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Physical Graffiti

Physical Graffiti is the sixth studio album by the English rock band Led Zeppelin. Released as a double album on 24 February 1975 in the United States and on 28 February 1975 in the United Kingdom, it was the group's first album to be released under their new label, Swan Song Records. The band wrote and recorded eight new songs for the album in early 1974 at Headley Grange, a country house in Hampshire, which gave them ample time to improvise arrangements and experiment with recording. The total playing time covered just under three sides of an LP, so they decided to expand it into a double album by including previously unreleased tracks from the sessions for the band's earlier albums Led Zeppelin III (1970), Led Zeppelin IV (1971) and Houses of the Holy (1973). The album covered a range of styles including hard rock, progressive rock, rock 'n' roll and folk. The album was then mixed over summer 1974 and planned for an end-of-year release; however, its release was delayed because the Peter Corriston-designed die-cut album cover proved difficult to manufacture.

Physical Graffiti was commercially and critically successful upon its release and debuted at number one on album charts in the UK and number three in the United States. It was promoted by a successful U.S. tour and a five-night residency at Earl's Court, London. The album has been reissued on CD several times, including an expansive 40th anniversary edition in 2015. Physical Graffiti was later certified 16× platinum in the United States by the Recording Industry Association of America (RIAA) in 2006, signifying shipments of over eight million copies in the US.

Recording
The first attempt by Led Zeppelin to record songs for Physical Graffiti took place in November 1973 at Headley Grange in Hampshire, England, where they'd previously recorded their untitled fourth album. The recording equipment consisted of Ronnie Lane's Mobile Studio. Guitarist and producer Jimmy Page and drummer John Bonham recorded an instrumental which was later reworked as "Kashmir" during this visit. However, these sessions came to a halt quickly and the studio time was turned over to Bad Company, who used it to record songs for their debut album. The press reported that bassist/keyboardist John Paul Jones was ill and unable to record. However, he had become disillusioned with the group and fed up with touring, and told manager Peter Grant he was considering quitting. Grant asked him to reconsider and to take the rest of the year off to recuperate.

The group reconvened at Headley Grange in January and February 1974, where they recorded eight tracks engineered by Ron Nevison. Lead singer Robert Plant later referred to these eight tracks as "the belters," including "off-the-wall stuff that turned out really nice." As with previous sessions at Headley Grange, the informal atmosphere allowed the group to improvise and develop material while recording. Sometimes the group would rehearse or record a track several times, discuss what went wrong or what could be improved and then realized they'd worked out an alternative arrangement for it which was better. Bonham was a driving force at the sessions, regularly suggesting ideas or the best ways in which a complicated arrangement could be played successfully. This led to him getting a lead songwriting credit on several tracks.

The eight songs extended beyond the length of a conventional album, almost spanning three sides of an LP, so the group decided to create a double album, adding material they'd recorded for previous albums but never issued. This included various jam sessions such as "Boogie With Stu," which Page thought would be unsuitable as a track on a single album. Additional overdubs were laid down, and the final mixing of the album was performed in July 1974 by Keith Harwood at Olympic Studios, London. The title "Physical Graffiti" was coined by Page to illustrate the whole physical and written energy that had gone into producing the set.

Songs
The album spanned several years of recording and covered a range of musical styles, including hard rock ("Custard Pie", "The Rover", "The Wanton Song", "Sick Again", "Houses of the Holy"), eastern-influenced orchestral rock ("Kashmir"), progressive rock ("In the Light"), driving funk ("Trampled Under Foot"), acoustic rock and roll ("Boogie with Stu", "Black Country Woman"), love ballad ("Ten Years Gone"), blues rock ("In My Time of Dying"), soft rock ("Down by the Seaside"), country rock romp ("Night Flight"), and acoustic guitar instrumental ("Bron-Yr-Aur").

Several tracks from the album became live staples at Led Zeppelin concerts. In particular, "In My Time of Dying", "Trampled Under Foot", "Kashmir", "Ten Years Gone", "Black Country Woman", and "Sick Again" became regular components of the band's live concert set lists following the release of the album.

Side one
"Custard Pie" was recorded at Headley Grange in early 1974. The first take was played at a faster tempo than the finished version, with various improvised vocals. After a basic run-through, the group then discussed possibilities for rearranging it. Page played the guitar solo through an ARP synthesiser, while Jones overdubbed a Hohner Clavinet part and Plant played harmonica.

"The Rover" was written in 1970 at Bron-Yr-Aur, a cottage near Machynlleth, Wales. It was first recorded at Headley Grange in May 1970 as an acoustic number for Led Zeppelin III. It was reworked as an electric number in 1972 for Houses of the Holy, which formed the basis for the backing track. Page subsequently added guitar overdubs in 1974 with Keith Harwood engineering.

