The Beatles and the Rolling Stones bought some of the first Moog synthesizers on the market in the late 1960s.
Jagger appeared with a Moog modular in Performance.It was the first only—feature film in which a Moog synthesizer made an appearance.
If records available at moogarchives.com are correct (and there's no reason to believe they are not), then
the Rolling Stones did not purchase a Moog synthesizer until 3 September 1968, in other words, about five weeks prior to the end of the filming of Performance, and after the recording of Beggar’s Banquet (and therefore not, as one might have expected, immediately after the recording of 1967’s psychedelic Their Satanic Majesty Requests). And if Trevor Pinch and Frank Trocco, in their marvelous book Analog Days: The Invention and Impact of the Moog Synthesizer (Harvard University Press, 2002) are correct, then Jon Weiss, "the Man from Moog,” did not arrive in London with the Rolling Stones’ Moog synthesizer until late summer 1968, which jibes with the above date of 3 September 1968.
Apparently at the time the idea was that Mick was going to use the Moog synthesizer “as his instrument in the band” (303). At some point, soon after Jon Weiss’s arrival in London, Weiss and Jagger came up with the idea of using the synthesizer as a prop in Performance: “The Moog with its rows of knobs and dials would make a perfect addition” (303). Since, as Pinch and Trocco so astutely observe, the synthesizer was “part of the sixties apparatus for transgression, transcendence, and transformation” (305), the Moog was indeed an ideal prop for Performance, especially since its appearance coincides with Chas’s (James Fox’s) tripping on hallucinogenic mushrooms.
We first see the Moog synthesizer—which would have been an utterly unfamiliar piece of technology to the vast majority of viewers at the time—as it sits on the floor of Turner’s studio, a bewildering array of knobs and patch cables framed by fluorescent light bulbs. Turner sits on the floor before it.
If records available at moogarchives.com are correct (and there's no reason to believe they are not), then the Rolling Stones did not purchase a Moog synthesizer until 3 September 1968, in other words, about five weeks prior to the end of the filming of Performance, and after the recording of Beggar’s Banquet (and therefore not, as one might have expected, immediately after the recording of 1967’s psychedelic Their Satanic Majesty Requests). And if Trevor Pinch and Frank Trocco, in their marvelous book Analog Days: The Invention and Impact of the Moog Synthesizer (Harvard University Press, 2002) are correct, then Jon Weiss, "the Man from Moog,” did not arrive in London with the Rolling Stones’ Moog synthesizer until late summer 1968, which jibes with the above date of 3 September 1968.
Apparently at the time the idea was that Mick was going to use the Moog synthesizer “as his instrument in the band” (303). At some point, soon after Jon Weiss’s arrival in London, Weiss and Jagger came up with the idea of using the synthesizer as a prop in Performance: “The Moog with its rows of knobs and dials would make a perfect addition” (303). Since, as Pinch and Trocco so astutely observe, the synthesizer was “part of the sixties apparatus for transgression, transcendence, and transformation” (305), the Moog was indeed an ideal prop for Performance, especially since its appearance coincides with Chas’s (James Fox’s) tripping on hallucinogenic mushrooms.
We first see the Moog synthesizer—which would have been an utterly unfamiliar piece of technology to the vast majority of viewers at the time—as it sits on the floor of Turner’s studio, a bewildering array of knobs and patch cables framed by fluorescent light bulbs. Turner sits on the floor before it.
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60x50.blogspot.com]
I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .