lickety Split—his first studio recording in three years—wasn't an easy path. Though his distinctive mix of rock, funk, and rhythm & blues continued to earn a rapturous response from a fervent, international audience, he felt that he had lost some of the enthusiasm and intensity that had driven him to make music in the first place. "We just weren't being creative musically," he says. "Being on the road 280 days a year, you wind up playing too much and it isn't fun anymore. Soon, you stop being that concerned about how good you can be, how important it is to create and write. You kind of lose sight of that, of being focused on your craft and spending time with your instrument. I've become more in love with my guitar now, and staying relaxed and practicing and trying to create different sounds." The new album showcases the unique chemistry of the Family Band—comprised of the guitarist's actual family members Marcus Randolph, Danyel Morgan, and Lenesha Randolph, together with guitarist Brett Haas. The eleven original compositions, plus a stomping cover of "Love Rollercoaster" by the Ohio Players, were produced by Robert Randolph & The Family Band, Danyel Morgan, Marcus Randolph, Tommy Sims, Drew Ramsey, and Shannon Sanders; engineered by the legendary Eddie Kramer (Jimi Hendrix, Led Zeppelin); and feature special guest appearances from Trombone Shorty and Carlos Santana. Randolph notes that the title track of Lickety Split (on which his sister sings the hook) is one of his favorites. "What's great about that one is that it's something we actually played in church, just like that," he says. "There's a section in the service called the 'Jubilee Jam Session Time,' and I can show you video where we played that very same riff." But if there's one track on the album that captures the band's new spirit, it's one that started as a jam session in a Nashville studio during a break in recording, and later came to be titled "Born Again." "It's about finding the joy again," says Randolph. "At first it was more of a love song, the sense you get when you find the right person, but then as we were recording this new music with a whole new sense of direction, and feeling free again, that all came into it. It's not a religious thing, it's just new energy—which is really the old energy that I had at the beginning of my career." Robert Randolph & The Family Band first gained national attention with the release of the album Live at the Wetlands in 2002. The band followed with three studio recordings over the next eight years—Unclassified, Colorblind, and We Walk This Road—which, together with tireless touring and unforgettable performances at such festivals as Bonnaroo, Austin City Limits, and the New Orleans Jazz and Heritage Festival, won them an expanding and passionate fan base. Randolph's unprecedented prowess on his instrument garnered him a spot on Rolling Stone's "100 Greatest Guitarists of All Time" list, and also attracted the attention of such giants as Eric Clapton and Carlos Santana, who have collaborated with him on stage and in the studio. "What I've learned from being around those guys—and you never really notice it until the moment is away from you—is that it's really important to them that someone keeps original music going, that you're not just trying to be like everybody else," he says. "Eric really wants to know what's going on now, he's always going 'Show me that lick again!'—they're like little kids, and that's really the great part about it. It makes me think that I need to keep getting better, to stay excited and keep trying to be innovative and keep growing." Most recently, Randolph has attempted to amplify the tradition from which he came by executive producing the Robert Randolph Presents the Slide Brothers album, a recording which features some of the older "sacred steel" players from the House of God church who inspired him to pick up an instrument. "This is part of my whole story, which a lot of people don't understand," he says. "In our church organization, playing lap steel in church has been going on since the 1920s. These guys were my mentors, my Muddy Waters and B.B. Kings. Thinking that I started this style is like saying Stevie Ray Vaughan was the first guy to play the blues. I wanted to do this record so that everybody could understand the story and start connecting the dots." He is also taking a bold new step by remodeling an abandoned school building in his hometown of Irvington, New Jersey and opening the Robert Randolph Music and Arts Program. "There hasn't been any arts in the schools, period, since I was in high school," he says. "So my whole motivation changed to a full-on effort to get these kids into music, and also find out what other passions they have and try to offer that. These kids don't have anything to do, they don't have any hope." With a new label, a new dedication to his craft, and a new sense of responsibility in his life off-stage, it seems like Lickety Split might also represent the urgency Robert Randolph is bringing to all of his efforts these days. "I'm still undiscovered, and that's really the best thing about it," he says. "Now we have the chance to present the music right, and have the story told right, and for me to be focused on being an ambassador for inner-city kids and a role model, and also an ambassador for my instrument and as an artist. As all these things happened, it got fun again." For more information please contact Amy Treco @ M.F.H. (p) 323.962.6887 (e) [email protected] JR Rich at Blue Note Records (p) 212.786.8628 (e) [email protected] .
