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"ACHILLES LAST STAND" (Jimmy Page / Robert Plant, 1975)

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,
  Sending off a glancing kiss, to those who claim they know.
  Below the streets that steam and hiss,
  The devil's in his hole.
 
  Oh, to sail away, to sandy lands and other days,
  Oh, to touch the dream, hides inside and never seen.
 
  Into the sun, the south the north, at last the birds have flown,
  The shackles of commitment fell, in pieces on the ground.
  Oh, to ride the wind, to tread the air above the din,
  Oh, to laugh aloud, dancing as we fought the crowd.
  To seek the man whose pointing hand, the giant step unfolds,
  With guidance from the curving path, that churns up into stone.
 
  If one bell should ring, in celebration for a king,
  So fast the heart should beat, as proud the head with heavy feet.
  Days went by when you and I, bathed in eternal summers glow,
  As far away and distant, our mutual child did grow.
 
  Oh, the sweet refrain, soothes the soul and calms the pain,
  Oh, Albion remains, sleeping now to rise again.
  Wandering and wandering, what place to rest the search?
  The mighty arms of Atlas, hold the heavens from the earth.
 
  I know the way, know the way, know the way, know the way.
Oh, the mighty arms of Atlas, hold the heavens from the earth.
LED ZEPPELIN: "Presence" LP,  FIRST UK PRESSING, 24th APRIL 1976.
A superb unplayed first UK pressing in an unaged and unsplit "Presence" textured inner sleeve with "Made And Printed In England."
  The unaged gatefold cover was never used and perfectly stored, two slightly different covers existed regardless of the record's
  pressing sequence, which was very common in the 1970's decade.   The very first covers had the album title and artist embossed on
the front right corner, it was virtually invisible and so was the Swan Song angel logo and a 'WEA' logo on the back and.  Having
  realised the embossed titles were not working,  very first covers had a PVC oblong with the same titles printed in black and red
  to fit exactly over the embossed.  You couldn't make this up if you tried, to keep the printed PVC in place, some of the covers
  were shrink wrapped to keep it in place, it was not possible to continue and some copies had the PVC  inside and they were soon
  abandoned.  Mirrored by  Pink Floyd's "The Wall" in 1979, when intial covers were also shrink wrapped to keep the even bigger
  PVC titles from falling off and the same scenario followed.   I have sold just about every possible variation of "The Wall" and
  "Presence", both UK albums still in the shrink wrapping are extremely rare today, considering "Led Zeppelin 4" did not have
  any titles on the entire gatefold cover, this was a lot of needless fuss for "Presence", because the spine did have the artist, LP
  title and the 'SSK  59402' catalogue number printed in clear black on the pale background.  So the gatefold cover evolved, the
  next step was to make gatefold covers without the nearly invisible embossed titles on the front top right corner, which solved a
  problem that did not really exist in the first place!  This is the second gatefold cover without the embossed front titles and the
  Swan Song angel logo, but retained the 'WEA' logo near the top right of the boxed strange picture on the back.  I'm not sure if
  this is widely known and decided to open the description with that typical example of record company policy changing to correct
  a design that was obviously flawed right from the cover's manufacturing.  For a non charting album, that would have only meant
  only a few with the embossed titles and rather pointles small Swan Song angel logo, so only rare if still with the PVC title and  
  much, much rarer with the shrink wrapping sealed or still on the cover. The first design was never going to to be legible without
  adding colour ro the light grey background where the embossed items were placed.  The cover farce was not finished, when the dust
  settled and "Presence" was sitting at No.1 in the charts and remaining there for 14 weeks, the next covers after this non embossed
  version, also abandoned the embossing and had the artist and album title printed directly onto the top right corner....in the same
  red & black colour scheme, found on the now rare clear PVC titles!
 
