LED ZEPPELIN PRESENCE UK 1st PRESS A1 B1 / TOP AUDIO

	£		23
	$		30

LED ZEPPELIN

PRESENCE

UK FIRST PRESS A1-B1

VERY RARE 1ST PRESS

IN EXCELLENT+ CONDITION

With Near MINT Vinyl & Audio

About me & policies;

I am an enthusiast in vinyl and have been collecting since the early 70’s, it is one of my hobbies and not my living. I always try my hardest to get my description correct and always put on as many photos as I can, the good and bad bits so you can see everything in detail. I also try and put on any Biography’s I can as sometimes they can be very useful information. I always play through the entire album before I list it. Nearly all of the records I put onto eBay are at least excellent, but sometimes I will put ones that are a lower grade if they are rare or collectable. I use the Record Collectors Grading Guide to grade my vinyl. I always offer a refund if I have missed something you’re not happy with. I normally post on Monday’s and Wednesday’s so it could be posted next day or at the most 3 days from when I receive payment. As for payment I think that 4 to 5 days after you have won should be long enough, but if you need longer please contact me before you bid. I always post ‘To be signed for’ as this stops any confusion. I will always leave you 5 star feedback and hope that you will do the same, if for any reason you’re not happy then please contact me first.

Notes: PLEASE CLICK HERE TO LISTEN TO THE AUDIO

Inscribed in the dead wax:

Matrix Number

Side 1: SSK 59402 A1

Side 2: SSK 59402 B1

Vinyl: N/M

 The vinyl is superb, as new with that jet black look. It plays really well without any skips or any crackle, virtually quiet in the run offs and between tracks, you can listen for yourself just click the link above. It only has one feint hairline mark which is on side 2, in normal light it is very hard to see and it has NO effect on the stunning audio. When angled to bright sunlight you can see a few of the faintest of sleeve removal wispy lines. This vinyl is outstanding and I don’t think it has been played hardly at all, there are NO visible signs of any spindle traces and at first glance looks new and would grade both the vinyl and audio at near Mint.

Sleeve:EX

 This is the first press Hipgnosis gatefold sleeve with the embossed title on the front. It hardly has any edge wear at all (see photos). These are renowned for getting very tatty and dirty but this one IS NOT. It is very clean and been well looked after. The spine is square and true WITHOUT any wear, all text is 100% clear and readable, the corners are all square WITHOUT any wear corner rub. It really is fantastic but it does have a mark on the back near the top where it has rubbed (see photo) other than that it is Excellent.

Inner sleeve; EX

  This is the first press inner which is textured. Again it is very clean without any creases or tares. It does have a 2cm side split which is usual and on the front top left corner someone has neatly written in biro H172. All should be clear in the photos apart from the side split which is hard to see. Overall it is in Excellent condition. 

Labels: M

 The labels are in mint condition, there are NO marks whatsoever and NO spindle traces at all.

Biography

 Presence is the seventh studio album by English rock band Led Zeppelin, released by Swan Song Records on 31 March 1976. It was written and recorded during a tumultuous time in the band's history, as singer Robert Plant was recuperating from serious injuries he had sustained in a recent car accident. The album received mixed reviews from critics and is one of the lowest sellers in the band's catalogue. Nonetheless, guitarist Jimmy Page describes Presence as the band's "most important" album, proving they would continue despite their turmoil. This album was conceived after Robert Plant sustained serious injuries from a car accident on the Greek island of Rhodes on 5 August 1975, which forced the band to cancel a proposed world tour that was due to commence on 23 August 1975. At this point, Led Zeppelin were arguably at the height of their popularity. When he was taken to a Greek hospital after the accident, Plant recalled:

I was lying there in some pain trying to get cockroaches off the bed and the guy next to me, this drunken soldier, started singing "The Ocean" from Houses of the Holy.

 During a convalescent period on the Channel Island of Jersey and in Malibu, California, Plant wrote some lyrics, and when Page joined him at Malibu, these compositions were fleshed out. The two prepared enough material for rehearsals to begin at Hollywood's SIR Studio, where drummer John Bonham and bass player John Paul Jones joined them. 

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 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 guitar overdubs. As he later explained:

 I just had to lay it down, more or less: first track... second track – you know, really fast working on that. And all the guitar overdubs on Presence were done in one night. But I didn't think I would be able to do it in one night, I thought I'd have to do it across maybe three different nights to get the individual sections. Everything sort of crystallised and you'll notice everything was just pouring out. I was very happy with the guitar playing on that whole album, you know as far as the maturity of playing goes.

