gcczep
Ever Onward...
Re: Album Review: Led Zeppelin's "Presence"
I like the personal touch in your review Pink… With due respect, I’ll add my bits.
After the band’s disjointed yet successful North American tour in 1975 was followed by the celebrated Earls Court gigs in London, they made plans to play in parts of Asia and Latin America. Unfortunately, while in holiday in Greece, Plant along with his wife Maureen and their children got into a car accident. The frontman sustained a fractured ankle with an uncertain future of if he was ever going to walk again properly. The band gathered in Malibu, CA to rehearse and channel their collective energies to a new album. There is a five minute snippet of it on the bootleg circles. "Presence" was recorded and mixed in 18 days at Musicland Studios in Munich, Germany. I read that how Jagger and the Stones were next in line so the singer graciously called up to see if Zeppelin needed more time. It wasn’t necessary as Page told Jagger that he did all of the overdubs in one marathon day.
Achilles Last Stand – This was the infamous "wheelchair song" according to Plant who was so into it that he wiggled off, fell and flashed that he had re-injured his foot. Drawing references from Homer’s "The Iliad" this opened the proceedings surging with the raw power of Page’s "guitar army" in full effect. Bonham’s drumming was considered among Zeppelin fans to be his best. Done live, I always think of Page and Plant clustered together bobbing in time to the middle chorus on stage front and center.
For Your Life – A very drawn out, depressing track. It languishes too long for my taste but yes it does field lyrics of frustration about the aforementioned chemical dependencies. Reviling the excess…the road fever…asking if it was all worth it? Page breaking off his signature Les Paul onto a Strat and a whammy bar. This was part of the set in the 02 Reunion concert.
Royal Orleans – This is a funny account of one band member who in his inebriation went back to his hotel room with dubious company from the French Quarter that turned out to be a transvestite. Reputed to be Jonesy not being too aware of what he was taking. Hence the lyrics "kissing whiskers left and right…" Bonham even throws in a semblance of a street samba beat.
Nobody's Fault But Mine – A reworking of an old 1920's blues track, the band again employs its signature call and response attack. Plant even throws in credible harmonica solo. The Bonham and Jones rhythm duo very effective in its stops and starts song structure. In a live setting, I often enjoyed how this track chugged along with Plant even having a harmonica battle with Page’s leads much like "Bring It On Home" in 1970.
Candy Store Rock – One of the two light-hearted tracks in this group. Comparing the fairer sex to confection, it had harmless throw away lyrics with 'ole Percy dusting off his Elvis impersonation. Upon listening, Plant’s singing here harkens later on to the same romps as "Darlene". It is a fun song to listen to but not usually the first on my playlist.
Hots On For Nowhere – This one is a bouncy, rollicking tune with a chorus like The Shirelles. The merry vibes disguise a lyrical theme of contempt about unnamed band members who had a selfish "f*** all" attitude that could sink the band. Much more than a filler than the previous track in the list.
Tea For One – A really melancholy track with Plant pouring out his loneliness of being away from his wife and family. It was mostly based on how he was laid out in a hospital bed dealing with pain physically and emotionally as "twenty-four hours slip into days". One of their longer blues workouts put on record, it was not about being wronged by a woman but the torment of being alone. It is a sad way to close the LP with sorrowful vocals and tortured solos. It had live airings during Page & Plant’s first tour together as a duo.
Page always looked fondly about the album stating it was more electric guitar driven comparing it to their first LP. No intricate acoustic numbers just plain rock and roll. In retrospect, The Rolling Stones had "Exile On Main Street" while evading the tax laws in England. "Presence" was Led-Zeppelin’s equivalent though it was on heels of a tragedy as well. Adding to the exhaustion and pressure of the time was Page’s ire with Jones who wasn’t really that much involved or of help at all. Another aside regarding this release was about the cover where originally the main men of Hipgnosis wanted a picture of a tennis racquet. Page was none to pleased with the implications or insinuation of a "racket" as in noise. The guitarist initially wanted a picture of the studio with all the chaos during the hectic recording sessions. Instead an obelisk like looking figure which then went on to be called "The Object" was used. I have a duplicate of it which I still cherish to this day.
"Presence" did not have the ambitiousness or creativity of "Houses" nor was it sprawling like "Graffiti" or even being the watershed of the fourth but it has its moments. What I take from it is its burning intensity roaring out from the opening track to its dissipation with the closing tune. It felt like they took you along with its pent up raw and angry energy, keeping you strapped on for the ride then letting you down easy. In the end, you feel numb wondering if there was more…
I like the personal touch in your review Pink… With due respect, I’ll add my bits.