  I happily provide a full history of the evolution of covers, because it places particular designs into the overall scheme, but
  my main priority is always to offer the finest possible condition for all the items.  For such vast manufacturing of the printed
  items and the vinyl pressing for a No.1, many variations exist, this unplayed, Mint record is positively a UK first pressing and
  I can now continue with the description, this is really about Led Zeppelin recording an album entirely of the most stunning,
  heavy rock / blues, not cardboard covers, "Presence" is an inspired album with their most potent rock recording's. How could an
album contain two absolute masterpieces in "Achilles Last Stand" & "Nobody's Fault But Mine," and keep that standard on the
other performances?  Easily answered by saying, this was an unique moment with Led Zeppelin needing to, and rocking with mean,
  heavy blues.  Not just heavy rock, "Tea For One" is slow burning, late night night, 'down on the floor' pure blues, the band were
  inspired out of their skins and Robert Plant's vocals were surely the very finest of any of his Led Zeppelin blues performances.
  Jimmy Page's 'melt in the mouth' blues solo, was spine tingling genius........what an album.........what a band!
 

SWAN SONG LABEL: SSK  59402.

MAITRIX:  SSK . 59402 . A1  / SSK . 59402 . B1
Starting from 'A1  /B1', this record does not have any digit increments on either side, obviously several pressing batches were
  made before the release date, necessary to produce the quantity required for the 1976, latest Led Zeppelin album. The first UK
  pressings were made in England by CBS and their maitrix format was machine stamped at 12 o'clock in the run-out grooves,
  uniquely only to the first pressings made before the April,1976 release . I will once again say how printed items like the labels,
  inner sleeves and covers, were made well in advance of records, it had to that order and the pre-release UK design took place
  very early. The above 'first of the first' is in a compiled picture, a typical CBS streaky stamping but still perfectly clear.
 

FIRST ISSUE ONLY, SOFTLY TEXTURED, PAPER CREDITS INNER SLEEVE,WITH TWO DIFFERENT "Presence" SYMBOLS
   PER SIDE.  THIS GENUINE FIRST UK PRESSING HAS "Made And Printed In England" ON THE  BOTTOM RIM.  
  LIKE THE INSIDE STORAGE COMPARTMENT OF THE 1976 ORIGINAL GATEFOLD COVERS, THE INSIDE OF THE INNER
  SLEEVES IS WHITE.
  Another feature of these first issue inner sleeves, middle centre towards the bottom, the "Swan Song" lettering above the angel
  logo, is the only colour on the entire two sides.  With the angel clearly shown on the labels and the inner sleeve, there was no
  need to have a near invisible embossed angel!  I included is a close-up picture of the section with the "Swan Song" lettering
  above the angel and "Made And Printed In England."
 
  With such a fantastic unused, perfectly stored cover, the textured easily torn and split inner sleeve is in remarkable condition,
  a major problem was ageing spots, if not completely stained and discoloured.  This has none of those common traits, a gentle
  impression from the record, unaged is a major bonus, an unused cover, custom printed inner sleeve and unplayed record are
a real pleasure to see for any 1969 - 1982 Led Zeppelin first pressing.
  THERE ARE NO SPLITS OR TEARS, JUST THE INEVITABLE RECORD IMPRESSION AND A FEW RELATED PAPER RIPPLES,
IN MINT- CONDITION.


SECOND BUT ORIGINAL 1976 UK PRINTED PALE GREY BACKGROUND COLOUR, NON EMBOSSED GATEFOLD COVER, WELL,
NOT QUITE, BECAUSE THE 'WEA' LETTERING LOGO WAS RETAINED.  THAT WAS THE END OF UK PRINTED COVERS,
  STILL IN 1976, ALL IMMEDIATELY FOLLOWING RE-ISSUES WERE GERMAN PRESSED AND PRINTED. THEY HAVE THE
TITLES PRINTED IN BLACK OR BLACK & RED.

