A round up of reviews of the Robert Plant & Alison Krauss appearances at Hyde Park and Glastonbury…

This report from Jonathan Taylor 

Robert Plant and Alison Krauss, Hyde Park, 26/06/2022.

The band ease into “Rich Woman”, and as this exemplary group of musicians set the tone, Alison Krauss and Robert Plant walk onstage, their relaxed, confident demeanour and their smiles already an indicator of the show we are about to witness.

As “Rich Woman” ceases its prowl, “Can’t Let Go” brings its livewire shuffle, Plant and Krauss trading their vocals in their assured way. Robert Plant has rarely sung better, drawing on his lifetime of experience to use his rich expressive voice to mellow down or power up, whilst Alison sings with such purity and a precision edge that her voice could not only cut crystal but also engrave a heart.

Their vocal interplay is a delight throughout the set, exemplified on “Fortune Teller”, as Alison weaves her vocal refrain under and around Robert’s lead vocal. It’s the song in which the set really catches fire, and Robert and Alison know it as they exchange a meaningful glance on the “You’ll be looking into her eyes” line.

“Trouble With My Lover” sees Alison assert her prowess, her vocal warm and sultry, the band providing such a delicious rhythm for her to work over. Indeed, the band (drummer Jay Bellerose, upright bassist Dennis Crouch, multi-instrumentalists Stuart Duncan and Viktor Krauss and guitarist JD McPherson) are on point throughout, embellishing, energising, but never overstating.

These guys are good. Very good.

Next up “Rock And Roll” is the first moment from Robert’s planet-devouring past, though from the moment Stuart Duncan’s fiddle introduces it, the song is a keeping-it-Country hoedown. It’s a joyous version, and fits the vibe of the set perfectly.

And if we are talking vibe…Alison’s beautiful, dark lead vocal on “The Price Of Love” draws you in to a song that in the hands of these masters of their art has become an otherworldly lament.

It’s utterly sublime, a genuine highlight of this already remarkable show.

“Please Read The Letter” such a song of yearning, continues the heartfelt feel, as do Robert’s “High And Lonesome” and Alison’s “It Don’t Bother Me” before “Quattro (World Drifts In)” blows a wistful prairie breeze across the set, raising some sand. This is mesmeric stuff.

As if to break us out of that particular spell, it’s back to the Everly Brothers for a sprightly “Gone Gone Gone (Done Moved On)”, McPherson’s guitar rumbling along nicely as Alison and Robert meet each other’s gaze again…they’re clearly having such a good time.

If the set up until this point had been wonderful in its mood and execution, it was about to send the emotional response meter off the scale.

“The Battle Of Evermore” sees Alison Krauss excel, her delivery of Sandy Denny’s original vocal lines taking them into uncharted waters of passion and longing…as Alison sings “Dance in the dark of night, sing to the morning light” it becomes a prayer of hope.

She again skilfully threads her voice in and around Robert’s, and this already incredible song transcends any other version I have heard. Robert is similarly inspired, adding such power and emphasis to his “Bring it back, bring it back” coda that it’s both a plea and a demand. This version of “The Battle of Evermore” brings a tear of love to the eye.

Draw a breath…and it is the brooding, deep Delta Blues of “When The Levee Breaks”, a song that Alison’s fiddle and Robert’s vocal take in search of its roots. They succeed, their navigation of the song’s feeling and intent purposeful and perfect. But then…as Stuart Duncan takes the fiddle solo, the band still the pace and allow Duncan to evoke the North African desert territory that Hossam Ramzy’s Egyptian Ensemble explored with Page and Plant back in the 90s. Spellbinding moments in a huge performance of this song.

There is no following those two set closers. The band take a bow, the smiles still visible on the faces of Robert and Alison.

This was a masterclass of a performance.

If Hyde Park had a roof, it would have been raised by Plant and Krauss.

