Exploring Jimmy Page’s Lucifer Rising

Jimmy Page Lucifer Rising

DOM COOPER tells us how Jimmy Page took time off from his Led Zeppelin duties to produce the soundtrack to a spooky experimental film Lucifer Rising

Lucifer Rising Jimmy Page

Lucifer Rising, Jimmy Page

An eastern drone carries a secret invocation up in to a sun bleached sky, soundtracking a sequence of visuals – Isis at Luxor, lightning striking, a magus standing before a portrait of Aleister Crowley, lava erupting, a lizard hatching from a cracked egg. In fact, the list could go on, because the film is ‘Lucifer Rising’, Kenneth Anger’s epic visual poem, which depicts a magical ritual as it is performed simultaneously throughout time.

Kenneth Anger was born in Santa Monica, California, in 1927. He made his first film, ‘Ferdinand & The Bull’ at the age of 10 and went on to become a respected maker of underground films. Anger was also a practicing Thelemite magician and this seeped into his work. He frequently used occult symbolism in his films.

The eastern drone is by Led Zeppelin’s guitarist Jimmy Page, who was born in London in 1944. In the sixties he quickly became an in-demand session musician before joining the Yardbirds. His time in the group almost came to an end with the departure of singer Keith Relf and the drummer Jim McCarty, but he recruited replacement members, singer Robert Plant, drummer John Bonham and bassist John Paul Jones, in a bid to carry on as the ‘New Yardbirds’. After one brief tour this new band was renamed Led Zeppelin.

Led Zeppelin were a well loved band, who forged ahead with power blues to become huge, selling out packed stadiums. Experimenting along the way with musical styles that incorporated acoustic instruments and Eastern tinges, they remained at their core a hard rock band. That core crowned them as the biggest band in the world during the seventies.

Jimmy Page started to compose his music for Anger during the time of Led Zeppelin’s most well known album, ‘IV’ or ‘Four Symbols’ (known for it’s use of a symbol that represented each band member, Jimmy Page chose Zoso, a reference to Crowley’s magic).

Anger and Page had become friends through their mutual devotion to the magician Aleister Crowley, Page had acquired Crowley’s old home near Loch Ness, ‘Boleskine House’, and invited Anger to the house to help exorcise it of the ‘headless ghost’ that he felt haunted the place. During the visit Page agreed to produce the soundtrack for Anger’s next film ‘Lucifer Rising’.

A subsequent spat with Page’s wife led to a war of words and Page being dropped by the director. Anger later explained he was annoyed with Page’s work ethic, as the project had taken too long to complete due to Page spiralling into drug addiction. Page complained that Anger hadn’t finished because he’d run out of money. Only 20 minutes of music were put to tape, and the recordings became lost to time.

The film was started in 1966 whilst Anger was living in a large house in San Francisco known as the Russian Embassy. It explored his Thelemite beliefs and was based on the Aeon of Horus. Anger had the name of Lucifer tattooed upon his chest before shooting and then set to work.

Casting Bobby Beausoleil for the role of Lucifer. Bobby Beausoleil, born in Santa Monica 1947, played in the band ‘Grass Roots’ with Arthur Lee. He then formed another band ‘Orkustra’, as Arthur Lee’s band became ‘Love’. When he met Anger in ‘66 he was still involved in music. Taking the lead role in the film, Bobby worked closely with Anger, but they fell out over Bobby’s drug dealing – the director disapproving of his activities.

In 1967 Bobby was accused of stealing the in-progress reels of the ‘Lucifer Rising’ film by Anger. Taking them in his car and driving off before breaking down near the Span Ranch. This ranch was occupied at the time by the Manson family who helped Bobby out. He quickly fell in with them and their drug use.

Following a bad deal between the family and Gary Hinman (the DEA had doped the drugs with cyanide, unbeknowst to Hinman) Manson was furious and demanded that Hinman be dealt with. As Bobby was the newest recruit he was sent out with family members Susan Atkins and Mary Brunner. They asked Hinman for their money back but he refused, so they called Manson, who arrived shortly after.

Manson proceeded to slice off Hinman’s ear, stitch it up with dental floss and persuade Bobby to stab him, whilst Hinman chanted a buddhist text. They killed him, wrote ‘Political Piggy’ on the wall in Hinman’s blood and left. Bobby was picked up later after breaking down in his car, the knife was on the seat beside him. He was sent to prison and sentenced to death.

Cuttings from the ‘Lucifer Rising’ were found by Anger and given new life as the film ‘Invocation of My Demon Brother’ with a soundtrack of improvised Moog synth by Mick Jagger. The film includes scenes where they smoke out of a skull, and a Satanic funeral for a pet cat.

Anger then remade the ‘Lucifer Rising’ film with help from Jagger, his brother Chris and Marianne Faithfull. The soundtrack was completed by Bobby Beausoleil from prison (due to a reprieve he was no longer sentenced to death). Bobby had been in contact with Anger again and mutual friends had persuaded them to finish the soundtrack. His music is more electronic than Page’s but still has that grand arc.

Page’s soundtrack has recently resurfaced and been given an official release.