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Waves Unveils the Eddie Kramer Collection
    PRESS RELEASE Contact: Clyne Media, Inc. Tel: (615) 662-1616 Fax: (615) 662-1636 FOR IMMEDIATE RELEASE WAVES UNVEILS THE EDDIE KRAMER COLLECTION — Legendary producer/engineer collaborates with Waves to create five Application-Specific Audio Plug-ins — TEL AVIV, ISRAEL, August 18, 2009 — Waves Audio announces the latest entry in the Waves Signature Series, The Eddie Kramer Collection. These five application-specific plug-ins, with dedicated tools for guitar, drums, vocals, bass and effects, are the result of close collaboration between Waves’ R&D team and legendary producer/engineer Eddie Kramer. Over the course of a production and engineering career that spans more than four decades, Eddie Kramer was the man behind the board for some of the biggest names in music history, including Jimi Hendrix, Led Zeppelin, Kiss, The Beatles, David Bowie and many more. Now, with the Waves Eddie Kramer Collection, producers and engineers around the world have access to Kramer’s personalized processing chains. The only tools of their kind, the Signature Series is Waves’ exclusive line of Application-Specific Audio Processors, created in collaboration with the world’s top producers, engineers and mixing engineers. Each and every Signature Series plug-in has been precision-crafted to capture the artist’s distinct sound and production style, using custom multi-effect processing chains designed by the artists themselves. For experienced and aspiring audio professionals alike, the Waves Signature Series streamlines the mixing process, delivering high- quality results, instantly. The Eddie Kramer Collection plug-ins feature intuitive graphic interfaces, a retro- modern look, and optimized control ranges that deliver Kramer’s distinctive, unmistakable sound.
    [Show full text]
  • Download Manual Rack
    EDDIEKRAMERPHAZEVIBE EDDIEKRAMER HISLEGENDARYWORKISOURINSPIRATION! OlympicStudios,London1967 TheBeatles-RollingStones,JimiHendrix SmallFaces,Traffic. TheRecordPlant,NewYork1968 JimiHendrix-LedZeppelin-JohnnyWinter Woodstock,NewYork1969 JimiHendrix‒Blood,SweatandTears‒JanisJoplin‒Jefferson Airplane‒TheWho‒JoeCocker-GratefulDead-Santana ‒Crosby,Stills,NashandYoungandmore. ElectricLadyStudios,NewYork1970-1980 JimiHendrix-LedZeppelin-RollingStones-PeterFrampton-Carly Simon-DionneWarwick-DavidBowie,KISS. Kramer has also engineered and/or produced records for other well-known artists in various genres. They include Anthrax,JoeCocker,Loudness,PeterFrampton,JohnMayall, Ten Years After, Mott the Hoople, John Sebastian, Carly Simon, Dionne Warwick, Small Faces, Sir Lord Baltimore and Whitesnake. ©Photo,CourtesyofEddieKramerArchives.AllRightReserved Congratulationsonyournew EddieKramerPhazevibeRackPlug-in! WehavecreatedthePhazevibeRackwithproducersandengineersinmindandourgoalistobring somepurevintagevibeandanalogfeeltoyourDAW,withuncompromisingsonicquality. Allofourplug-insareproudlycreatedaftercountlesshoursofresearch,dedicationandexperimentation. Wearedrivenbyanincrediblepassionformusicandfueledbyriversofcoffee! WetrulyhopethatthePhazevibeRackwillinspireyoutocreateamazingmusic. FrancescoSondelli-EddieKramer-IgorNembrini PHAZEVIBERACKOVERVIEW MODULATION MASTER CONTROLPANEL SECTION ©F-Audio-NembriniAudio.AllRightsReserved PAGE1 EDDIEKRAMERPHAZEVIBERACK CONTROLPANEL2 USERʼSGUIDE MODESELECT ANALOGLINK Selectsoneofthe3PhazevibeModes. WhentoggleswitchissettoON,