Jonathan Taylor

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Review of  Robert Plant & Alison Krauss

Hyde Park

supporting The Eagles 

June 26 2002

Hyde Park was buzzing and bathed in sunshine. We met with friends who had secured a space about 30 feet from the barrier. The space in front was the Golden Circle so no way of getting any closer unless you paid and upgraded tickets. Gone are the days when you could camp out and be at the front of the stage!

There was mixed crowd, to be fair mainly over 40s as the main show was The Eagles, there were many younger though, many wearing Zeppelin shirts.

The band came onto the stage 10 minutes before the show time listed. I wasn’t sure Alison and Robert would follow, but a loud cheer from the front confirmed they had. ( being vertically challenged I need to stand on my tip toes to see)!

The massive screen however confirmed they were on the stage , Alison in black with a flowing printed tartan jacket and Robert , hair tied back in a bright blue shirt.

The music started and they opened with ‘Rich Woman’ which is the first track from the 2007 Raising Sands album. Their voices being carried across the park. Just stunning

Hey! Says Robert – ‘Thats feels better!”

Next was  ‘ Can’t Let go’ which got everyone dancing as well as singing — a lively track from the recent Raising the Roof album.

Robert then started  Fortune Teller’ which he tells us was ‘ from 1959’ 

Oh yeah ! Yells Robert 

Alison joins to harmonise , which live is even more beautiful than you hear on the  Raising Sand record. That lady has some voice! Almost ethereal!

Alison then leads on Trouble With My Lover’ and Robert plays two sets of maracas. 

At the end of the song , Robert bows to AC in thanks – there is a genuine appreciation from this gentleman of the talents of the stunning singer on the stage with him. Their voices really do blend so so well.

And now onto something that all the audience knows ,and comes with a massive cheer! 

The cover of   Led Zeppelins ‘Rock n roll’. Apparently it was first shared by the duo on June 1st in New York, so we  were given a rare gift, this being a new track in their set list. They did play this at Glastonbury Festival on Friday 24th!

It was a unique cover with Alison playing violin and bringing a new slant to this classic we all know and love- and the audience appreciated as it received the biggest cheer of the set so far ! 

We then get a slower and more mellow track ‘The Price of Love’ which Robert reminds us was written by The Everly Brothers’ ,and appears on Raise the Roof . Such a beautiful song , which again brings a great cheer to which Robert thanks the audience, with a ‘thank you so much’ . Genuine thanks  

Next is the Plant & Page track ‘ Please Read The Letter’ which they covered on Raising Sand . This is  one of my favourites;  Alison on violin brings a tender tone . Such a talented lady!

Next is the lovely High and Lonesome from Raising the Roof. With Robert singing, Alison on  Robert clapping along. All the time he is smiling at Alison , so appreciative of her talents 

Next is ‘It Don’t Bother Mme’ with Alison leading . Robert once again thanks Alison and asks the audience to ‘ Give it up for Alison Krauss’ …which we do!

Robert then introduces the musicians on stage 

Stuart Duncan , Victor Krause, Jay bellows,   Dennis crouch,  JB McPherson – an appreciative applause and then straight in to 

Quattro ( World Drifts in) from Raise the Roof 

Wee are then ‘back to the Everly Brothers’ with the foot tapping  ‘Gone Gone Gone’ which most people knew and were dancing and signing

Then we get to the most stunning track of the set …in my opinion. The start of the mandolin gets every  Zeppelin fan smiling for this is The Battle of Evermore. This was stunning ! Robert singing ‘Bring it back ! with the crowd echoing back to him

all the crowd clapping

At one point I shut my eyes just to take the sound in, their voices floating on the air with such power! Their voices blending  in a way you could never imagine , the tremendous  sound and lifting into the air. If there was a roof on Hyde Park , it would have been raised

What followed was the biggest cheer so far !

Then to end , they commence on ‘When The Levee Breaks’, So powerful , but so different . No Bonham thundering drums but Alison on violin.  A totally haunting sound !

Just tremendous!

They finish , the crowd cheers and Robert once again smiles and says ‘See you again soon ‘…Thanks for tuning in ‘

What a set.! I must have smiled all the way through!

