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Credit: Far Out \/ Dana Wullenwaber<\/p>\n
Anyone who\u2019s found themselves enjoying rock and roll over the past six decades has likely pointed to a favourite Led Zeppelin<\/a> record. <\/p>\n While die-hard fans may have their own preferences, the most popular choices tend to be the usual suspects: Physical Graffiti and Led Zeppelin IV. However, the band\u2019s later work is often overlooked, and for one album in particular, Jimmy Page feels it deserves more recognition.<\/p>\n Although Presence rarely appears at the top of fan rankings, it occupies a unique place in Led Zeppelin\u2019s catalogue. Stripped of some of the experimentation that defined earlier releases, the album instead focuses on intensity, musicianship and raw power.<\/p>\n Following the release of Physical Graffiti in 1975, people questioned where Zeppelin could go from there, doubting that they had the nouse to eclipse its greatness. Expectations were mightily high, but time was of the essence, and the group returned to the studio to work on the follow-up that same year.<\/p>\n In an ideal world, Led Zep would have taken time off from recording and toured their most recent album. However, Robert Plant suffered a broken leg that scuppered their plans<\/a> to hit the road in the States, and they retreated to the studio. The sonic space had always remained a safe one for the quartet of Plant, Page, John Bonham and John Paul Jones. A spot where they could be cocooned in the warmth of their creativity and allowed to thrive away from the public spotlight.\u00a0 <\/p>\n \u201cThere\u2019s some extraordinary stuff on there: from my point of view, \u2018Achilles Last Stand\u2019, but also \u2018Tea For One\u2019, where Robert is singing his heart out.\u201d<\/p>\n Jimmy Page<\/p>\n The new record presented a chance for them to recover both physically and mentally from a wild few years. Due to Plant\u2019s injury, Page<\/a> took the lead on the project, and they went to Germany to record what became Presence. In terms of sales, the album was a success and topped the charts internationally, but the general response to the record was rather lukewarm.<\/p>\n Despite the mixed reaction, Page still believes it stands up and is proud of the creation. \u201cI certainly really like it. It\u2019s a bit of a Muso\u2019s album, though, isn\u2019t it? So many times, I speak to people, and they say that Presence is their favourite, and it always surprises me, because you\u2019ve got to really listen to what\u2019s going on,\u201d he told Louder Sound<\/a>.<\/p>\n Further reading: From The Vault<\/p>\n The guitarist discussed the conditions that were less than desirable when they made their seventh LP, but he also noted that this adversity helped influence the powerful sound of Presence. \u201cRobert had had his accident [a car crash in Rhodes in August 1975], so his leg was in plaster in the studio. So that was a set of circumstances right there that wasn\u2019t in script,\u201d he added.<\/p>\n Adding: \u201cSo Presence was very reflective of what was going on \u2013 a lot of darkness and intensity.\u201d But it wasn\u2019t just the mood that seemed to have enraptured Page; it was the quality of their work too, \u201cThere\u2019s some extraordinary stuff on there: from my point of view, \u2018Achilles Last Stand\u2019, but also \u2018Tea For One\u2019, where Robert is singing his heart out.\u201d<\/p>\n It\u2019s perhaps some of Page\u2019s finest work as he unleashes a flurry of incredible grooves and searing riffs. However, it is easy to call this LP Bonahm\u2019s triumphant moment as he rages across his kit like a stampede of warhorses. Typically loved for \u2018Achilles Last Stand\u2019, another Bonham moment of brilliance comes on \u2018Nobody\u2019s Fault But Mine\u2019. By this point, the band were nearing ten years in the business, and the decadence of the decade was starting to creep up on them<\/p>\n
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