In an interview he gave to Guitar World magazine in 1998, Page stated that he worked an average of 18 to 20 hours per day during the mixing period at Musicland Studios:

 After the band finished recording all its parts, me and the engineer, Keith Harwood, just started mixing until we would fall asleep. Then whoever would wake up first would call the other and we'd go back in and continue to work until we passed out again.

The recording sessions for Presence were also particularly challenging for Plant. The studio was in a basement of an old hotel, and the singer felt claustrophobic. He also experienced physical difficulties as a result of his car accident, and missed his family. He later explained:

 I spent the whole process in a wheelchair, so physically I was really frustrated. I think my vocal performance on it is pretty poor. It sounds tired and strained. The saving grace of the album was "Candy Store Rock" and "Achilles Last Stand". The rhythm section on that it was so inspired ... I was furious with Page and [band manager] Peter Grant. I was just furious that I couldn't get back to the woman and the children that I loved. And I was thinking, is all this rock'n'roll worth anything at all?

The album was completed on 26 November 1975. This was the day before Thanksgiving, and in a telephone call to Swan Song Records, Page suggested the album be named Thanksgiving. This idea was quickly dropped, in favour of a title that was thought would represent the powerful force and presence that the band members felt surrounded the group.

Composition

 Six of the seven songs on the album are Page and Plant compositions; the remaining song being credited to all four band members. This can be explained by the fact that the majority of the songs were formulated at Malibu, where Page (but not Bonham and Jones) had initially joined a recuperating Plant. With Plant at less than full fitness, Page took responsibility for the album's completion, and his playing dominates the album's tracks.

 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. Whereas their previous albums up to and including the previous year's Physical Graffiti contain electric hard rock anthems balanced with acoustic ballads and intricate arrangements, Presence was seen to include more simplified riffs, and is Led Zeppelin's only studio album that features neither acoustic tracks nor keyboards (almost buried in the mix, a lone acoustic guitar can be heard on "Candy Store Rock"). The record stands in sharp contrast to their next album In Through the Out Door, which features keyboards on all tracks and pushes Page's guitar into the background on several songs. Most notably on "Carouselambra", where Jones plays the lead synthesiser for most of the song, and Page is not truly heard until four minutes into the song.

The changed stylistic emphasis on this album was a direct result of the troubled circumstances experienced by the band around the time of its recording. As Page said at the time:

 I think it was just a reflection of the total anxiety and emotion of that period. There's a hell of a lot of spontaneity about that album. We went in with virtually nothing and everything just came pouring out. Plant expressed similar views, stating:

 It was really like a cry of survival. There won't be another album like it, put it like that. It was a cry from the depths, the only thing that we could do.

In contrast to earlier albums that contained several tracks that the band chose to play live at Led Zeppelin concerts, only two tracks from Presence were played in full on stage while the band was active. "Achilles Last Stand" and "Nobody's Fault but Mine" were added to the setlist for the 1977 tour of the United States and stayed through the band's final concerts in 1980. Some of the guitar solo from "Tea for One" was also incorporated into "Since I've Been Loving You" in these shows, but the actual song was never performed live until the Page and Plant tour of Japan in 1996, where it received three airings backed by an orchestra. "For Your Life" was played in full by Led Zeppelin for the first time at the Ahmet Ertegün Tribute Concert on 10 December 2007. The lack of live interpretations of the Presence material is perhaps understandable given that it would be a full year before they would return to the road.

Album sleeve design

 The cover and inside sleeve of this album, created by Hipgnosis, features various images of people interacting with a black obelisk-shaped object. Inside the album sleeve, the item is referred to simply as "The Object." It was intended to represent the "force and presence" of Led Zeppelin. In the liner notes of the first Led Zeppelin boxed set, Page explained:

 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.

The background used in the cover photograph is of an artificial marina that was installed inside London's Earl's Court Arena for the annual Earl's Court Boat Show that was held in the winter of 1974–75. This was the same venue where the band played a series of concerts a few months after the boat show, in May 1975.

 In 1977 Hipgnosis and George Hardie were nominated for a Grammy Award in the category of best album package.

The album was released on 31 March 1976, having been delayed by the completion of the album sleeve. In Britain it attained one of the highest ever advance orders, shipping gold on the day of release. It peaked at #1 on the US Billboard Pop Albums chart, leaping from #24 inside two weeks. However, this album has not been one of the band's biggest sellers, and it received lukewarm reviews upon its release. In late 1976 the album was also overshadowed by the release of the band's movie and soundtrack The Song Remains the Same.