A beautiful combination of beautiful voice s and a beautiful combination of stunning tracks, old and new, rock, bluegrass, country and folk.

I bought tickets to see The Eagles and then found out that Robert & Alison were supporting and was utterly delighted. I could have left that sunny, packed park at the end of their performance very very contented.

Michaela Tait

Photos by Peter Chow 

Robert & Alison at Glastonbury:

Great summary of last night’s performance by Neil McCormack of the Telegraph of which I agree with every word – they were superb…

Daily Telegraph review:

Robert Plant and Alison Krauss prove old lions can still roar ★★★★★

Masterclass: Alison Krauss and Robert Plant

Robert Plant and Alison Krauss delivered an absolute masterclass of duet singing and organic lithesome groove at Glastonbury. Their early evening set beneath dreary skies and drifting rain on the Pyramid stage was not the most densely packed performance of the day, certainly not drawing a crowd of the scale that would be expected if Plant’s old cohorts Led Zeppelin ever decided to pummel Glastonbury into oblivion.

At 73, the man who practically invented heavy rock singing has shifted towards something more sensuous and understated. For her part, the fifty year old Krauss established her reputation singing country and playing bluegrass fiddle, and she knows exactly where to put a harmony to make a vocal fly. The multiple Grammy award winner may be the more accomplished musician, but she grew up listening to her brother’s Zeppelin albums and knows her place as the junior partner in this combo; indeed, she revels in it.

The odd couple arrived on stage as casually as a couple of old festival heads who had just wandered down from the stone circle bathed in patchouli oil. Krauss was wrapped in what looked like a flowery bedstead, Plant wore a paisley shirt and clutched a pair of maracas, his mane of grey ringlets tied back.

Backed by a fantastic band who could add piano, mandolin, banjo and violin to the swampy bass, drum and electric guitar grooves, they warmed up with some sublime roots Americana, their voices perfectly and artfully matched. But the set gathered power as they kept throwing in Zeppelin classics, including a rockabilly romp through Rock and Roll, an ethereally folky Battle of Evermore and a broody, moody When the Levee Breaks.

As the songs gathered pace, and the rhythms gained impetus, Plant would close his eyes and let out a hearty roar, voice drenched in echo, to remind us all that the old lion is still a frontman to be feared and revered. When he called out “It’s gonna break!” at the end of Levee, I half expected a deluge to descend. Fortunately the rain held off, and Plant and Krauss left the stage wreathed in smiled and basking in loud applause.

Neil McCormick

Presence at 45:

45 years ago this week, Presence, the seventh Led Zeppelin album was released worldwide. To mark the occasion, here is a Then and Now perspective I collated for the 2015 reissue – 45 years on it’s still the true heart and soul of the Led Zep catalogue…

Presence…Then:

For me personally, the Presence album is and always be tangibly associated with my own circumstances of the time. Playing out my own soap opera, as an impressionable 19 year old caught up in my first love affair played out to the soundtrack of the new Led Zeppelin album.

Back in early August 1975 we were still bathing in the warm afterglow of Earls Court. That feeling was promptly curtailed when the news came through via the national press here, that Robert had been involved in a serious car smash on the Greek island of Rhodes.

It was in early September that I read in Rolling Stone that the band had decamped to Malibu to aid Robert’s recovery – and were planning to write and rehearse for a new album. Subsequent news reports had them sighted on stage in an ad hoc performance in Jersey. There was also the report in NME that they had recorded a new album in Musicland Studios – in a mere three weeks and it would be released in early 1976.

So in January 1976, I rang the Swan Song office in London to find out a release date and more details. March was sited – the Melody Maker ran a news story not long after that the album would be titled Obelisk and released in February. They were on the right lines with the title –as we know an obelisk would be the distinctive feature of a simply bizarre cover design.