DOM COOPER is a graphic designer, illustrator and writer. He co-runs Rif Mountain Records and plays in The Straw Bear Band. Previously he played in The Owl Service, The Fiends and Wolfgang & The Wolf Gang. Dom is obsessed with music, and is interested in British folklore, history and culture. Follow him at @domcooperdesign | Find him at www.domcooper.com

Song to Comus, John Milton’s Tale of Rape and Necromancy

Song to Comus

DOM COOPER describes how the great English poet John Milton sought to cleanse a family’s honour through song

A guitar is hit hard and strummed with abandon, another is plucked and joined by a flute, the demented voice of Roger Wootton breaks in to sing: “Bright the sunlight summer day, Comus wakes he starts to play. Virgin fair smiles so sweet, Comus’ heart begins to beat’. Each of the ending words are echoed out in repeat, ‘… play, play, play, play …”

The song continues on to tell a form of the Comus story, based on John Milton’s masque of the same name, in which he ensnares a lady in a forest. “Comus glare, Comus bare, Comus rape”.

In 1630 a heinous charge of sodomy and rape was brought upon the head of the Earl of Castlehaven, who was tried and convicted of sodomy with his page, and accused of provoking and assisting another to rape his wife – part of a twisted plan to produce an alternate heir. Described by the judge as an ‘unnatural crime’, he was found guilty and beheaded three weeks later on Tower Hill.

Four years after this event, his brother-in-law John Egerton, the 1st Earl of Bridewater, arrived at Ludlow castle to take up his new appointment as Lord President of Wales. To celebrate the occasion, the poet John Milton wrote a masque, named ‘Comus’. It is said that the masque was performed to cleanse the family’s past and to help forget the crimes of the Earl of Castlehaven. “It is said that the masque was performed to cleanse the family’s past and to help forget the crimes of the Earl of Castlehaven.”

John Milton (born in 1608), worked as a civil servant under Oliver Cromwell, and was a renowned poet and scholar, best known for his epic poem ‘Paradise Lost’, that ruminates on the temptation of Adam and Eve by the fallen angel Satan.

His masque ‘Comus’ tells the story of two brothers and a sister who find themselves lost in a forest. When the sister, known as the Lady, stops to rest, her brothers search on for food. Comus then appears to her, a kind of god of chaos based on the Greek god of the same name, disguised as a villager.

He tricks and captures her, and takes her to his pleasure palace, putting her on a bewitched chair where he uses a necromancers wand and entices her to drink from his magical cup. She refuses in the name of chastity and temperance.

Eventually she is rescued by her brothers with help from The Attendant Spirit, a kind of angel. Who manage to chase Comus away, but they can’t free their sister from the chairs spell. The Spirit gives them aid by calling the water nymph Sabrina with a song, who subsequently frees the Lady. The three siblings return home to be reunited with their parents in jubilation.

Song to Comus, John Milton's Tale of Rape and Necromancy 9

‘Song to Comus’ uses the middle part of the poem, where the demon finds the Lady in the forest, as its basis. Roger Wootton sings wildly with glee as he enacts Comus, ‘… hands of steel, crack you open and your red flesh peel …’ The band ramp up the darkness with theatre, as they do with on most of the songs on their unique debut ‘First Utterance’.

Comus formed tentatively in 1967 with the meeting of guitarists Roger Wootton and Glenn Goring at Ravensbourne college. During that period they started to play folk clubs together and later met David Bowie at the Arts Lab in Beckenham, who then asked them to perform regularly at his curated evenings.

They met their manager Chris Youle at the college, as well as a violinist, Colin Pearson, who was studying Milton at the time and suggested the band name. The bass player Andy Hellaby was found at the Arts Lab, and singer Bobbie Watson was invited to join after the rest of the band heard her harmonising at a local house. Flautist Rob Young was found through an advert.

In 1970 they toured and played across the country like any other working band. During that year, Canadian director Lindsay Shonteff asked them to contribute to her film ‘Permissive’, a story of groupies in London.

Shonteff had been impressed by a gig at which Roger cut his hand and continued to play on, bleeding on to his guitar during the song ‘Drip Drip’. Various members of Comus went on to score another three films for Shonteff, who’s ‘Permissive’ is part of the BFI flipside collection.

In June of the same year, the band performed at the Purcell Rooms in London’s Royal Festival Hall supporting David Bowie. Their mesmerising and frenetic act brought them much attention and led them to ink a contract with label Pye/Dawn.
The following year they released ‘First Utterance’, with its cover depicting Comus in all his evil glory, drawn by Roger himself. Unfortunately the album had no commercial success and they disbanded in ’72.

On ‘Song to Comus’ the intensity of the rest of the album is continued. ‘First Utterance’ really is a one of a kind – bizarre compelling vocals by Roger, lush foil-vocals from Bobbie, urgent guitars, apocalyptic violin playing, head nodding percussion and a burrowing flute.

Roger sings the final fading lines, ‘He starts to play, he starts to play, he starts to play’. We all know by now how Comus likes to play.

Listen to Song to Comus