AS I JUST SAID, THE COVER WAS UNUSED, PERFECTLY STORED AND A REAL BEAUTY, THERE IS NO WEAR AND
NO AGEING, IN FACT, THE GATEFOLD HAS NEVER BEEN FULLY OPENED!
I took great care to ease the cover fully open, any resistance and  I would not have taken pictures of the full outside or the
rinside panels.  With that care, I was able to show my usual pictures of the complete cover, they shows how immaculate the
outside and inside are.
  THE SPINE IS ALSO COMPLETELY UNAGED AND UNWORN, LIKE BRAND NEW WITH PERFECT LETTERING.
THE ABSOLUTELY STUNNING GATEFOLD COVER IS IN MINT- CONDITION.
I was so pleased with the unworn, unaged spine, I have shown it full length to include all three printed sections. The central LP title
was directly in line with the heavyweight record but perfect unpressured storage prevented the usual buckling and the black print
with "Presence" being worn away.  Underneath the full length view I added a close-up picture of the "Presence" lettering middle
section, looking like it was printed this week!


THE IMMACULATE TEXTURED LABEL DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES, A BEAUTIFUL UNPLAYED RECORD
  BUT ONCE AGAIN I WILL STATE THE OBVIOUS.  ANY FACTORY / RECORD SHOP OR CURIOUS ONE OWNER HANDLING,
  IS NEAR INVISIBLE TO INVISIBLE, THE RECORD IS IN VERY RARE UNPLAYED, MINT CONDITION.
SIDE 1
"Achilles Last Stand" (Jimmy Page / Robert Plant)
"For Your Life" (Jimmy Page / Robert Plant)
"Royal Orleans" (Jimmy Page / Robert Plant / John Paul Jones / John Bonham)

SIDE 2
"Nobody's Fault But Mine" (Jimmy Page / Robert Plant)
"Candy Store Rock" (Jimmy Page / Robert Plant)
"Hots On For Nowhere" (Jimmy Page / Robert Plant)
"Tea For One" (Jimmy Page / Robert Plant)
 
Recorded September - December 1975, At Musicland Studios, Munich, Germany.
The Album Was Mastered At Atlantic Studios, New York City, U.S.A.
Produced By Jimmy Page.
I will include every conceivable detail connected to authenticating a genuine first UK pressing, this definitely day of issue,
with a rare unplayed 'A1 / B1' record, in a Mint- UK printed "Presence" inner sleeve and a Mint- gatefold cover.  The music on
records far outweigh pressing details and as major as this first UK pressing is, my first priority must be about Led Zeppelin's
music and what a fantastic album "Presence" was in 1976.  Yes, this is the second made gatefold cover but the detailed history
given in the opening paragraph above, contains how and why it has a very first pressing items inside.  Unplayed Mint records
are excempt from variations and pre-release folly, that was how they were issued!  Finally the glorious "Presence" and the music
Led Zeppelin were into in late 1975, for the album itself, 40 years later, every track is still just as stunning to hear today.
it really is a shame how "Presence" is their most underrated and still the least heard.  While at the same time, it happens to be
the most difficult Led Zeppelin album for the condition of the vinyl and the packaging of the first UK pressings. Perhaps it was
the background to the recording sessions in November,1975, that stigmatised them, with accidents and problems affecting the
band it clouded how inspired they were.  Can such events 1970's fans were reading about in the music press way back in time,
  last for nearly five decades?  It appears they do, bands go through rough times that actually act as the catalyst to unite and
inspire the creation of the most incredible music, blues/rock in particular thrives on adversity and creates an extra edge to the
  creative process, in late 1975, Led Zeppelin certainly had all of that.... and more.  In my opinion "Presence" was the definitive
  Led Zeppelin LP and certainly the finest pure rock / blues album they ever recorded, plus the album had a really special 'sound.'
  To me an unplayed first pressing is precisely how it was first bought in 1976, a very exciting prospect just to examine let alone
experience the astonishing sonic properties from those virgin grooves, the pristine unused label centres alone, have the precise
appearance of a just pressed record.  Although I could offer this unplayed by  myself, no way does a Mint first UK pressing leave
me without hearing the unique and extremely heavy 'sound,' just one glance at the gleaming vinyl promises an audio feast second
to none.  My single play will be undetectable as usual, I get the chance to attempt explaining why the 'sound' of these genuine
UK first pressings is completely different to every following German pressing in 1976 and then there was a further movement away
from the sensational UK pressings.  I only sell all Led Zeppelin albums in Near Mint / Mint and they have become extremely rare
  now, so I will be taking just the one undetectable play.
 