Before all that, Robert Plant had given some ‘good to be alive’ interviews in New York. He mentioned one track to be titled Achilles Last Stand ”You know immortal but for the heel -or for being a heel. I mustn’t joke about it because I’m very proud of it”. 

The very nature of the title laid down its credentials – I just knew it was going to be an epic. In his review of the Presence album in Sounds, Jonh Ingram declared it would be ”A motherfucker live”. Both these forecasts would prove to be entirely correct.

Jimmy Page’ s press interview for the album staged in March were equally positive. ”It really does sum up a period for the band  A little bit of the past, a little bit of the future”.

Achilles Last Stand was indeed an epic – as I was to find out on the evening of Saturday April 3 1976. Alan Freeman had played the entire album on his Saturday afternoon show – alas I was working that day but we taped it and – the first time I heard that opening salvo unfold was in a car travelling the byways of Bedfordshire on a bright spring Saturday evening.

It sounded like something from another planet. It sounded simply magnificent.

I still have that original BASF tape. Somehow it sounded more impressive than the LP. I think it may be a slightly different mix – and there is a slight edit in Royal Orleans. During that broadcast, Alan Freeman let the whole album run without gaps or links between the tracks – there is some noticeable surface noise in evidence indicating it may have been an acetate playing.

Upon its arrival in the record department of WH Smith where I worked, Presence caused a sales rush I’d not seen in the store since – well the release of their last album Physical Graffiti. The store had a side window and that space was reserved for an entire display of the album put in by the WEA display team. How I wish I had taken a photo of that window and the bemused reaction of passers-by as they gazed a the Higpnosis sleeve design in some bewilderment.

The WEA rep that called on the WH Smith store also kindly arranged for me to receive a stand up counter display and hanging mobile – ordered direct from Swan Song in New York.  What a moment that was when it arrived and after it’s use in the shop, it was to eventually appear in my Zep shrine of a bedroom.

A week after the release of Presence, my then girlfriend Fiona and I went to London on a Saturday to hang around the Kings Road Swan Song office -just to be near their aura -it’s what I did back then! I remember peering into the basement window of the office and seeing a poster for the album framed.

Presence went on to become our soundtrack of that very hot summer of 1976.

On in the mini bus when we went to see The Who at Charlton Athletic football ground, out on the Phillips portable cassette player by the bank when we swam in the river.

I also took the album to every party we went to, including one memorable 18th birthday party of a friend staged at a sedate village hall Here, the pulsating tones of Achilles Last Stand momentarily replaced the more dulcet tones of The Real Thing’s current disco smash You To Me Are Everything – much to the astonishment of the rather less rock orientated young ladies to be found dancing around their hand bags!

I also made a rather bizarre Presence fashion statement. In November ,when it came to showing my colours as it were in dressing up to attend The Song Remains The Same film premiere at London’s Warner West End (where we had queued overnight to get tickets), I came up with a rather novel idea. The cardboard black obelisk Object that had come with the aforementioned hanging mobile was strung arund my neck to join the Page like white scarf I was wearing. It must have looked faintly ridiculous though Jimmy seemed impressed when I thrust it his way when they came up the stairs to take their seats at the cinema that night!

Unsurprisingly, bits of cardboard obelisk mixed with scarves did not catch on around the Kings Road. However, my empathy for the seventh led Zeppelin album did not wane one bit.

The release a mere six months after Presence of The Song Remains The Same, did overshadow the Presence album for a while. I was all over the live soundtrack and subsequent screenings of the film – but when I returned to it a year or so later, Presence still sounded the business.

In the intervening years, I’ve remained incredibly loyal to Presence, often justifying its greatness in print and in the pub!

It was one of the first Zep albums I acquired on CD around 1988 and by then, it had become my near fave Zep album.

I for one was not surprised when at the 02 reunion, the previously unplayed live For Your Life enjoyed all the plaudits it so deserved as being one of the evening’s undoubted highlights. I’ve always had a great affinity for that track.