"In My Time of Dying" is based on a traditional song that Bob Dylan recorded on his debut album in 1962. The track was recorded live, with Page later adding further slide guitar overdubs. The arranging and structuring was led by Bonham, who worked out where the various stop / start sections in the track should be, and how the group would know where to come back in. The very end of the song features his off-mic cough, causing the rest of the group to break down at that point. Bonham subsequently shouted "That's got to be the one, hasn't it?", feeling it was the best take. It was left on the album to show fans that Led Zeppelin were a working band that took care in their recordings.

Side two
"Houses of the Holy" was recorded as the title track for the album of the same name in May 1972 at Olympic Studios with Eddie Kramer engineering. It was left off that album because of its similarity to other tracks such as "Dancing Days", which were felt to be better. Unlike some of the other older material on Physical Graffiti, it required no further overdubbing or remixing.

"Trampled Under Foot" developed from a jam session driven by Jones at the Clavinet. The song went through several arrangement changes before arriving at the version heard on the album, with the group rehearsing various different ideas and arguing about the overall style. Bonham decided the track was too "souly" and rearranged it into a funk style, suggesting that Page should play a guitar riff throughout in place of chords. The lyrics are a series of double entendres around driving and cars. The song quickly became a popular live piece that was played at every live show from 1975 onwards, and was later revived by Plant for his solo tours. It was released as a single in the US on 2 April (with "Black Country Woman" as the B-side) and was a top 40 hit.

"Kashmir" was an idea from Page and Bonham, and was first attempted as an instrumental demo in late 1973. Plant wrote the lyrics while on holiday in Morocco. Jones played Mellotron on the track, and arranged strings and brass parts that were played by session musicians. The song was one of the most critically acclaimed on the album, and was played at every gig from 1975 onwards. Page and Plant played it on their 1994 tour, and it was reworked in 1998 by Sean "Puffy" Combs for his single "Come With Me" which featured Page on guitar.

Side three
"In the Light" was recorded at Headley Grange in early 1974. It was initially called "In the Morning" and went through several rehearsals and takes to work out a basic structure. A drone / chant introduction was later added to the piece.

"Bron-Yr-Aur" was a solo acoustic piece by Page, named after the cottage where he had composed and arranged much of Led Zeppelin III with Plant. It was recorded at Island Studios in mid-1970. The track was later used as background music in the group's film The Song Remains the Same.

"Down by the Seaside" was originally written as an acoustic track at Bron-Yr-Aur in 1970, and was influenced by Neil Young. It was reworked as an electric track during sessions for the fourth album the following year. Page and Bonham led the arranging, changing tempo from the slow to fast section and then back again.

"Ten Years Gone" was mostly composed by Plant about an old love affair, and was combined with an instrumental piece from Page, featuring overdubbed electric and acoustic guitar parts. When the track was performed live, Jones played a triple-neck guitar featuring mandolin, six- and 12-string guitars, in order to try to reproduce the various guitar overdubs on the studio recording.

Side four
"Night Flight" was recorded at Headley Grange in 1971 for the fourth album. Besides the usual bass, Jones plays Hammond organ on the track, and Page plays guitar through a Leslie speaker. Plant wrote the lyrics after reading a news headline entitled "Nuclear Damage Test Threat" and wondered why there seemed to be little peace and love in the world.

"The Wanton Song" was built around a Page guitar riff. Unlike some of the other tracks recorded at the 1974 Headley Grange sessions, it was straightforward to arrange, with the group building the song around the riffs.

"Boogie with Stu" was a jam session with Rolling Stones pianist Ian Stewart based around the Ritchie Valens song "Ooh My Head". It was recorded in 1971 at Headley Grange during the same session that produced "Rock and Roll" for the group's fourth album. It did not credit Valens or Bob Keane, instead crediting Valens' mother. Eventually a lawsuit was filed by Keane, and half of the award went to Valens' mother, although she was not part of the suit.

"Black Country Woman" was recorded in the garden at Stargroves in 1972 for Houses of the Holy, as part of the group's desire to work in "off the wall" locations outside a traditional studio environment. The track was nearly abandoned when an aeroplane cruised overhead, but it was left on the final recording for effect.

"Sick Again" was written by Page and Plant about the 1973 tour and their experience with meeting groupies. The track was driven by Bonham's drumming and Page's guitar riffs. The arrangement had been worked out before recording, and was straightforward to put down on tape.

Unreleased material
As Physical Graffiti collected various out-takes from earlier albums, little was left over from the recording sessions that was not eventually released. An early arrangement of "Custard Pie", different from the final version, was reworked as "Hots on For Nowhere" on the following album, Presence. A number of other outtakes from earlier album sessions that had not been put on Physical Graffiti were later included on the 1982 album Coda.

Artwork and packaging
The album was originally released with a die-cut sleeve design depicting a New York City tenement block, through whose windows various cultural icons could be interchangeably viewed. The album designer, Peter Corriston, was looking for a building that was symmetrical with interesting details, that was not obstructed by other objects and would fit the square album cover. He subsequently came up with the rest of the cover based on the idea of people moving in and out of the tenement, with various sleeves that could be placed under the main cover and filling the windows with various pieces of information.

