full orchestra", according to Beck biographer Martin Power. A melody line for guitar was developed along with a middle section to break up the rhythm, reminiscent of the Yardbirds' arrangements for "For Your Love" and "Shapes of Things". With at least the outline of one song and Page on board to play guitar, Beck approached Keith Moon of the Who, whom he considered one of his favourite drummers. Moon was unhappy with the Who at the time and readily agreed to participate. To avoid a confrontation with Pete Townshend and Kit Lambert, the Who's manager, Moon wished to do so incognito. He recommended bandmate John Entwistle, who was similarly discontented with the Who, to provide the bass. Recording The recording session took place at IBC Studios on 16 and 17 May 1966 (although a date after Beck left the Yardbirds in November 1966 has also been suggested). Moon arrived at the studio disguised in sunglasses and a Russian cossack hat. When Entwistle did not show, studio musicians John Paul Jones and Nicky Hopkins were brought in at the last minute to provide bass and piano. There is an unsubstantiated account that Ritchie Blackmore may have been involved at the studio, but his participation has not been acknowledged by Beck, Page, or others at the session. Napier-Bell, the Yardbirds' producer who had originally promoted the idea, was present for the recording. For the guitar parts, Beck used a Gibson Les Paul played through a Vox AC30 amplifier and Page played a Fender Electric XII twelve-string electric guitar. Halfway through the song, Moon smashed the drum microphone with his stick – "You can actually hear him screaming as he does it", Beck remembered, "so all you can hear from then on is cymbals!" After Moon and Napier-Bell left, Beck and Page added overdubs and sound treatments to complete the track. According to Beck, two or three songs were recorded at the session, but "Beck's Bolero" was the only track released. Composition "Beck's Bolero" is roughly divided into three parts. The first begins with a reworking of Ravel's two-chord progression, transposed to the key of A. Power points out that by using a 12-string guitar, Page is able to take advantage of the instrument's "rich chiming quality to emulate the distinct, orchestral 'bolero' sound". Beck then introduces the melody line on electric guitar with a fuzz-tone effect producing indefinite sustain; alternating between major