I have a fair few copies of this album, including one that retains the original shrink wrap –and another that has an inscription by Aubrey Powell the co-designer of the sleeve –this says ‘’What’s that obelisk exactly?’’ –a reference to the mysterious sleeve. This was signed for me by Po when he came here to film some memorabilia for a Robert Plant video in 2005. Recently I’ve picked up a Chile pressing with a single sleeve and full title and track listing sticker. I also have a copy personally signed to me by Jimmy Page.

So to the album:

The thing about Presence  is that it was the product of adversity. On the run from the UK tax system, Plant injured in a car accident, tour cancelled, all energies quicky funnelled into making an album as quickly as possible.

For Jimmy Page,this adversity spurred on a surge of creative drive.

It was an act of defiance and protection. Their whole existence as a band was now in question. Plant’s car cash had rendered them unable to perform live –  something they had always taken for granted. Page suddenly became the absolute leader again. It was at that point he must have realised above all the craziness that surrounded them, it was the band, the music and the ability to perform together that was the whole reason for being in Led Zeppelin. Indeed for him inventing Led Zeppelin in the first place.

That realisation ignited Page’s creative muse and motivation to the extent that he wanted the album to be completed quicker than anything they had recorded since the debut album. His reaction was to take a firm hand grip of the Munich recording sessions, leading them in much the way he had at Olympic in 1968, many of the arrangement occurred in the studio as they were recording. When the studio time ran over, he wrapped it up with a massive overdub session with engineer Keith Harwood.

That urgency and spontaneity made for little time for the experimentation of the past.

For on Presence there are no boogies with Stu, no hat’s off to Harper’s. No funk or reggae parodies – no mellotrons or synths. Just full on full power Led Zep. The basic bass/drums/guitar/vocal approach gives the record a very live feel – leading to my conclusion that Presence is the nearest they got to capturing over a complete studio album, the unpredictable edge and power of their on-stage performances.

It’s also stock full of Jimmy Page’s genius guitar rages. Achilles Last Stand, For Your Life and Nobody’s Fault But Mine are all as good as anything he has ever applied himself to.

Given the circumstances it was recorded under, this seventh Led Zeppelin album was an amazing achievement – it’s an album that reflects the real heart and soul of Led Zeppelin.

Presence… Now:

So to this new remaster – and as was the way with Physical Graffiti, I played it through non stop at full blast. Sound wise, it has the same new sheen that has characterised the previous reissues.

Achilles retains the majesty and mystery that so transfixed us way back.

For Your Life has that undeniable dark lyrical edge has it grinds its way through its six minute duration. The Page solo here still sounds like one of his best …maybe THE best – unfolding with incredible venom.

Royal Orleans is full of funk on a lighter level punctuated by Page Jones and Bonham pounding out the riff, over which Plant unfolds the humorous story of road fever goings on in a New Orleans hotel. Bonzo’s conga drumming is right to the fore half way through and benefits greatly from this new remaster.

Over on side two, Nobody’s Fault But Like Mine is graced with a truly startling introduction as good as any track anywhere. For all their early blues musings they never dressed up an old blues tune more inventively than when they re wrote Blind Willie’s Nobody’s Fault. Lemon squeezing Delta dealings merge with Page’s sonic guitar technology. Absoluyely masterful.

In the 50s singer Ral Donner skit Candy Store Rock, we find them just turning themselves on – playing on a 50s groove in the manner they approached the countless off the cuff juke box faves within many a Whole Lotta Love live medley. On the new remaster this a revelation – as the echo effect of Plant’s vocals zip right across the speakers.

The pure intuitive swing of Hots On For Nowhere reflects its very live in the studio construction and as Charles Shaar Murray so astutely noted in his NME review of the time, brings to mind ”What Glenn Miller would have sounded like if he had played in a murderously heavy four piece rock band”.

Leaving the understandably downbeat Tea For One, a slow blues reflecting Robert Plant’s hurt at being away form his family. ”Time goes very slowly when you cant kick a ball or kick a roadie even kick your drummer so time has been the teacher and I’ve been the pupil” he noted at the time.

