Poll

What is your familiarity with Led Zeppelin

Beginner (Stairway to where?)
8 (8.8%)
Intermediate (I know the radio hits)
18 (19.8%)
Advanced (I know some of the deep cuts; have a box-set)
32 (35.2%)
Expert (I even own Coda, and have watched The Song Remains the Same)
33 (36.3%)

Total Members Voted: 91

Author Topic: The Led Zeppelin Discography Discussion: v. Everything still turns to gold  (Read 55843 times)

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Offline Jaq

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The 1975 tour is a favorite of mine simply because there are so many damn soundboards for it out there, and once you get past the early going, where Page was hurt and Plant was sick, you get some truly epic performances. It's the height of their excesses-if you consider their extended jamming excessive, this is not the tour for you, since you could have a modern set list length just out of No Quarter, Moby Dick, and Dazed And Confused. D&C in particular grew monstrous, going over 35 most nights and climaxing at the 46 minute monster that was on the show where the band was introduced by Linda Lovelace, leading the boot of that show to become known, naturally, as Deep Throat. The west coast leg of that tour, particularly the Seattle, Vancouver, and Los Angeles shows, are some of the best the band ever did.

As for Earl's Court-the last night is the best of the lot, though the worst you can say about any of them is that the band is occasionally uneven. Given what's coming over the next two tours, I'd go out on a limb and say the May 25, 1975 show is the best the band does from that date on until the 2007 reunion. There are moments of brilliance in 1977, the two Knebworth shows are okay, and the 1980 European tour is a train wreck. It's also worth noting that 5/25/75 was the last time the band played Dazed And Confused until the 2007 show, with Page moving the bow section and laser show to a largely noisy guitar solo spot on the 1977 tour. I have all of the Earl's Court shows, of course, but if I had to pick out one to sum up the 75 tour, it'd be 5/25. If you're curious about which show has the longest D&C, that'd be the 3/27/75 show, but I will admit it tries even my patience, and I think the band was right to drop it. A decent tour, with the real gems in the West Coast leg and of course Earl's Court.
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Offline Mladen

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Wow, 40 minute long Dazed and confused! Even the original six minute long version bores me sometimes, the live version would literally kill me.

Offline jingle.boy

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Wow, 40 minute long Dazed and confused! Even the original six minute long version bores me sometimes, the live version would literally kill me.

Literally!
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£1 and £1.25 priced tickets to see Led Zeppelin in 1975.  Holy f***.  If that was the price to see the biggest band, I can only imagine how much it would cost to see smaller bands.  Also, why did Page ordered the lighting company on tour to not put a spotlight on JPJ or Bonham?  It's also interesting that despite this English tax-exile that they were going through, they were still given the green-light to go ahead with these five shows in Earl's Court.  Was there ever a full show version of one of these of any kind?

Offline jingle.boy

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The tax exile limited the number of days they could stay in Britain, it didn't 100% eliminate them from being in England.  As for the lighting issues, not sure... an enhanced ego and sense of self importance from drug addiction is the most likely reason.
That's a word salad - and take it from me, I know word salad
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Offline The Curious Orange

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Tax in the UK is paid in bands. You pay nothing on the first £x of your income, then a higher rate on the next £y, and so on.

The first £4,000 was tax-free, then you were taxed on the next slice at 33%, the next slice at 38%, and so on. The highest tax band in the UK was 83%, and this was on earnings of over £20,000 - only an issue for the super-rich. There was also a 15% charge on "unearned income", which could push the tax on some income to 98%.

This tax band was short-lived, from 1973-1976. This was a difficult time for Britain - the world ecconomy was in crisis, hyperinflation was rife, and oil prices had quintupled. The policy helped Britain out of debt and led to real increases in the standard of living for the majority of people who were not millionaire rock stars or property speculators.
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Offline Orbert

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I have no doubts that it benefitted the government.  Taking 98% of someone's income will tend to do that.  And since this is Britain we're talking about, I can also believe that the people actually benefitted as well, as opposed to the United States where taxes, even on rich people, somehow end up benefitting rich people more than anyone else.