    [Show full text]
  • O B S E R V E R the Independent Newspaper Serving Notre Dame and Saint Marys
    / ^ \ THE O b s e r v e r The Independent Newspaper Serving Notre Dame and Saint Marys OLUME 38 : ISSUE 27 WEDNESDAY, OCTOBER 1, 2003 NDSMCOBSERVER.COM Elizondo publishes ND students plan Nigerian trip 12th theology book By LAURA VILIM News Writer “I hope that people will Several students from Notre By DUSTIN VON HANDORF appreciate the love, mercy Dame will travel to Nigeria this News Writer and compassion of God," year as part of the “Call to Elizondo said. Solidarity with Africa" conference Notre Dame theology pro­ Inspired by his work in vari­ approved by the United States fessor Father Virgilio ous parishes involving every­ Conference of Catholic Bishops in Elizondo recently published day issues, the Gospels and November 2001. his 12th book, “A God of the teaching of the Catholic The trip to Nigeria by Notre Incredible Church, Elizondo started writ­ Dame students, a program Surprises: ing the book about live or six unique to this university, is a Jesus of years ago. During that time, major step toward Theology pro­ G a lile e ." he wrote off and on, after fessor Father Paulinus Odozor The book is attending to his duties as a and assistant professor Father based on diocesan priest. Paul Kollman’s goal of keeping Elizondo's Published by Rowman and the continent of Africa and its o b s e r v a ­ Littlefield Publishers, Inc., the successes and failures in constant ANDY KENNA/The Observer tions both book — which has received view. Nigerian presiden Olusegun Obasanjo delivered the keynote of theology critical praise for its new “[One goal for the conference] address for the “A Call to Solidarity with Africa" conference and the Elizondo insights — will be available in is that we would grow in our Sept.
    [Show full text]
  • Resolution Magazine
    Craft Rest; recorded Florence Welch for Florence and The Machine’s ‘Wish That You Were Here’ song Phil Joly for the Tim Burton film Miss Peregrine’s Home for Peculiar Children and recorded The Kills’ Ash & Ice release. Resolution Magazine caught up RUSSELL COTTIER talks to the Grammy-winning with Joly in amongst the hustle and bustle of SXSW Austen, Texas to talk studios, mics and Electric Lady man management. hil Joly has recently broken out as a producer/mixer, but he has a wealth of experience and more major label artist P credits than you could shake a stick at. The Strokes, Lana Del Rey, Daft Punk, John Legend and The Rolling Stones to name a few. With nine years under his belt at the world- famous Electric Lady Studios, working his way up to Chief Engineer, Joly certainly has the chops and a fresh take on how larger studios fit into the modern workflow. In 2017, Phil won both a Latin Grammy and a Grammy for recording Residente’s self-titled album in the Best Urban Album category and in the Best Latin Rock, Alternative or Urban Album respectively. Most recently, Joly has been engineering with August Greene (a ‘supergroup’ composed of rapper Common, jazz pianist Robert Glasper and drummer Karriem Riggins). He also mixed Gabriel Garzón-Montano Golden Wings, mixed five songs on Coyle Girelli’s Love Kills; recorded Paul McCartney for the Charlotte Gainsbourg album / ‘If I sit under this Chic album cover, one day I’ll get to record Nile Rogers…’ 34 / April 2019 I worked for Electric Lady for nine years You had built up a good credits list by this total, I was chief engineer for five.