  Jimmy Page's reputation for being very heavily into drugs during 1975 was true, so was a nasty car accident on holiday that left
  Robert Plant's broken leg and in a plaster cast, with his family injured. In '75 that was just part of rock & roll and the actual
events I just referred to contributing to the creation of an absolute masterpiece of an album.  With his broken leg propped up and
seated, Robert still managed to sing some of his finest ever heavy rock and simply stunning blues vocals, okay, the rather out of
it Jimmy Page was not in the mood to create lavish productions and complex arrangements.  No need to, we heard enough of those
on "Physicall Graffiti," perfect timing to get back into music being performed 'out on the edge' again, Page and the band just
wanted and needed to rock and play blues.  Keeping their latest song's arrangements down to the basics, with Jimmy's guitar the
dominating instrument, this was more in line with their earlier performances and recordings.  All of that positively provided the
band's musical chemistry, needed to get such an intensive performance in the recording studio, normally such events only happened
  when performing live on stage.  Of course there were some lighter moments, all true great albums require a balance or contrast,
   ater all in only six years time there would no longer be Led Zeppelin making records or touring.  This was a very precious time
  to be making a new album, following up from such the magnificent double LP "Physical Graffiti", was always going to be hard, how
  do you follow up such superb studio productions?  In the previous decade the Beatles faced the same problem after recording the
  "White Album" and their answer was, they could not. Instead they decided to record freshly written songs as a 'live in the studio'
  method of making records... the promo slogan for "Let It Be" could have been re-used for "Presence"...... "As nature intended."

That was when they were approaching the final chapter, but Led Zeppelin were nowhere near to being close the end of their musical
journey just yet.  "Presence" should be hailed as Led Zeppelin's greatest ever rock album and it's not an exaggeration to name it
as definitely their heaviest & most uncompromising.  Just to experience a blistering ten & half minute long "Achilles Last Stand"
alone, makes this album worth hearing.  Then there's that awesome, "Nobody's Fault But Mine," featuring Page firing out some of
  the heaviest blues guitar heard since those heady days in the late 1960's.  In the studio, when performing Blind Willie Johnson's
composition, he had John Bonnham drumming like a colossus, with John Paul Jones giving a bass guitar display of a lifetime!  Plus
  "Nobody's Fault But Mine" included Plant's blues harmonica making a very welcome return, he was also in astounding vocal form.
  It represents the genius of Page's multi-layered guitars and this towering Led Zeppelin track, represented a red hot band running
  on pure inspiration.  Those two tracks are not in isolation on "Presence", more exhilarating blues is found on "Tea For One" and
  "Hots On For Nowhere".  You also have "Candy Store Rock",  "For Your Life" and "Royal Orleans," all are just as representative of
   exactly where Led Zeppelin were musically between September and December 1975, when the recording sessions took place in
  Germany.  Personally I think Jimmy Page's single guitar, minute long outro for "Achilles Last Stand," is among his most  magical
  moments ever  found on any record, real spine tingling stuff!  I go back to his 1966 to 1968 Yardbirds recordings, even that outro
  is such a fantastic piece of music, the other nine minutes showcased Led Zeppelin at their most inspired.  If all of that was not far
  more important than a mass of digits and the printing details, I have lost the plot, I had to get it out of my system first, when
  it comes to essential info to establish that unbelievable 'sound', now for every conceivable detail of the first UK issue of the
  first UK issue of the sensational,"Presence."
 