Don't get me wrong; I believe that the more money you make, the more you should pay in taxes.  My problem is the concept that you should pay a higher percentage of your income.  This is what has led to the ridiculous tax structure we have in the U.S. and the entire industry of lawyers who specialize in figuring out ways around it in order to minimize taxes for their clients and of course maximize their own incomes accordingly.

Offline The Curious Orange

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As a public sector worker in the UK, I haven't had a pay rise in 5 years - 5 years in which the cost of living in the UK has gone astronomical. yet our politicians are telling us Britain is richer than it's ever been. Yes, but this is because of the huge number of bankers, Arab sheikhs and Russian oligarchs snapping up property in London - none of whom pay tax here. Millions of working people in the UK now NEED a pay rise. If the cost of that is squeezing a few rich bastards till the pips squeak, then so be it. Less than 1% of people in the UK earn over £100K, and less than 0.1% earn over £375K.

One good thing about the US tax system is that people living in the US pay tax in the US. Over here in the UK, the rich just funnel all their earnings into off-shore trust funds and don't pay a penny. They reckon there's some £500BN in legally-avoided taxes going unpaid every year. And yet our government still refuses to close these tax loopholes.

Anyway, let's get back on track - Presence[/b] next, I believe?
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Offline Podaar

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Also, UK's oft quoted tax rate in the '70's is a progressive tax rate and is misleading. No one was paying 98% tax on their entire income. They may have been paying 98% on income above, say, £1 Million (I don't know the actual figures). It used to be the same way in the U.S.

Anyway, let's get back on track - Presence next, I believe?
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Offline jingle.boy

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It was an April morning when they told us we should go
As I turn to you, you smiled at me - how could we say no?
With all the fun to have, to live the dreams we always had
Oh, the songs to sing, when we at last return again


Presence (1976)


While in Rhodes on August 4th, 1975, Maureen Plant lost control of a rented Austin Mini, and crashed over a precipice into a tree, crumpling the vehicle.  When Robert opened his eyes, he was certain that his wife was dead.  Maureen survived, but suffered a fractured skull and broken pelvis; Robert with several compound fractures, most prominently in his right ankle that would take several months to heal.  The children in the back (including Page's daughter Scarlet) were mostly uninjured.  The Greek medical facilities were ill prepared to treat Maureen's condition, and she likely could've have died if not for the significant resources available from Grant and Cole to get the family back to England.  There's a great account of the ordeal provided by Richard Cole in Hammer of the Gods, concluding with Robert having to leave England with only a few hours to spare to avoid a multi-million dollar tax charge, as they had nearly depleted all of the available time they were allowed to be in England during the Earls Court shows.  Plant was rushed from the hospital in an ambulance with so much plaster on him holding his broken body in place, that a forklift was used to get him on the plane.  Maureen spent several weeks in intensive care, and Plant would not walk for four months after the accident.  At the time, there were real concerns that Plant might never walk again. 

Before the accident, everything the band touched had turned to gold.  Now, coming up to the release of Presence, the band seemed to be faltering.  This accident, the heroin problems were worsening for Page, Jones had suffered a broken hand just after Robert's accident and was becoming even more of a recluse, and Bonham was drinking even more while on his tax exile (if that was even possible), mourning the time away from his family. 

Presence evolved out of Plant's long rehabilitation, when he was joined by Page in Malibu, not unlike their retreats to Bron-Yr-Aur.  However, this time there seemed to be an air of desperation.  "It was an album of circumstances ... It was really like a cry of survival" Plant would say. There were no acoustic elements, no keyboards, no mellow moments, no light/dark or loud/soft anthems.  It would prove to be their heaviest and darkest album.  Page wrote all of the music; Plant the lyrics.  Contributions from Bonham and Jones were non-existent, as they didn't even arrive until rehearsals for recording.  Plant's lyrics represented the constant travel and solitary life they were leading from the tax exile, and were filled with anguish and pain, also reflected in his vocal delivery... almost a sort of repentance.