After the band’s disjointed yet successful North American tour in 1975 was followed by the celebrated Earls Court gigs in London, they made plans to play in parts of Asia and Latin America. Unfortunately, while in holiday in Greece, Plant along with his wife Maureen and their children got into a car accident. The frontman sustained a fractured ankle with an uncertain future of if he was ever going to walk again properly. The band gathered in Malibu, CA to rehearse and channel their collective energies to a new album. There is a five minute snippet of it on the bootleg circles. "Presence" was recorded and mixed in 18 days at Musicland Studios in Munich, Germany. I read that how Jagger and the Stones were next in line so the singer graciously called up to see if Zeppelin needed more time. It wasn’t necessary as Page told Jagger that he did all of the overdubs in one marathon day.
Achilles Last Stand – This was the infamous "wheelchair song" according to Plant who was so into it that he wiggled off, fell and flashed that he had re-injured his foot. Drawing references from Homer’s "The Iliad" this opened the proceedings surging with the raw power of Page’s "guitar army" in full effect. Bonham’s drumming was considered among Zeppelin fans to be his best. Done live, I always think of Page and Plant clustered together bobbing in time to the middle chorus on stage front and center.
For Your Life – A very drawn out, depressing track. It languishes too long for my taste but yes it does field lyrics of frustration about the aforementioned chemical dependencies. Reviling the excess…the road fever…asking if it was all worth it? Page breaking off his signature Les Paul onto a Strat and a whammy bar. This was part of the set in the 02 Reunion concert.
Royal Orleans – This is a funny account of one band member who in his inebriation went back to his hotel room with dubious company from the French Quarter that turned out to be a transvestite. Reputed to be Jonesy not being too aware of what he was taking. Hence the lyrics "kissing whiskers left and right…" Bonham even throws in a semblance of a street samba beat.
Nobody's Fault But Mine – A reworking of an old 1920's blues track, the band again employs its signature call and response attack. Plant even throws in credible harmonica solo. The Bonham and Jones rhythm duo very effective in its stops and starts song structure. In a live setting, I often enjoyed how this track chugged along with Plant even having a harmonica battle with Page’s leads much like "Bring It On Home" in 1970.
Candy Store Rock – One of the two light-hearted tracks in this group. Comparing the fairer sex to confection, it had harmless throw away lyrics with 'ole Percy dusting off his Elvis impersonation. Upon listening, Plant’s singing here harkens later on to the same romps as "Darlene". It is a fun song to listen to but not usually the first on my playlist.
Hots On For Nowhere – This one is a bouncy, rollicking tune with a chorus like The Shirelles. The merry vibes disguise a lyrical theme of contempt about unnamed band members who had a selfish "f*** all" attitude that could sink the band. Much more than a filler than the previous track in the list.
Tea For One – A really melancholy track with Plant pouring out his loneliness of being away from his wife and family. It was mostly based on how he was laid out in a hospital bed dealing with pain physically and emotionally as "twenty-four hours slip into days". One of their longer blues workouts put on record, it was not about being wronged by a woman but the torment of being alone. It is a sad way to close the LP with sorrowful vocals and tortured solos. It had live airings during Page & Plant’s first tour together as a duo.
Page always looked fondly about the album stating it was more electric guitar driven comparing it to their first LP. No intricate acoustic numbers just plain rock and roll. In retrospect, The Rolling Stones had "Exile On Main Street" while evading the tax laws in England. "Presence" was Led-Zeppelin’s equivalent though it was on heels of a tragedy as well. Adding to the exhaustion and pressure of the time was Page’s ire with Jones who wasn’t really that much involved or of help at all. Another aside regarding this release was about the cover where originally the main men of Hipgnosis wanted a picture of a tennis racquet. Page was none to pleased with the implications or insinuation of a "racket" as in noise. The guitarist initially wanted a picture of the studio with all the chaos during the hectic recording sessions. Instead an obelisk like looking figure which then went on to be called "The Object" was used. I have a duplicate of it which I still cherish to this day.
"Presence" did not have the ambitiousness or creativity of "Houses" nor was it sprawling like "Graffiti" or even being the watershed of the fourth but it has its moments. What I take from it is its burning intensity roaring out from the opening track to its dissipation with the closing tune. It felt like they took you along with its pent up raw and angry energy, keeping you strapped on for the ride then letting you down easy. In the end, you feel numb wondering if there was more…
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