Summary: This new Presence remaster only goes to emphasis how great an achievement this seventh Led Zeppelin album was, and is. A crucial album in the catalogue which will rightly attain many accolades in the coming days and weeks. Folks – you are going to absolutely love this one…

Companion Audio Disc Content:

So to the Companion Disc Audio content:

For Your Life (Reference Mix) 6.28

As the riff halts each time, there’s a pronounced echo effect. Altogether a  denser mix. At 3 mins 18 additional vocal nuances from Robert. Again the overdubs are more upfront. The solo is an alternate version – the final stinging one has yet to be added. This one bends and twists on to the canvas creeping up on the listener in the process. Always on the edge…and essential in any mix..

10 Ribs & All/Carrot Pod Pod (Pod) (Reference Mix) 6.48

Opens with low key piano from John Paul Jones. Instantly reminded me of the JPJ piano concerto type solos applied to the live versions of No Quarter in 1975 notably at Earls Court. The plaintive piano arrangement also recalls to mind his playing on Ice Fishing At Night on The Thunderthief solo album.

Mournful, forlorn and reflective, it creates a beautiful atmosphere. Jimmy drifts in at 2mins 39 with some minor descending electric strumming, quite possibly courtesy of the Telecaster B bender. Behind all that there’s an acoustic guitar – all very autumnal and Ten Years Gone- ish. Then John Bonham enters at 3 mins 01 and like Jimmy says, it will make you smile – it might even make you cry. It all leads on to something of a crescendo in an All My Love outro tempo.

So Jonesy did take the piano out of the flight case for the Munich recordings – it’s emergence throws a new light on what had previously thought to be an  18 day frenzy of guitar, bass and drums arrangements.  There was indeed some subtly going on down at Musicland Studios and here it is. One for the theorists indeed – but one things for sure, with a suitable Plant lyric this has all the makings of a classic Zep romantic offering in the Ten Years Gone/In The Light vein. An absolute revelation.

Royal Orleans (Reference Mix) 3.01

A‘3-4’ count in and hi-hat from Bonzo and we are off for a reference mix that features a very different vocal delivery to the officially released version.

Robert Plant applying the lyrics in a harsh bluesy manner which reminded me of Dr John. The final gruff snarl at 2.52 of ‘Oh whiskers’’ brings to a close a very unorthodox Plant vocal performance. Robert taking on the role of the New Orleans night tripper…

Hots On For Nowhere (Reference Mix) 4.47

Both the vocal and bass are much more upfront in the mix which makes for a grittier texture. There are no vocal overdubs on the outro section just Roberts ‘Oh- ho-ho’’ – right through to a full ending after Jimmy’s guitar part as Robert adds a final ‘’Aha oh- oh- ho’’ phrase. Still swinging without the overdubs…

Which leaves one performance left to dissect:

Ones Are Won (Achilles Last Stand ( Reference Mix) 10.28

The vocal track is more upfront and with less echo and sheen making for a different texture to the vocal. The stereo effect of the guitar overdubs has a slightly different resonance. Slightly alternate overdubs in the mix at 5 min 53. The ‘’I know the way, know the way, know the way’’ overdub has yet to be added.

On the ‘’Aha aha-a’’ Robert refrain, Jimmy plays right along with the vocal creating a call and response sparring effect. At 9 mins 12, there’s an extra Robert vocal croon and more echo effects – all leading to a more defined   jangling Page finale. The guitar army cometh – and the grandiose just got even more grandiose…

So let me leave this overview of  Presence on an Achilles note. 

So much has happened since I first heard that epic performance for the first time some 42 years ago on a spring Saturday evening. In a world where the only thing that’s constant is change, for me Achilles Last Stand still acts as something of a standard bearer of their music.

The defining moment of the defining band…and now the final mesmeric chord progression performed by Jimmy Page at the close of a Led Zeppelin masterpiece, marches relentlessly on in this new remaster of the Presence album – still searching for that place to rest the search….