The condition of UK first pressings of "Presence" is generally far, far worse than their first two 1969 albums, just check how
  many copies appear on ebay daily and weekly.  With numerous variations for both albums you are spoilt for choice, the red and
  maroon labels continued for over two years and although few sellers acknowledge that, most decent copies around today were
  actually pressed in 1971!  For this 1976 LP, there was only the one UK first pressing ever made, exactly like "Coda" in 1982, no
   mistaken music publishing credits or Peter Grant production credits were necessary to change. For the UK vinyl, no variations and
    availability of British pressings was only a matter of weeks, not years.  In spite of  problems, everything went perfectly smoothly
   for the UK pressings and the related English printed items like the labels and"Presence" inner sleeves...... if not for the cover.
Well, there was only one variation, some of the earliest inner sleeves had a side opening, that was changed mid-production to the
top opening sleeve this record came in, the opposite of how the "Physical Graffiti" inner sleeves evolved.   They are very rare
as side opening but I have avoided making a fuss about,  the rarity here involves the ultimate condition of the unplayed record,
the UK printed inner sleeve and as thoroughly detailed earlier, the stunning unaged and unused, non embossed gatefold cover.
In 1979, "In Through The Out Door" would be released with five slightly different covers, which had five different letters on the
   spines, so one UK printed cover variation for "Presence" was not exactly excessive, more like adjusted.  The deeply scratched,
   worn out records with horrific sound quality, is not how I ever have or ever will present a Led Zeppelin original,"Presence" took
  some really heavy duty playing in 1976 alone.  Leaving the covers and essential inner sleeves battered and torn, as the gatefold
  cover did not include a track listing or the LP credits, only the vital inner sleeve provided that while listening to the record.
  This is a totally unused, superb condition genuine second UK printed cover, the unsplit "Presence" inner sleeve is crisp and
uncreased, as I said, any minor record impression ripples were not from constant handling.  Grading covers etc. with Mint vinyl
inside is never easy, I do my best to get it right and good old commonsense must apply when the colour and materials were not
not exactly conducive to regular use and long term storage.  Most importantly of all, the record has immaculate labels without any
spindle use traces, the 'as new' deeply glossy vinyl confirms that, perfectly stored for every one of those 41 years.  Apart from
being a lifelong Led Zeppelin fan, I felt I had to take a listen to describe the tracks as "Presence" has been all but ignored
except by the enlightened.  All in good time, here is some much needed pressing info for a UK first pressing.
 
The maitrix endings, 'A1 /  B1' per side, were the beginning point for the pre-release manufacturing sequence and made in this
part of the 1970's, if in really small batches due to Warner's now importing the cheaper Germany re-issues almost immediately.
  They are pretty rare, made in a continuous unbroken chain, this record does not have any digit rises on either side, that is rare.
  The vinyl for 1976 standard's is reasonably heavyweight enough, but I am only discussing the second half of the 1970's decade,
  the most telling of all, the labels have very distinctive printing.  Unique to UK first pressings the labels have thicker, bolder
  printed type face than any of the following re-issue labels.  Anyone unfamiliar with how it worked, all first pressings and the
  printed items were strictly only made in England, once sold, then German imports were brought into British record shops, every
  single aspect of first issues only originated in the UK. The UK bolder printing is very obviously seen on the label headings such
  as the album title, the Side's digits,  the 'Stereo' lettering and the catalogue numbers.  To the left of the centre holes, above the
  two Side's digits and '33.3 RPM', in tiny lettering, "Made In UK" is the final confirmation of authenticity but there is a little
  more.  The 'Swan Song' angel logo and the artwork colours have darker tones than all the later German imports, much more
  richly coloured as well, please see the close up label pictures for those details.

The first issue inner sleeve is made from soft paper, the pointed obelisk side has the exclusive  text to identify the originals;
  "Printed And Made In England."
After the first issues, the labels, the inner sleeves and the gatefold covers were made in the then, West Germany and you will
find that clearly printed on the individual items. The obelisk's relationship to the LP title was because 1940's/1950's pictures
were used with both twisted and pointed types.  That began with the front cover's picture of a family of four people creating a
'presence' among themselves, seen manifested in the obelisk on the table, we had come to expect, brilliant, thought provoking
artwork on a Led Zeppelin cover!   The inner sleeve is for once unsplit and in outstanding condition, with only the usual very
gentle impression from the heavy record.  I did naturally put the LP straight into a new plain sleeve, ensuring the beautiful
  condition sleeve reaches the next owner as superbly unworn as this. Made from very soft and highly absorbent paper and in the
same light grey colour as the cover, some degree of ageing is expected but for once, not here.

