51 years ago this week Led Zeppelin released their long awaited fifth album, Houses Of The Holy.

Here’s a round up of  House Of The Holy coverage collated eight years ago for the 40th anniversary:

March 2013 TBL Archive:

The sleeve…

Yesterday in London I  conducted an exclusive interview for TBL with one of the designers of the Houses  Of  The Holy sleeve.

Aubrey Powell aka Po, co-founded the album cover design company Hipgnosis with Storm Thorgerson in 1967. Hipgnosis created some of the most innovative and surreal record cover art of the 1960s, 70s and 80s for many of the big name rock bands of the era including Pink Floyd, Led Zeppelin, Paul McCartney, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Emerson Lake & Palmer, Scorpions, Styx, Syd Barrett and Black Sabbath.

Hipgnosis were responsible for the Houses, Presence, The Song Remains The Same, In Through The Out Door and Coda sleeves. Po later moved into films and directed various Robert Plant and Firm videos –he also directed the No Quarter Jimmy Page and Robert Plant Unledded film. He is currently working on a book of photographic portraits.

I met with him yesterday nigh on 40 years to the day of the releases of what he considers one of very best designs they created. This exclusive interview with Aubrey Powell, in which he discusses his working association with Led Zeppelin over the years will be one of the highlights of the next TBL magazine.

On this 40th anniversary I asked Po to summarise what the Houses Of The Holy sleeve means to him…

Above -Aubrey Powell London – March 27th 2013.

”40 years on from completing this album cover, I’m still very proud of it. It’s one of the best works that Hipgnosis ever produced and it’s stood the test of time. Everybody still talks about it. You see in those polls of top ten album cover of all time , where Pink Floyd’s Dark Side Of The Moon is always jockeying for a top three position with Houses Of The Holy.

 I think the reason why it’s stood the test of time is that not only are Led Zeppelin the greatest rock band in the world but because the image is stirring.

People look at it and really wonder what it’s about. There’s a narrative in there …what are these children doing? Where are they going? What’s caused this? What’s this huge glow on the horizon? What’s the story with this? Then the inner cover the image of the guy holding the girl above his head – that also has that sort of fairy tale quality about it. It just grabs people’s imagination and it’s very unusual for an album cover. It’s very different and people seem to admire that image.

At Hipgnosis, we never felt that the work we did would go beyond the year that we did it, possibly because we were always so busy – we were probably doing three album covers a week for various different bands for 15 years. During the time I didn’t really have an opportunity to say ‘oh isn’t that great, you know in 40 years time people will look it and say gosh that was an extraordinary piece of work.’ All I know is that I just worked very hard and loved what I was doing and I enjoyed the people I worked for.  I thank Led Zeppelin for giving us the opportunity to do these designs, because without them we would not have been able to so.

In my heart of heart of hearts, it very much represents that vinyl period of time – those 15 years of top quality vinyl graphics that we produced.

So yes…Houses Of The Holy all these years on, is a piece I’m particularly proud of’”

Aubrey Powell – March 27th, 2013.

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Back to the story….

Like countless fans across the globe on that spring Wednesday back in March 1973 ,as a 16 year old Zep obsessive I eagerly snapped up the album . I had been touring the record shops of Bedford daily for the arrival of this opus. This was in the years before I began working in a record shop myself.

At lunchtime I walked the short distance from British Home Stores where I worked to Carlows one of the seven record outlets in the town and laid down my £2.59 (it was an expensive album in the Atlantic deluxe price rang) took it out of the bag and simply gawped in teenage wonderment at the oh so remarkable sleeve.

What was all that about…?!

For me the sleeve sums up the pure mystery and evocative atmosphere of No Quarter.

My diary reveals that once home that night, I gave the album an initial blast before venturing out to play football in the local park (the clocks had just gone forward that week so it was now getting light at night). I was back in my Zep bedroom den straight after to get lost on their world in the album with the catalogue number (which I’d already memorised) K50014.

Now that is an important point –to get lost in their world…. because that is exactly what it was like as Brad Tolinski astutely noted in Guitar World

‘’Led Zeppelin were the best because they were the most exotic and imaginative of rock bands. And the fascination with the group continues because their music still sounds strange, wild and totally alien today as it did three  decades ago. Led Zeppelin music was designed to stimulate the imagination, to encourage kids to dream ,to see an open space beyond the grind of daily existence’’

That is exactly how I felt that March evening of 50 years ago. Given that my daily existence was spent in the stockroom of the aforementioned British Home Stores and that the UK at the time was a somewhat drab place to be with industrial unrest, the threat of IRA bombing,  to be transported to California sunshine and sweet Calcutta rain, as Robert Plant sang on the still riveting opening track The Song Remains The Same…well that was some ride for this particular 16 year old.

It’s incredible to think back at how important music was then in the pre download instantly accessible world.

There was no iTunes platform to preview the album, oh no – the only previews afforded was the screening of a very weird film to match No Quarter on the Old Grey Whistle Test the previous Tuesday and an airing of Dancing Days on Emperor Rosko’s Saturday morning radio show.

You coveted every word, you gazed at the sleeve, you memorised the lyrics (and for this album  every song lyric was printed on the inner sleeve). You lived these songs –they became part of your daily life, enhancing your mood, the soundtrack of falling in love and out…you lived and breathed them.