Picture below shows the only scuff on the entire sleeve, it is on the back at the top, it is a close up so you can see clearly.

Picture below shows the hairline mark, taken in strong sunlight to show. It is feint and hard to see in normal light and has NO effect on the near mint audio, which you can listen too follow the link at the top.

According to Dave Lewis, "the direct-hard hitting nature of the seven recordings failed to connect with a fan base more accustomed to the diversity and experimental edge of their previous work. Page later acknowledged that, because the album conveys a sense of urgency resulting from the troubled circumstances in which it was recorded, "it's not an easy album for a lot of people to access ... It's not an easy album for a lot of people to listen to.

 However, despite its initially subdued reception, Lewis considers that Presence has become a much underrated element of their catalogue. The basic drums-bass-guitars formula may lack the diversity of previous Zeppelin sets, but in terms of sheer energy, 'Presence' packs a considerable punch, and has emerged as one of their most potent performances... This album is also a triumph for Jimmy Page. His production and dominant guitar style has an urgency and passion that reflects the troubled period that the group were going through at the time. 'Presence' is Led Zeppelin with their backs against the wall.

Music journalist Stephen Davis (author of Led Zeppelin biography Hammer of the Gods) has stated that Presence is his favourite Led Zeppelin album and believes it to be the best they ever recorded.

POSTAGE DETAILS

The cost of postage is set out below, however if you require any further information please email me. Some countries are cheaper than others so it could be less than below, so if you are outside the UK please wait for an invoice from me as this could save you money.

The cost below is for a single album weighing 600grams.

The price for ‘value over £46’ includes insurance of anything between £47 and £500.

WITHIN THE UK

Value up to £46

Value over £46

Royal Mail 1st Class Recorded

£4.00

Special Delivery

£7.00

Europe

Value up to £46

Value over £46

International Signed For

£10.00

International Signed For

£12.50

Rest Of World

Value up to £46

Value over £46

International Signed For

£13.00

International Signed For

£16.00

HOW IT WILL BE SENT

I always send out records very secure. The vinyl is taken out of the sleeve and then the cover and vinyl are placed in a plastic sleeve. It is then wrapped in bubble wrap and placed in a strong album mailer (DEFENDA MUSIC MAX) plus an extra cardboard stiffener. It will be secured with parcel and fragile tape.

RETURNS AND FEEDBACK

If I have missed something or the description is wrong in anyway and you’re not happy with your purchase please contact me first (before you leave feedback) I WILL sort it out and I WILL of course make a REFUND. I do try my best to be as accurate as possible and would never miss-lead you in anyway. In the unlikely event the record is far removed from the description I put, then I will give a refund, but I will expect it back within 10 days from you receiving it and in the same condition as I sent it.

  (Please read all of my description) I will not make any refunds if you simply just changed your mind, I will always be fair and honest.

EXCELLENT 100% POSITIVE FEEDBACK

BID WITH CONFIDENCE!!!

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FEEDBACK

 I will always leave 5 star feedback; for items I sell I will leave your feedback when you have paid, and for items I buy I will wait until I have received the item. I will never leave negative feedback, if there is a problem I will contact you first and I hope that you will do the same for me.

ALL WINNING BIDDERS TO PAY WITHIN 4 DAYS OF THE AUCTION ENDING. (if you require more time please contact me before bidding. THANKS)

GRADING

All my records are graded using the

Record Collector Magazine's Grading Guide

MINT:
The record itself is in brand new condition with no surface marks
or deterioration in sound quality.
The cover and any extra items are in perfect condition.
Records advertised as sealed or un-played should be mint.

EXCELLENT:
The record shows some signs of having been played,
but there is very little lessening in sound quality.
The cover and packaging might have slight wear and/or creasing.

VERY GOOD:
The record has obviously been played many times,
but displays no major deterioration in sound quality,
despite noticeable surface marks and the occasional light scratch.
Normal wear and tear on the cover or extra items,
without any major defects, is acceptable.

GOOD:
The record has been played so much
that the sound quality has noticeably deteriorated,
perhaps with some distortion and mild scratches.
The cover and contents suffer from folding,
scuffing of edges, spine splits, discoloration, etc.

FAIR:
The record is still just playable but it has not been cared for properly 
and displays considerable surface noise; it may even jump. 
The cover and contents will be torn, stained and/or defaced.