”Where the mighty arms of Atlas hold the heavens from the earth”

Dave Lewis – April 1,2021

……………………………

The Mystery Of The Object: That Bizarre Sleeve.

In the January 17 issue of Melody Maker, a news report suggested that the forthcoming Led Zeppelin album would be titled Obelisk and was due for release on February 20. Although they were a good six weeks out with the release date, and the eventual album title, the rumour of Obelisk gave hint to the actual sleeve design. For the sleeve would feature an obelisk (dictionary defined meaning: monolithic shaft of stone, square or rectangular in section with pyramical apex or simiar shape) or as Swan Song would dub it “The Object”.

The first visual evidence of this was leaked to Sounds in early March. “US adverts for the new Zeppelin album look like a scene from an early Sixties breakfast cereal ad” is how they described the illustration. By now the album had been officially titled Presence and Atlantic’s marketing team were advising of the delays in a press release as they tried to co-ordinate their sales campaign, stating that “Led Zeppelin oversee all and every detail of the production of their albums to ensure the end result is nothing short of excellent. Finally, on April 6 1976, the full extent of the bizarre gatefold sleeve was revealed alongside the seven new compositons it housed.

Zeppelin had created a series of enigmas with their controversial and striking sleeve designs. For Presence they went right out on a tangent. The idea was conceived by Storm and Po of the Hipgnosis design team who’d worked on the Houses Of The Holy sleeve. The concept came about after a group meeting between Hipgnosis, Peter Grant and George Hardie (a fine art designer who had worked on the first Zeppelin sleeve). It was apparent to Storm and Po that Zeppelin projected an almost unseen presence of power – the brief was to translate that presence into a visual illustration.

Storm takes up the story. “What we came up with was the idea of placing an item from one time or another into a surrounding from another time. So we chose all those pictures from the Forties and Fifties and contaminated them with the presence of the black obsessional object. The black object stands as being as powerful as one’s imagination cares it to be and we felt Zeppelin could rightfully feel the same way about themselves in the world of rock music. So, in those scenes The Object. as we dubbed it, was essential to all parts of the society. And those people in the scenes were trying to discover what The Object was – and how its presence was felt.

“The front and back pictures were shot by us. The back cover girl was the same child model we’d used in the Houses Of The Holy shoot. All the inner spread photos were lifted from US magazines such as Life and Look. The object was pointed on by Richard Manning – Jimmy Page actually asked us to alter the shape of the design of it and the title Presence was their suggestion. I think the whole sleeve concept was very appropriate for Zeppelin. The band are a very powerful band, musically and socially, and the black object is a definite thing of power. Its pervasive presence and mystery appealed very strongly to them.”

Jimmy was in agreement with most of their ideas. “It came out of that conversation when Hypgnosis said we had a very positive force. The fact that four people can create an effect. there’s definitely a presence there – and that was it. They came up with The Object and wanted to call it Obelisk. I held out for Presence. You think about more than just a symbol that way.”

In designing The Object, Hypgnosis were commissioned by Swan Song to have around 1,000 of them made as a three dimensional promotional items. Not all of them were welcome in the Zeppelin households.

The mystery prompted Rolling Stone reporter Cameron Crowe to call the London Swan Song office. He reported the following: “Richard Cole answered the phone ‘I’ve no idea what it all means. I’m not sure they even know. Hold on for Robert”. Cole clamped his hand over the phone and returned to the receiver. ‘This is great’. Plant came on and exclaimed, ‘I’m glad people are wondering what it means. The most I can say though is that everybody should work it out for themselves – it’s not hard to work out especially for our Kubrickian fans.’ Plant’s comments seemed a clue that The Obiect is Zeppelin’s miniature modified version of the monolith featured in Stanley Kubrick’s 2001: A Space Odyssey. Designer Aubrey Powell denied this. ‘Didn’t think of that – I just had a tremendous feeling when we took it to them that this design was absolutely right for the band at this point in time’. Back to Plant ‘Whatever you want to say, it says it. The Object can be taken in many ways. Let’s just say we like plucking these mysteries out. We used symbols on the fourth album. They’re fun and add to the music. But there’s not much fun in knowing everything is there?’”