    [Show full text]
  • Jimi Hendrix Songs for Groovy Children: the Fillmore East Concerts
    Jimi Hendrix Songs For Groovy Children: The Fillmore East Concerts (19075982772) Expansive CD & LP Box Sets Present All Four Historic Hendrix Band of Gypsys Performances At The Fillmore East Newly Mixed by Eddie Kramer Songs For Groovy Children includes more than two dozen previously unreleased tracks October 1, 2019-New York, NY-Experience Hendrix L.L.C. and Legacy Recordings, a division of Sony Music Entertainment, are proud to release Songs For Groovy Children: The Fillmore East Concerts by Jimi Hendrix, on CD and digital November 22, with a vinyl release to follow on December 13. This collection assembles all four historic debut concerts by the legendary guitarist in their original performance sequence. The 5 CD or 8 vinyl set boasts over two dozen tracks that have either never before been released commercially or have been newly pressed and newly remixed. Those who pre-order the digital version will instantly receive the previously unreleased track “Message To Love,” from the New Year’s Eve second set performance on the collection. Pre-order Songs For Groovy Children here: https://jimihendrix.lnk.to/groovy Watch Songs Of Groovy Children album trailer: https://jimihendrix.lnk.to/groovyvid Over the course of four extraordinary years, Jimi Hendrix placed his indelible stamp upon popular music with breathtaking velocity. Measured alongside his triumphs at Monterey Pop and Woodstock, Hendrix’s legendary Fillmore East concerts illustrated a critical turning point in a radiant career filled with indefinite possibilities. The revolutionary impact Jimi Hendrix, Billy Cox and Buddy Miles had upon the boundaries and definitions of rock, R&B, and funk can be traced to four concerts over the course of two captivating evenings.
    [Show full text]
  • Al & Janie Hendrix: La Famiglia Di Un Mito
    AL & JANIE HENDRIX: LA FAMIGLIA DI UN MITO Francesco Rampichini – CHITARRE 1997 Nel settembre del 1970 a soli 27 anni moriva tragicamente Jimi Hendrix. A noi chitarristi che per ragioni anagrafiche non abbiamo potuto conoscerlo, il tempo non ha tolto il desiderio di un contatto più diretto con il mondo di questo mito della scena rock anni ‘60, che a trent’anni dall’uscita delle prime copie clandestine di “Are you Experienced?” non accenna a spegnersi. L’occasione arriva inattesa con la presentazione in anteprima assoluta a Milano di “SOUTH SATURN DELTA”, l’album inedito in uscita il 14 ottobre ‘97, e del volume “LA GRANDE STORIA DI JIMI HENDRIX” (Giunti, ’97) edizione italiana di “Jimi Hendrix Sessions” di John McDermott, Billy Cox e Eddie Kramer. “SOUTH SATURN DELTA” contiene brani mai pubblicati prima (eccetto uno) ed è stato prodotto agli “Electric Lady Studios” di New York da Janie Hendrix, sorella di Jimi e Presidente della “Experience Hendrix” di cui ci parla nell’intervista, da John McDermott, Manager del catalogo della società, e da Eddie Kramer, ingegnere del suono di Hendrix. Jimi incise per cinque anni soltanto - dal ‘66 al ‘70 -, ma il “cannibalismo” sulla sua musica è una storia durata fino all’inizio degli anni ‘90 quando, dopo controversie legali inimmaginabili, il catalogo è tornato nelle mani della famiglia che ne ha ridiscusso con una nuova casa discografica - la Universal - i termini della pubblicazione. Un passo importante, perché Hendrix è sempre stato oggetto di speculazioni di dubbio gusto, per non dire macabre: session a dieci o vent’anni di distanza con intere parti originali sostituite, come nell’album “Two Great Experiences Together” del ‘71 dove, oltre ad aggiungere abbondanti dosi di eco in brani come “Wipe The Sweat”, altri vennero ritoccati con sovraincisioni stereofoniche di un patetico imitatore di Jimi.
