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In the last line, the "girl who won my heart" refers to Robert Plant's daughter Carmen, (born 21 November 1968), who was three years old at the time of recording. In concert, Plant always updated the lyric to reflect her current age, as captured on the Led Zeppelin DVD which features a performance of the song at Madison Square Garden in 1973. [9]
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
For instance Led Zep's "The Ocean" is really a 4/4 song with a 7/8 measure thrown in during the main riff. Someone placed it in 15/4, which seems wrong. Even if you were to count this song in 15, wouldn't it be 15/8?
With regards to which time signatures are unusual, the Time signature article already mentions a number of time signatures (3/4, 4/4, 6/8 et al.) as 'most common', leading to the implication that other time sigs are unusual. Moreover, a number of time signatures is explicitly mentioned as being unusual afterwards, again without sourcing.
On Led Zeppelin's concert tours from 1975 onward, Jones would also play a short piano solo (on a Steinway B-211 grand piano) frequently turning the seven-minute song into a performance exceeding twenty and sometimes even thirty to thirty-five minutes, in a handful of cases. [9] Page and John Bonham would always join him later in the song.
The song was re-recorded by Jimmy Page and Robert Plant with the Bombay Symphony Orchestra in 1972, during their trip to India, along with another song, "Friends" from Led Zeppelin III. [5] This version featured tabla drums and sitars. The recording, titled "Four Hands" was released officially on the 2015 remastering of Coda.
"Ten Years Gone" is a song by English rock band Led Zeppelin from their 1975 album Physical Graffiti. Record producer Rick Rubin has described the song as, "A deep, reflective piece with hypnotic, interweaving riffs. Light and dark, shadow and glare. It sounds like nature coming through the speakers." [4]
Whole Lotta Led Zeppelin: The Illustrated History of the Heaviest Band of All Time. Voyageur Press. ISBN 978-0-7603-3955-8. Crowe, Cameron (1993). The Complete Studio Recordings (Boxed set booklet). Led Zeppelin. New York City: Atlantic Records. OCLC 29660775. 82526-2. Fast, Susan (2001). In the Houses of the Holy: Led Zeppelin and the Power of ...