Like every other Led Zeppelin album, Houses Of The Holy more than fulfilled that premise in the coming months and years…

There were however some issues. By and large the press hated it – how shocked was I to read the Melody Maker review the next day that proclaimed ‘’Zep lose their way’’ accompanied by a very indifferent review by the usually supportive Chris Welch.

The problems? –well we all know that well enough:

The Crunge and D’yer Mak’er…two less than serious stabs at enjoying themselves at the expense of critics and perhaps fans alike- particularly the ones groomed on the hard rock of Zep 1 and II.

My learned friend Kevin Hewick in a summary of the album he has written for the next TBL magazine, notes as a 15 year old Zep fan back then being well confused.

‘’Then came ‘The Crunge’ !?!?! Were they joking? Well yes they were but this seemed like a somewhat lame joke.

Over on Side 2 ‘Dancing Days’ seemed a piece of poppy fluff and ‘D’Yer Maker’ was a ‘crunge too far’ for me, a somewhat limp novelty mickey-take of the Caribbean sound that was actually turning into a major force with The Wailers ‘Catch A Fire’ soon to reach our British ears.

This rather lightweight three track sequence did them a lot of damage in my eyes. They seemed to be merely mucking about, a cardinal sin in my pretentious chin stroking world of prog meaningfulness, yet it was also lacking the thrill of Bowie’s pop art glam razzamatazz.’’

Kevin does now have a high regard for the album noting that

‘Over The Hills And Far Away’ is everything you need to know about Led Zeppelin in one song, folk and rock rather than folk rock, their diverse strands united in the same song – more of his perceptive musings in TBL 35.

So Led Zep 11 it certainly wasn’t …

As for me… well need you ask – I loved it all!

But I have to say back in 1973 I was going through an intense period of musical discovery and not long after its release, my attention to Houses was somewhat diverted by other musical goings on…

The aforementioned David Bowie whose magnetic presence you could just not ignore that year…in April The Beatles double album retro sets 1962 -1966 and 1967 -1970 captivated me –as I’d just missed their golden period being too young. Other albums such as The Faces Oh La La, Paul McCartney’s & Wings Red Rose Speedway, Alice Cooper Billion Dollar Babies ,The Rolling Stones Goats Head Soup (I saw the latter at Wembley Empire Pool in the September) and in the autumn The Who’s Quadrophenia and Bob Dylan’s Planet Waves demanded my attention. I was at an age of discovering so much music…it was hard to fit it all in.

There was also an album called The Dark Side of The Moon released a week before Houses Of The Holy that would also make a bit of an impression on the record buying public.

Houses Of The Holy did not stay on the UK chart for more than a couple of months and was somewhat eclipsed (no pun intended!) at home by the abundance of fresh and vital music that year….

America as we know, had no such issues…

Overall though, Houses Of The Holy went on to become something of an underrated part of the Zep cannon.In hindsight, this was clearly a band that was pleasing themselves and their fans at the expense of what the critics expected.

The eclectic feel good content meandered from familiar hard rock through acoustic and orchestral arrangements, to brooding synth affairs and ’50s doo-wop/mock reggae  and funk pastiches.  It was all performed with a joyous abundance that mirrored the positivity that surrounded them at that stage of their career.

Back in Europe during the early spring on yet another tour, Robert Plant was quick to defend the album. In an interview at the George V hotel during their two-show residence in Paris in April 1973, he said “So there are some buggers who don’t like the album. Good luck to ’em. I like it and a few thousand other buggers too.  There’s only one way to function and that’s on stage. We’ve reached a high and we ain’t going to lose it. And no bad album review is going to change that.”

As it turned out, Led Zeppelin had the last laugh.

Following their UK and European dates that year, they embarked on  a two-legged assault on America for which No Quarter was a further Houses addition to their live set.

Zeppelin opened their US tour by playing two mammoth dates. In Atlanta they drew 49,000 on 4 May  while the next day a staggering 56,800 packed into the Tampa Stadium in Florida. This gave them the distinction of attracting the largest audience ever for a single act performance, beating the previous record held by The Beatles for their 1965 Shea Stadium show.

At the same time, the album ascended to the top of the Billboard US chart for a two week reign sandwiched between Elvis’s Aloha From Hawaii via Satellite and The Beatles 1967-1970 compilation. The US tour was an enormous success and by taking on PR Danny Goldberg this time around, they made sure the world knew about it.

By pleasing themselves, Led Zeppelin may not have pleased the critics, but they certainly pleased their ever faithful following.

After the release of Houses Of The Holy more fans than any other act in the world wanted to see Led Zeppelin play live.  It was the moment they stopped being a mere rock band and turned into a global phenomenon.

The  album that cemented that success is still held in high regard by the ex band members and fans alike. “There was a lot of imagination on that record.  I prefer it to the fourth album,’’ Plant remarked a few years back while Jimmy Page reflects “You can hear the fun we were having on and you can also hear the dedication and commitment.’’

Whilst their fourth album had been all about economy with everything in the correct place, Led Zeppelin’s fifth album was less about being perfect and more about letting loose and having fun.

Houses Of The Holy retains that pure feel good factor and all these  years on, stands as a pivotal album in the development of Led Zeppelin’s artistic growth.

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I will certainly feel good when I spin this album today, just as I felt good back in my Zep bedroom den 50 years ago.

51 years has done nothing to diminish the love I have for this album and today it’s sounding as majestic as ever. I loved it at aged 16 and I love it aged 67 – 51 years on…

Dave Lewis  – March 28 2023

And there’s more…

Dave Lewis

March 28 2023 

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