    [Show full text]
  • Alcohol at the Phi Bers Flew in from California Kappa Tau (PKT) Fraternity and Went Directly to the Hospi- House
    New Direction 8 The student newspaper of the Rider community since 1930 Volume 77, Issue XVIII - Friday, March 30, 2007 FRESHMAN IN CRITICAL CONDITION PKT members living in the ‘Possible house, who are not a part of the University meal plan, were given access to meals for the hazing day. In sharp contrast to a resort-like exuberance that incident’ greeted the season’s first warm By Mike Caputo afternoons earlier this week, a stunned quiet prevailed across the Lawrenceville campus yes- A student remained in crit- terday. Throughout the day, ical condition last night after students could be seen gather- what was deemed by the Mercer ing in small groups, talking County Prosecutor’s office to about DeVercelly. be a “possible hazing incident” DeVercelly’s family mem- involving alcohol at the Phi bers flew in from California Kappa Tau (PKT) fraternity and went directly to the hospi- house. tal yesterday afternoon, where Gary DeVercelly, an 18-year- they met with Rozanski and old freshman from Long Beach, Campbell, the dean of students Calif., was found unconscious said. Members of Greek organi- after suffering cardiac arrest. zations gathered in Gill Chapel He was resuscitated through for an 8 p.m. prayer service. CPR by EMTs, according to Photo By Karly Hamburg “Tonight we come togeth- officials. DeVercelly was rushed The Phi Kappa Tau fraternity on the Lawrenceville campus was off limits after freshman Gary er for a different reason,” said to Capital Health System, Fuld Father Bruno Ugliano, who Campus, in Trenton, where he DeVercelly, of Long Beach, Calif., became seriously ill after consuming too much alcohol.
    [Show full text]
  • Reekers Says Business Not Hurt by Legends
    THE The Independent Newspaper Serving Notre Dame and Saint Mary's OLUME 38: ISSUE 27 WEDNESDAY, OCTOBER 1, 2003 NDSMCOBSERVER.COM Elizondo publishes ND students plan Nigerian trip 12th theology book By LAURA VILIM News Writer "I hope that people will Several students from Notre By DUSTIN VON HANDORF appreciate the love, mercy Dame will travel to Nigeria this New< Writer and compassion of God," year as part of the "Call to Elizondo said. Solidarity with Africa" conference Notre Dame theology pro­ Inspired by his work in vari­ approved by the United States fessor Father Virgilio ous parishes involving every­ Conference of Catholic Bishops in Elizondo recently published day issues, the Gospels and November 2001. his 12th book. "A God of the teaching of the Catholic The trip to Nigeria by Notre lncn~dible Church, Elizondo started writ­ Dame students, a program Surprises: ing the book about five or six unique to this university, is a J p s us or ll'll"''''''''{::~~:.:~: years ago. During that time, major step toward Theology pro­ c; a I i I~~ e . " he wrote off and on, after fessor Father Paulinus Odozor The book is attending to his duties as a and assistant professor Father based on diocesan priest. Paul Kollman's goal of keeping I:lizondo's Published by Rowman and the continent of Africa and its observa­ Littlefield Publishers, Inc., the successes and failures in constant ANDY KENNA/The Observer tions both book - which has received view. Nigerian preslden Olusegun Obasanjo delivered the keynote of theology critical praise for its new "[One goal for the conference] address for the "A Call to Solidarity with Africa" conference and the Elizondo insights - will be available in is that we would grow in our Sept.