After a month of rehearsals, the album was recorded in just eighteen days at Musicland Studios in Munich, Germany, with Plant in a wheelchair. This was the fastest recording turnaround time achieved by the band since their debut album. The rushed recording sessions were in part a result of Led Zeppelin having booked the studio immediately prior to The Rolling Stones, who were shortly to record songs for their upcoming album, Black and Blue. Upon their arrival, the Stones were amazed that Zeppelin's album had indeed been completed (both recorded and mixed) in a mere eighteen days. Page had simply stayed awake for two days straight to perform all of the final guitar recordings and overdubs.

The band considered Thanksgiving (as it was finished on the day before Thanksgiving) and Obelisk as the title for the album. But Swan Song wanted a more powerful title, more representative of the presence that the band held in the industry.  Both Page and Plant had planned this album's recording session as a return to hard rock, much like their debut album, except at a new level of complexity. It marked a change in the Led Zeppelin sound towards more straightforward, guitar-based jams.

Advanced orders for the album were huge - over a million.  Yet the album fell out of #1 after just two weeks, and rapidly disappeared from the charts entirely.  Ironically, it would receive good reviews initially, under the pretense that its brilliance was derived from the panic'd conditions under which it was written/recorded/produced.  Yet history regards it as their weakest album.

The album was released on March 31 1976, having been delayed by the completion of the album sleeve - boy, they sure did have problems getting their album covers produced!
That's a word salad - and take it from me, I know word salad
I fear for the day when something happens on the right that is SO nuts that even Stadler says "That's crazy".
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Online TAC

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #465 on: September 25, 2014, 05:21:42 AM »
I love Presence!!
would have thought the same thing but seeing the OP was TAC i immediately thought Maiden or DT related
Winger Theater Forums........or WTF.  ;D
TAC got a higher score than me in the electronic round? Honestly, can I just drop out now? :lol

Offline The Curious Orange

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #466 on: September 25, 2014, 06:07:13 AM »
They didn't back this album up with the big tour and publicity that they had rolled out for earlier albums - that stuff was far more important back in the 70s than it is now, and that's probably the reason it didn't sell as well, or get the radio airplay.

But it is one hell of an album, a thundering statement of intent, and the only thing that stops it being LZ's best album is the fact that the competition is so strong. Tea for One is hauntingly beautiful.

Gotta love this album.
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Offline King Postwhore

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #467 on: September 25, 2014, 06:25:17 AM »
My favorite led Zep album.  Dense, lush.  I love the fact that they recorded and mixed this album in 18 days.  There's that story of Page asking the Stones for a few more days to use their studio time and Mick asked to finish the tracks and Page said, "No to finish the mixing of the album."  Mick was floored.
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Offline Zydar

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #468 on: September 25, 2014, 06:27:05 AM »
Achilles Last Stand :metal
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Offline Bolsters

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #469 on: September 25, 2014, 06:31:14 AM »
I've never been a big fan of this album either. :lol Achilles Last Stand is one of my absolute favourite Led Zeppelin songs, and a couple of other tracks are okay (For Your Life ranks second, though it's pretty far below Achilles Last Stand, Nobody's Fault But Mine is alright, Hots On For Nowhere too I suppose), but I think the rest of the album is pretty average.

Offline hefdaddy42

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #470 on: September 25, 2014, 07:11:13 AM »
I'm not crazy about this one either.  Achilles Last Stand is amazing (one of my favorite LZ songs), and Nobody's Fault But Mine is really good, but the rest of the album is just OK for me.
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Offline Mladen

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #471 on: September 25, 2014, 07:38:53 AM »
I've always liked this album. It went from good to great the moment Nobody's fault but mine went from average to awesome, being that it took me years to finally get it (it was probably the Celebration day version that did it for me). Achilles is one of their best songs as well, and there's a handful of groovier dance tunes like Candy store rock, Royal Orleans and Hots on for nowhere, really fun songs. The only one I don't like at all is For your life - every time I listen to it, it's like six minutes of blank tape. Nothing grabs me about it.