I may not be able generate enough info about the tracks during the one and only play through I intend to take, normally I only
type along to the length of time the record actually plays for.  However, I was among the earliest Led Zeppelin fans when they
first formed as 'The New Yardbirds' and feel so strongly about the need to bring attention to the tracks, I will listen, type and
then return to add information. It will read as one description though, now over 15 years of writing ebay descriptions, that is
no problem at all, especially as I know how staggering the sound quality will be from a true  Mint '1 / 1'  first pressing. There
will be no need for constant sound grading appraisals, just my own reaction to the music from a pristine record. I really am that
confident about the unbelievable audio properties of all UK first pressings, but unplayed will mean sensational sound.  I admit
to having a vested interest in hearing this amazing looking record, a little extra typing duties will be a labour of love.


  Side 1's run-in grooves have light static, now very close to being totally silent, which means the gradually faded-up Jimmy Page
guitar intro to "Achilles Last Stand" is ultra clear and clean. Without the usual crackles & clicks the intro is so good to hear,
  so is surface sound while Jimmy Page's guitar grows to full volume, the joys of true Mint vinyl.  "Achilles Last Stand" is without
  any doubt one of the greatest ever Led Zeppelin songs and performances, and why I feel so strongly about "Presence" still not
been recognised for having such ultimate and inspired Led Zeppelin recordings. The sound quality here is just as loud & powerful
as a Led Zeppelin concert and the audio definition is awesome! Robert Plant's vocals soar over a pulsating white hot instrumental
backing, the song's superb lyrics are at the top of the page, they are along the lines of the mystical songs on previous albums.
Jimmy Page's guitar is just staggering and this sensory stereo mix was a crafted work of art, the second verse contains wonderful
harmonised voices backing Robert Plant's outstanding lead vocals, the overall effect is breathtaking  in such audio perfection.
There are many places where John played drum rolls in military like patterns, the dramatic effect of that acts as a boost to the
intensity that follows them. I can best illustrate that by naming it "No Quarter- Part 2" but much, much heavier, this is one of
my additions and I did need extra time to to describe "Achilles Last Stand".  The melody here is just sublime and 'heavy' applied
to Led Zeppelin, does not mean that side of their music was never sacrificed, but for this astounding power generated, only from
the first pressings, will you experience just how overwhelmingly this first track was intended to affect you. If only more people
took a listen to "Presence" they would form an instant love affair with a truly fantastic album.  Then that really magical moment
on the ending section or the outro, you only have Jimmy Page sending harmonic guitar notes ringing out, a stunning ending to this
devastating track, the sound quality throughout the opening track has been immaculate.  The following gap is completely silent,
into the great "For Your Life", at over six minutes long this is a glorious performance, the heavy feel is really compounded now,
Jimmy's guitar punches out a massive guitar riff in synch with John Paul Jones' extremely loud bass and John Bonhams' thunderous
drums.  Was he hitting them with his drumsticks or planks of wood?  A Page and Plant composition that digs into the excesses of
rock musicians, with the lyrics depicting a lady asking,"Do you want some cocaine?" Robert suitably stammers that line like Roger
Daltrey on "My Generation." To say Page's riff is heavy is the understatement of the year, it has to be about the heaviest Page
ever played, at these first pressing's massive volume, that hits you like a hammer blow!  The drums and bass could not get any
more powerful either, I can't detect one second of overdubbing here, I believe this was exactly how I described earlier, they
played this live in the studio.  In other words you are hearing the very special musical chemistry that made Led Zeppelin such a
formidable band.  There are no keyboards on "For Your Life," so John Paul Jones was concentrating on his bass guitar, and what
fantastic sound here!  I do love their acoustic tracks but when playing as sensationally as this, they stood apart from any other
artist, comparisons become pointless,"For Your Life" finds Led Zeppelin at full throttle and on fire!  For that to continue would
appear out of the question, but it certainly does with "Royal Orleans"! Light static in the gap will be accompanied by a reminder
this is the first ever play in 40 years and after several plays, the static I'm mentioning, was from the pressing process and not
wear induced from heavy plays.  Stating the obvious is necessary but absurd to waste time over, it erupts with a staggeringly
massive Page guitar riff being punctuated by equally emphatic bass & drums, a really rock solid intro. Then Robert makes himself
heard above the instruments and they all proceed to play their hearts out.  Not so much melodic but extremely powerful, I forgot
to say how "For Your Life" sounded in relation to the record's actual pressing, I can combine it when describing "Royal Orleans".
Even with all this extraordinary volume mastered into the first pressings, my own amp's volume remains as loud as ever, that way
I can positively say the sound is crystal clear and not suffering from a dreadful distortion that makes "Presence" unlistenable.
  At just under three minutes long,"Royal Orleans" is now finishing, the track ends with Jimmy's guitar and even on that last note,
  there is not even a hint of surface sound as my stylus glides smoothly into the run-out grooves.  I did manage to just about keep
pace with the record, no doubt l have left endless typing errors and spelling mistakes, they can wait for later, right now I want
to hear the much loved "Presence" performance on the track opening Side 2.