    [Show full text]
  • Essential Blues Discography
    ESSENTIAL BLUES DISCOGRAPHY ESSENTIAL BLUES DISCOGRAPHY Edited by Francesco Piccolo First Edition July2015 Second Edition May 2016 Third Edition October 2016 Reference Book Francesco Piccolo - STORIA DEL BLUES - Gli Eventi, gli Stili, i Protagonisti Web Site www.thesixstrings.com This Book is available for free download at www.thesixstrings.com Contents 1 PREFACE .......................................................................................... 3 2 WORK SONGS, BALLADS, SPIRITUALS, MINSTREL SONGS ..... 5 3 COUNTRY BLUES ............................................................................ 7 4 CLASSIC BLUES ERA .................................................................... 13 5 URBAN BLUES ............................................................................... 15 6 RHYTHM AND BLUES, ROCK 'N' ROLL ,SOUL, FUNK ................ 25 7 ROCK BLUES ................................................................................. 33 1 PREFACE The following discography has no pretensions of completeness but just wants to be a guide providing suggestions to understand the various styles of Blues. For a more complete discography please refer to the discographies of individual artists, sites and specialized publications. 3 4 2 WORK SONGS, BALLADS, SPIRITUALS, MINSTREL SONGS BALLADS Ol'Riley Frankie and Albert "Ballad of John Henry Midnight Special SPIRITUALS Go down Moses Steal Away to Jeasus Nobody knows the trouble I've seen Deep River Swing Low, Sweet Chariot Shout for Joy Joshua Fit the Battle of Jerico The Great Camp
    [Show full text]
  • TTC Interview
    TAPE: A1210705 [SHOW: 1 A ] [AIRDTE: 0 7 / 0 5 / 2 1 ] [AIRTME: 10:00 - 12:00] [HOST: JENN WHITE] [STORY: RED, WHITE AND THE BLUES ] [CONTENT: EMILY ATKIN, DANIEL SWAIN, SAMANTHA MONTANO] 12:00:00 DISCLAIMER Transcripts of WAMU programs are available for personal use. Transcripts are provided "As Is" without warranties of any kind, either express or implied. WAMU does not warrant that the transcript is error-free. For all WAMU programs, the broadcast audio should be considered the authoritative version. Transcripts are owned by WAMU 88.5 FM American University Radio and are protected by laws in both the United States and international law. You may not sell or modify transcripts or reproduce, display, distribute, or otherwise use the transcript, in whole or in part, in any way for any public or commercial purpose without the express written permission of WAMU. All requests for uses beyond personal and noncommercial use should be referred to (202)885-1200. 00:00:08 JENN WHITE This is 1A. I'm Jenn White in Washington and today we celebrate Independence Day with a one hour tribute to an original American art form. We call it Red, White and The Blues. Blues music arose from the African American experience in the South. On the farms and in fields, enslaved Black people sang to keep their spirits up, spread the news and sometimes to relay secret messages. In church, they sang gospel music. At work, the blues. Blues music went on to become the basic DNA for jazz, R&B, rock and roll, rap and most every manner of modern music.
    [Show full text]
  • Whole Lotta Love (1969) Led Zeppelin
    MUSC-21600: The Art of Rock Music Prof. Freeze Whole Lotta Love (1969) Led Zeppelin LISTEN FOR • Elements of electric blues and psychedelia • Sophisticated stereo scheme (“shadowy” back right) • Short verse-chorus vs. long, improvisatory middle section • Blatant sexual content of lyrics and music CREATION Songwriters John Bonham, John Paul Jones, Jimmy Page, Robert Plant, Willie Dixon Album Led Zeppelin II Label Atlantic 2690 (US single) Musicians Robert Plant (vocals), Jimmy Page (rhythm and lead guitars, backing vocals, theremin), John Paul Jones (bass guitar), John Bonham (drums) Producer Jimmy Page Engineer Eddie Kramer Recording Olympic Studios (London); November 1969; stereo Charts Pop 4 MUSIC Genre Hard rock Form Compound AABA Key E minor Meter 12/8 MUSC-21600 Listening Guide Freeze “Whole Lotta Love” (Led Zeppelin, 1969) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro (4) • Two-bar blues-derived riff played by distorted guitar. Bass joins on repetition of riff. • A left-to-right stereo movement casts a sonic “shadow” in the back far right of the stereo field. 0:11 A Verse 1 (9) “You need coolin’” • Lead vocal enters overtop riff in guitar and bass. 0:35 Chorus (4) “Got a whole lotta love” • Drums enter as backup vocals provide vocal hook. • In call-and-response to vocals, stereophonic guitar slide, which disappears in the shadowing back right. 0:47 A Verse 2 (9) “You been learnin’” • As before, but with addition of drums, which continue from previous section. 1:10 Chorus (4) “Got a whole lotta love” • As before, but bar 4 serves also serves as the first bar of the next section.
    [Show full text]