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #472 on: September 25, 2014, 08:09:32 AM »
Speaking of Celebration Day, that version of For Your Life is killer!
would have thought the same thing but seeing the OP was TAC i immediately thought Maiden or DT related
Winger Theater Forums........or WTF.  ;D
TAC got a higher score than me in the electronic round? Honestly, can I just drop out now? :lol

Offline jjrock88

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Offline Orbert

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #474 on: September 25, 2014, 04:41:10 PM »
I used to listen to "Achilles Last Stand" over and over.  It's a long tune, but it amazed me how it could keep up that driving intensity for over ten minutes.  Nowadays, it gets a bit repetitive.  I guess I didn't mind it so much back then.  Also, having heard it so many times now, repetition is a bit harder to take.  But it's still a great song, still one of my all-time favorites by Led Zeppelin or anyone else.

The rest of the album is hit-or-miss for me.  The dark, brooding feel of some of it has never worked for me.  I was entering a much more positive phase in my life when this album came out, and didn't want or need the dark shit.  Nowadays, pretty much the same deal, I guess.  I associate dark mopiness with teenage angst, and it still doesn't work.  The lighter, uptempo stuff is fun, though, so it's up and down for me.  La-la-la-la-la-la, yeah.

I never realized until it was mentioned here that this is the one album without any acoustic stuff or any keyboards.  Maybe that's partly why it doesn't work quite so well.  I prefer variety.

Offline JayOctavarium

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #475 on: September 25, 2014, 05:08:44 PM »
I listened to Presence all the way through today at work. Only Achilles and Nobody's Fault stand out at all. The rest are completely forgettable.
I just don't understand what they were trying to achieve with any part of the song, either individually or as a whole. You know what? It's the Platypus of Dream Theater songs. That bill doesn't go with that tail, or that strange little furry body, or those webbed feet, and oh god why does it have venomous spurs!? And then you find out it lays eggs too. The difference is that the Platypus is somehow functional despite being a crazy mishmash or leftover animal pieces

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Offline sneakyblueberry

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #476 on: September 25, 2014, 06:58:11 PM »
Jay and Orbert nailed it for me. Achilles Last Stand is probably my favourite Zep tune of all time.  Love that guitar intro.

Offline Jaq

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #477 on: September 25, 2014, 07:34:53 PM »
Achilles Last Stand is awesome, I like Nobody's Fault But Mine and Tea For One, the rest is just...there. Appreciate For Your Life a bit more because of the 2007 show, but honestly would have to play the CD to remember how the other songs even go. Kind of a matched set with In Through The Out Door, in that it focuses on one particular side of the band-Page/Plant here, Plant/Jones on ITTOD. Rarely reach for it since I have so many damn boots with Achilles on it. Admittedly live that song had massive trainwreck potential...
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Offline jingle.boy

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Re: The Led Zeppelin Discography Discussion: v. Got a monkey on my back
« Reply #478 on: September 29, 2014, 08:18:25 AM »
Nothing sums up Presence better than the fact that Plant recorded almost all of his vocals from the confines of a wheelchair, still rehabilitating his injured ankle - with the ultimate twist of irony coming from Achilles Last Stand, about the legendary Greek Warrior that had been dipped into the river Styx - a river of immortality - except for his heel. Plant had penned the lyrics shortly before that fateful August day.  This is up there with Kashmir as perhaps Bonham's greatest performance.

Page (who readily acknowledges this as his favorite Led Zeppelin song) overdubbed 6 guitar tracks in one evening to create the huge sound, also pushing the bass and drums a little down in the mix, along with Plant's vocals.  The latter is understandable, as Plant - because he was confined to a wheelchair - was having a lot of trouble getting the air necessary to deliver the powerful vocals he was known for.  He did try to stand at one point, but couldn't bear any weight, fell, and almost seriously re-injured his ankle.

The venom in For Your Life was due in part to Plant's observations of the excessive amount of cocaine which had now pervaded and ruined the music scene in Los Angeles, during his stay on the West Coast prior to recording.  It's also, arguably, directed to Page on some levels, due to his addictions at the time.