The Kubrick 2001 theme was also taken up by an hilarious Earth News radio special broadcast in the US at the time of the album’s release. Here’s some of that dialogue: “The Object is black… and twisted and obviously worse for wear and tear since its original appearance in 2001. To look at it on the pictures decorating the new Led Zeppelin album it would seem The Object is now back in the year 1950 or thereabouts. Robert Plant has contemplated The Object perceiving in it the messages that others might discover in The Pyramids of Egypt. ‘It’s been ever present throughout time,’ he told us. ‘We just took one moment in time in which to illuminate its presence in society.’

“The Object may not be welcome everywhere – it appeared recently in the home of John Bonham who told us this story. ‘While I was away my wife received one of these Objects in the post and put it on the table. There was tape machine running, recording the children singing, and when they played it back, there was another sound on the tape altogether so there’s something to think about. In fact Pat put it outside the house we won’t have it in the house at all.’ So be forewarned! If Led Zeppelin’s music is sounding a little strange to you lately it may be because of that Object on the cover. If so, follow the lead of John Bonham’s wife and put the album sleeve out of the house.”

In the UK this speculation was taken up by Sounds who asked readers to write in with their own explanations. The results are published here in full – glancing at them some 20 years on, one can only marvel at the eccentric reaction all this Object scrutiny prompted. It was another episode in the grand Zeppelin guessing game. Did it really mean something, or was it all part of their playful desire to add to the mystique?

Whatever it was, you can hardly imagine anyone getting worked up about a sleeve design in this miniatured CD jewel box age. Back then these things seemed to matter as anyone weaned on double gatefold sleeves in the Hipgnosis/Roger Dean/lsland era will testify. However, just when it seemed we were all about to get mixed up in the pretension of all this Object lark – it was firmly debunked by popular satire rockers of the time Albertos Y Lost Trios Paranoias. In a superb spoof on the artwork of the official Zeppelin UK ads, the group advertised their new album with the illustration of “The Thing” – an upright version of The Object all under the slogan “The Albertos Give It To You Straight”.

After seeing that, I can imagine the likes of the more down to earth Bonham reversing his decision to keep that obelisk out in the garden, laughing out aloud at this scam and explaining something along the lines of “I think The Objects a load of bollocks”.

Great art or a load of bollocks? The mystery of The Object (if indeed there was one) certainly kept us all bemused and amused long after the album had drifted from the charts during the late summer of 1976.

And finally…

As mentioned above, In 2005 I met with Hipgnosis co -designer Aubrey (Po) Powell when he came here to film some memorabilia for a Robert Plant promo video. While he was here, he kindly signed some of my Zep album sleeves and when it came to the Presence sleeve he wrote on it mysteriously ”What’s that obelisk exactly ?”Here’s a pic of the sleeve.

Dave Lewis – April 1,2021

It’s a Happy Birthday today to the legendary music journalist Charles Shaar Murray.

I was lucky enough to interview him for the TBL magazine back in 2013. We chatted for hours in a lovely West Hampstead pub garden on a hot July afternoon. A wonderful memory and one of the best interviews I have ever conducted.

During the interview we discussed his early writing career at the underground magazine Oz, how he got to play on the Oz benefit single in the company of John Lennon, his reviews of Led Zeppelin in the NME, Rolling Stones, Who, Beatles etc. He also added great insight into the times he saw Zep in LA in 1973 and at the Kezar stadium gig.

All fascinating stuff and a huge thrill for me to meet and interview a writer whose work was such an inspiration to me in first wanting to put pen to paper and write about rock music myself when I was a mere teenager back in the 1970s.

As Robert Plant advised from the Earls Court stage in 1975 ‘’Charles Shaar Murray – keep taking the pills’’…have a great day CSM…