I often mention handling records left traces on the top surface, when I handle records, particularly when turning them over, the
greatest care taken is subconscious now, clean fingertips should only be firmly on the outside rim and more gently on the labels.
Few bands were capable of opening both sides of an album with such devastating recordings, Led Zeppelin were the past masters of
that, coming close to "Achilles Last Stand" really did take some doing!  "Nobody's Fault But Mine" was such a definitive song,
they continued performing it live past the 1970's decade, onto the final tour of Europe in 1980.  Robert Plant then brought this
onto his 1980's solo tours, when Page and Plant got back together 20 years after this studio version was cut in 1975, they dusted
  it down and played "Nobody's Fault But Mine" live once again.  Side 2's run-in grooves only have the lowest level static, without
the usual volcanic like crackles or loud clicks during that faded-in, sensational Jimmy Page slide blues intro.  What an awesome
"Presence" this record is, then Robert vocalises a blues chant and John & John Paul bring up the volume to simply mind blowingly
loud! This is now ultra powerful and as loud as my amp's volume is, not even the slightest suggestion of distortion and this will
blow away any CD!   Just to confirm about not having any irritants, I am listening closely during Robert's other extraordinary
vocals as 'blues chants' and there are many, many sections where Plant stops singing and that leaves no sound at all, as fully
expected, there is indeed complete silence here from the as new grooves, an amazing Mint record.  I can remember the first time I
heard "When the Levee Breaks" in 1971 on the "Four Symbols" album, then in 1976, first hearing "Nobody's Fault But Mine" and
this had the same fantastic effect.  Jimmy Page on slide blues guitar is a major treat, who cares if this was a 1920's blues song
re-written, sensational blues and to hear how these four musicians interacted on music that first inspired them, is just superb.
  Plant's harmonica is the perfect foil for Page's guitar and not since the heyday of Cream, was authentic blues in such capable
hands.  The sound is that of a Mint 40 years old record, staggering!   Another one of those silent gaps runs into a Jimmy Page
guitar panned in the left speaker and without any surface sound either, a "Well," from Robert and "Candy Store Rock" explodes
into life. Performed in a late 1950's rock & roll / rockabilly style, a Page & Plant composition they were so fond of writing and
performing.  Robert's voice has plenty of the 'slapback' of that era, better known as reverb or echo, the band are just as heavy
here though, on other albums they laid back on the instruments for this style, but not for "Presence", "Candy Store Rock" was
played and sung very mean and tough.  Sound reports are unnecessary, I might as well confirm how razor sharp the vocals and
and instruments are, there was no such thing as a poor first pressing of any of the UK Led Zeppelin LP's between 1969 & 1982,
records with sound defects are directly attributable to either long term wear & tear, or failing to regularly maintain a stylus.
The linking grooves are again silent before "Hots On For Nowhere" keeps up the extremely heavy rock feel and sound, on a song
with angry lyrics, reputedly aimed directly at their manager Peter Grant.  Robert Plant might be singing a few sweet 'la-la-la's'
for the chorus, but during the main lyrics he spits them out with real venom and aggression in his voice. Behind him Jimmy Page's
guitar relentlessly hammers the very fast riff and with Bohnham and Jones playing at the same furious tempo, this is a track to
sit up and take notice of as well.   Writing descriptions for the artists I am so biased towards, has to include strong opinions
and good old fashioned passion, how could anyone possibly listen to an album as inspired and inspiring as "Presence" and fail to