Royal Orleans is about an experience Jones once had on tour, when he mistakenly took a drag queen up to his hotel room, fell asleep (reportedly with a joint of marijuana in hand), lighting the room on fire - though Jones would repeatedly state afterward he knew full well that "Stefanie" was a transvestite.  "Royal Orleans" was the name of a hotel where the members of Led Zeppelin would stay when they visited New Orleans, because not as many people asked for autographs there.  The song features a frantic rhythm section, faster than most other songs from the catalog.  To me, this is just a weird song, and doesn't fit any style that resembles anything like Led Zeppelin.  Not their worst song ever, and I don't dislike it, but it doesn't have much lasting appeal.

Mixing lyrical elements from Blind Willie Johnson and Robert Johnson, Nobody's Fault But Mine weaves a tale of a man trying to stay ahead of the evil which is pursuing him, but is ignoring the root causes of his predicament. There is an ultimate admission that he is to blame, but with a sense of despair, Plant shifts the focus from religion to one "relevant to the Zeppelin lifestyle of the day", alluding to problems associated with their hedonistic lifestyle of the early 70s.  Plant concludes "gonna change my ways tonight". It was suggested that for Plant, and perhaps the others, it was a sort of exorcism.  Fans concluded that Robert was repenting for actually having sold his soul to the devil, and now wanted out of the deal.

Released as a single (yet never charting), Candy Store Rock is one of Plant's favorite songs from their catalog.  But honestly, what the fuck were they thinking here beyond a self indulgent tribute to the 50s?  Rock-a-billy?  It's a fun enough tune, but c'mom - it may have been a good idea, but it just didn't translate well from the studio, imo.  Led Zeppelin was not a band that fans wanted to dance and bee-bop to. It's the only song on the album with an acoustic guitar, but it's buried so far down on the mix, I defy you to find it.

Plant said that the lyrics to Hots On For Nowhere reflected not only his trapped situation at the time, but his general frustrations with Jimmy Page and their manager Peter Grant, whom Plant was convinced weren't sensitive to his point of view regarding their tax exile, and Plant's injuries.  Page's solo was one of the final pieces of the album's recording, done during the marathon, virtually sleepless final 3 days Page spent completing the album before they lost their studio time to The Stones.

I feel Tea For One is an attempt to recreate the magic of Since I've Been Loving You, but fails miserably.  This (and the preceding track) are lyrically quite nice, representing a melancholic recount of the loneliness of being on the road as much as the band was, and recently out of Britain for their tax exile.  The hurt and pain on this song in particular represents an existential on, not just simple heartache.  Combined with the physical pain that Plant was in during the recording, I adore the lyrics here, but musically it's just not up to snuff.

jingle.boy's rankings:
Achilles Last Stand
.
.
Nobody's Fault But Mine
.
.
.
.
.
.

Hots on for Nowhere
For Your Life
Tea For One
Candy Store Rock
Royal Orleans
That's a word salad - and take it from me, I know word salad
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Offline hefdaddy42

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #479 on: September 29, 2014, 11:55:04 AM »
Pretty much the same for me.
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Offline sneakyblueberry

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #480 on: September 29, 2014, 04:18:04 PM »
We edge closer and closer to the depressing end to Zeppelin's career.

The untimely death of Bonzo sort of freezes Zeppelin in that sub-par Presence/ITTOD era.  I wonder if they had it in them to come back strong after those albums, had Bonzo not passed.

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #481 on: September 30, 2014, 12:17:11 AM »
It couldn't last forever, and, at least for me, the more mediocre songs from Physical Graffitti hinted at the decline that was to come. But why did it have to come so fast?

I'm surprised that some people here call it their favorite LZ album because for me it's very sub-par, but that's tastes for you. I wonder how do they work?  ;)

Achilles Last Stand is stellar, Nobody's Fault is great and the rest is a bunch of uninspired and very mediocre songs. I've listened to this album countless times but I still have a hard time remembering how the songs go. Nothing sticks out, nothing sounds interesting.