be moved?   This next track enters the genius mode as well as running for around 10 minutes "Tea For One" has a duration of 9.5
minutes to be precise,  an amazing Plant and Page composition is vested in the purest, slowly burning blues.  I will be able to
easily keep pace with this side as well now, the tempo on the intro though is fast, then dropping down to the 'late night feel',
with stunning Page guitar and surely John Paul Jones greatest bass guitar display on any of the albums.   Robert is......Robert,
smouldering away and feeling every note sung, if anyone has not yet heard the amazing "Tea For One," it is just about the finest
Page/Plant blues song ever written, on their first two LP's they needed to record traditional blues songs to reach this degree of
authenticity.  Just look at the trouble that caused on the 1969 "Led Zeppelin 2" with "Lemon Song"/ "Killing Floor"  The intense
performance on here is simply awesome, it was where they all first came in and Page plays out of his skin!   Robert Plant is the
very epitome of a blues vocalist, with or without his broken leg, the quietest sections on anguished 'down on the floor' blues,
are all totally free of the usual loud crackles and clicks, I can only keep emphasing how right from a silent gap and clean intro
there is still not a hint of any surface sound, as exposed a song like this is.  Jimmy Page was not about to create a "Kashmir"
on demand, he had more than earned the right to play the purest, burning blues guitar, his genius was in need of expressing late
in 1975.   "Tea For One" is up there with "I Can't Quit You Baby," from their debut album, except for those massive experiences
that had gelled them tightly together, all of Page's heavy riffing in the world pales into insignificance when he played blues so
emotionally saturated, it came straight from the heart.  That last part of the sentence perfectly sums up why I made comments
about the fickleness among so many Led Zeppelin collector's, "Presence" may not have a single acoustic song, but it represents
Led Zeppelin as the ultimate rock and blues band during the 1970's decade.  On a technical note, total separation of the channels
of this stereo panning is presicely that of the 1969 pair of far more blues orientated albums, often Jimmy Page's stunning guitar
  is panned entirely in the right or the left channel.  Jimmy Page produced the album and those fantastic stereo sound movements
  are sending his guitar soaring between the speakers with a tone unheard since the late 1960's.  I can only raise my praises even
higher about this stunning sounding record, "Tea For One" was normally so heavily played in 1976, it was plain worn out, then,
continuous plays over the following decades reduced it to a crackling distorted mess, this is a real joy to hear in such pristine
sound quality.  I did not have the time to discuss the circumstances of Robert Plant's car crash, on holiday in Rhodes, an island
just off the Greek  coast, which left him and his family injured, suffice to say that and other incidents surrounding recording
this album are found on the record, expressed in scintialting and sensational music. Being totally blown away by Led  Zeppelin
on fire is of course dependent on a record's sound reproduction, then the deeply emotional content on this album has crazily been
overlooked and has become almost unheard by the fans who have allowed negative review comments to sway their own judgement.
  "Presence" caused an out-break of interest in the mysterious obelisks on the cover etc. in 1976, but the album itself was deeply
appreciated, loved and respected for having the most sensational music, above all else.
{Roy}
    R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.

ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.

UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.


We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
  increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


  Pay me with PayPal.

I don't charge my buyers extra!