I wonder if the album would have been better if not for the circumstances. And I still wonder why they didn't take their time, for instance to wait for Plant to recover, or book more studio time, or whatever else was necessary. I mean they were the mighty Led Zeppelin, everybody did as they (or their management) commanded, surely they could have taken all the time in the world?
Must've been Kwyji sending all the wrong songs.   ;D

Offline The Curious Orange

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #482 on: October 01, 2014, 03:20:03 AM »
Can't believe there's not more love for Presence out there.

Now, I've re-listened to each Zep album as we've discussed them in this thread, but Presence has been the first one I've listened to twice, just to make sure I'm right about it. And I am.

Achillies Last Stand and Nobody's Fault are the two big songs everyone knows off this album, mainly because they're the 2 that are represented on compilations, etc. The rest of the album suffers because the songs aren't as well known as the stuff on earlier albums, Zeppelin didn't do the big tour/publicity thing for this album, and those songs weren't played on the radio the way every track on LZ 4 was. Plus music was changing, of course...

For Your Life is fantastic, as is Tea For One. They both stand up alongside anything in the LZ catalogue. Hots on For Nowhere and Royal Orleans are never going to be top tier LZ songs, but they're both built around solid riffs and are solid efforts, even if they show a certain lack of originality. Candy Store Rock is... well, I can only assume it was on there because Atlantic wanted something to release as a single.

It's a true classic LZ album, and one of the most under-rated in music history. Just goes to show the effect that lack of contemporary radio play can have on the legacy of an album nearly 40 years later...


Oh, and I have to note the cover. That object is really freaky, especially the schoolteacher photo. What is it? Why is it so ubiquitous? What does it do? Where did it come from? I love this album cover, it's enough to give you sleepless nights.
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Offline Bolsters

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #483 on: October 01, 2014, 03:50:04 AM »
Achillies Last Stand and Nobody's Fault are the two big songs everyone knows off this album, mainly because they're the 2 that are represented on compilations, etc. The rest of the album suffers because the songs aren't as well known as the stuff on earlier albums, Zeppelin didn't do the big tour/publicity thing for this album, and those songs weren't played on the radio the way every track on LZ 4 was. Plus music was changing, of course...

It's a true classic LZ album, and one of the most under-rated in music history. Just goes to show the effect that lack of contemporary radio play can have on the legacy of an album nearly 40 years later...
Well, I can honestly say that none of these factor in to why I rate this album so low. First of all I didn't start with a compilation, my dad had a few of their albums on vinyl and cassette and when I was old enough to be owning my own stuff, I just outright bought the albums. And any lack of publicity/touring and radio play had no effect on me either, because I wasn't even alive when the album came out and I've never been all that big on radio. Infact I am pretty sure that the only Led Zeppelin songs I've ever heard on the radio are Stairway To Heaven and Kashmir.

I can appreciate that you clearly like the album more than the rest of us who have posted our thoughts on it, but I think it's a bit short-sighted to blame the times for that. There are a lot of things going on with the songwriting and production on this album that differentiate it from their earlier material, that could potentially cause people to rate it as subpar.

Offline Kwyjibo

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #484 on: October 01, 2014, 04:01:08 AM »
I'm with Bolsters on this one. For me, not liking Presence as much as the rest of their previous work has nothing to do with compilations or touring or publicity. I wasn't old enough when LZ was touring, so I never saw them live. And radio, when I grew up, didn't play LZ apart from the occasional Stairway to Heaven.

Would be interesting to know, were some of you actually LZ fans when they were around and famous, or did you become a fan later?

Must've been Kwyji sending all the wrong songs.   ;D

Offline The Curious Orange

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #485 on: October 01, 2014, 07:49:35 AM »
I was proabaly about 15 when I got into LZ, which must have been 1985 or so. It just strikes me that In Through the Out Door is so weak that anyone having listened to that album must surely put Presence on a par with Physical Graffiti or HOTH. I just can see how anyone could knock it off that perch and stick it next to ITTOD as a sub-par LZ album. Then again, I'm also amazed at the number of people who think there's a lot of filler on PG.
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Offline jammindude

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #486 on: October 01, 2014, 08:40:40 AM »
Can't believe there's not more love for Presence out there.

Now, I've re-listened to each Zep album as we've discussed them in this thread, but Presence has been the first one I've listened to twice, just to make sure I'm right about it. And I am.

Achillies Last Stand and Nobody's Fault are the two big songs everyone knows off this album, mainly because they're the 2 that are represented on compilations, etc. The rest of the album suffers because the songs aren't as well known as the stuff on earlier albums, Zeppelin didn't do the big tour/publicity thing for this album, and those songs weren't played on the radio the way every track on LZ 4 was. Plus music was changing, of course...

For Your Life is fantastic, as is Tea For One. They both stand up alongside anything in the LZ catalogue. Hots on For Nowhere and Royal Orleans are never going to be top tier LZ songs, but they're both built around solid riffs and are solid efforts, even if they show a certain lack of originality. Candy Store Rock is... well, I can only assume it was on there because Atlantic wanted something to release as a single.

It's a true classic LZ album, and one of the most under-rated in music history. Just goes to show the effect that lack of contemporary radio play can have on the legacy of an album nearly 40 years later...


Oh, and I have to note the cover. That object is really freaky, especially the schoolteacher photo. What is it? Why is it so ubiquitous? What does it do? Where did it come from? I love this album cover, it's enough to give you sleepless nights.

Recently, I tried to look up some info on it for verification...and I couldn't find anything at all.   But I do remember that it was once held from several sources, that it is a sort of witchcraft tool which somehow has the mystical qualities of allowing a spirit medium to help a person have another spirit enter their bodies.  Essentially, it's tool for instilling "spirit possession" with the aid of spirit medium. 

This was a story I personally heard from several different unrelated sources way back in the 80's but I can find absolutely no claims of any kind one way or the other to back that up....so it may just be another urban legend that was invented to demonize the band...there was a lot of that back then. 
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Offline Orbert

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #487 on: October 01, 2014, 08:46:06 AM »
As someone who was around when this album came out, I can tell you that there was not a lot of promotion, but since it was Led Zeppelin, there didn't really have to be.  I remember going into the record stores and there in the New Releases section was the new Led Zeppelin album, and everyone knew who they were, and everyone knew Physical Graffiti, so everyone was waiting for this one.  I bought it, my friends all bought it, we all dug into it, and we all agreed that "Achilles Last Stand" kicked ass, but reviews were mixed for everything else.  We listened to it a lot, as high school kids do with a new album.

It definitely got a fair chance.  It just did really ring with me.  The darkness of it was kinda creepy-cool, but as I mentioned above, I really wasn't into that.

But yeah, the cover, and the pictures with "The Object" are cool.  I always thought it symbolized the presence of darkness in our everyday lives.  Pictures of everyday stuff, with the black object just there.  People interacting with it, but we have no idea what's going on.  Neat concept.

Offline Mladen

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #488 on: October 01, 2014, 08:49:48 AM »
That's a great interpretation of the artwork, Orbert. I've always liked it, but wasn't too sure about what it represents.

Offline Podaar

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Re: The Led Zeppelin Discography Discussion: v. The mighty arms of Atlas
« Reply #489 on: October 01, 2014, 09:10:44 AM »
According to Wikipedia: in the liner notes to the box set, Page had this to say about the "Object".

Quote
There was no working title for the album. The record-jacket designer said 'When I think of the group, I always think of power and force. There's a definite presence there.' That was it. He wanted to call it Obelisk. To me, it was more important what was behind the obelisk. The cover is very tongue-in-cheek, to be quite honest. Sort of a joke on [the film] 2001. I think it's quite amusing.

Sounds about right to me. I remember thinking it was creepy and often wondered if it had something to do with the 2001 obelisk.

I've always liked the album, warts and all but I definitely remember most of my friends (especially the one who named his pet Cockatiel "Zep") as being disappointed with it. I don't think it's up there with HotH, IV or PG, but I still enjoy listening to it.
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