The two five-storey buildings photographed for the album cover are located at 96 and 98 St. Mark's Place in New York City. The original photograph underwent a number of tweaks to arrive at the final image. The fourth floor of the building had to be cropped out to fit the square album cover format. (The front doorway and stoop at 96 St. Mark's Place is also the location used by the Rolling Stones for the music video promoting their single "Waiting on a Friend", from their 1981 album Tattoo You).

Eschewing the usual gatefold design in favour of a special die-cut cover, the original album jacket included four covers made up of two inners (for each disc), a middle insert cover and an outer cover. The middle insert cover is white and details all the album track listings and recording information. The outer cover has die-cut windows on the building, so when the middle cover is wrapped around the inner covers and slid into the outer cover, the title of the album is shown on the front cover, spelling out the name "Physical Graffiti". Images in the windows touched upon a set of American icons and a range of Hollywood ephemera. Pictures of W. C. Fields and Buzz Aldrin alternated with the snapshots of Led Zeppelin. Photographs of Lee Harvey Oswald, Marcel Duchamp and Pope Leo XIII are also featured. Per the liner notes, package concept and design was by AGI/Mike Doud (London) and Peter Corriston (New York). Photography was by Elliott Erwitt, B. P. Fallon, and Roy Harper. "Tinting Extraordinaire": Maurice Tate, and window illustration by Dave Heffernan. In 1976, the album was nominated for a Grammy Award in the category of best album package.

Release and critical reception
Physical Graffiti was Led Zeppelin's first release on their own Swan Song Records label, which had been launched in May 1974. Until this point, all of Led Zeppelin's albums had been released on Atlantic Records, who would distribute Swan Song. The album was first announced to the press on 6 November with a planned release date of 29 November and an accompanying US tour (the band's tenth) starting in January. Delays in the production of the album's sleeve design prevented its release prior to the commencement of the tour. It was finally released on 24 February 1975.

The album was a commercial and critical success, having built up a huge advance order following the delayed release date, and when eventually issued it reached No. 1 in the UK charts. In the US, it debuted at No. 3 on the Billboard Pop Albums chart, rising to No. 1 the following week and staying there for six weeks. Physical Graffiti has since proven to be one of the most popular releases by the group, shipping 8 million copies in the United States. It was the first album to go platinum on advance orders alone. Shortly after its release, all previous Led Zeppelin albums simultaneously re-entered the top-200 album chart.

The group debuted several songs from Physical Graffiti live at a warm-up gig in Rotterdam, Netherlands, on 11 January, a week before the US tour, which lasted until 27 March. The tour was also successful, and was followed up by a series of shows at Earl's Court, London. Tickets for the shows sold out within four hours, described by promoter Mel Bush as "unprecedented demand in the history of rock music", so a further two dates were added. The shows attracted rave reviews, and critics noted the band enjoyed playing the new material on Physical Graffiti more than the older songs.

NME's Nick Kent reviewed the album three months before it was released. He speculated it could be the group's best work to date, saying "the album's tonal density is absolutely the toughest, most downright brutal I've heard all year". In March 1975, Billboard magazine's reviewer wrote: "[Physical Graffiti] is a tour de force through a number of musical styles, from straight rock to blues to folky acoustic to orchestral sounds." Similarly, Jim Miller stated in Rolling Stone that the double album was "the band's Tommy, Beggar's Banquet and Sgt. Pepper rolled into one: Physical Graffiti is Led Zeppelin's bid for artistic respectability". Village Voice critic Robert Christgau maintained his long-held ambivalence regarding Led Zeppelin, writing that except for side two, the material often wanders into "wide tracks, misconceived opi, and so forth", and "after a while Robert Plant begins to grate".

In 2003, Rolling Stone ranked it at number 70 on the magazine's list of the "500 Greatest Albums of All Time". It was re-ranked at number 73 in a 2012 revised list, and re-ranked at number 144 in 2020.

Plant later felt that Physical Graffiti represented the band at its creative peak, and has since said that it is his favourite Led Zeppelin album. Page has also said the album was a "high-water mark" for the group, and the creative energy from jamming and gradually working out song structures together led to some strong material. Reviewing the album for BBC Music in 2007, Chris Jones described it as "a towering monument to the glory of Zeppelin in their high-flying heyday".

(*) designates unordered lists.

Reissues
Physical Graffiti was first issued on CD as a double-disc set in 1987. However, it was done without input from the band, and the first pressing accidentally edited off the studio banter at the end of "In My Time of Dying" (later fixed on repressings). Page was unhappy with his lack of input over the CDs and decided he would produce new versions himself. He booked a week in May 1990 with engineer George Marino to remaster the entire back catalogue. Eight tracks from Physical Graffiti appeared on the four-disc Boxed Set and three on Remasters, both in 1990; the remainder appeared on Boxed Set 2 in 1993, while the album was properly reissued in 1994.

An extended remastered version of Physical Graffiti was reissued on 23 February 2015, almost exactly forty years after the original album was released. The reissue comes in six formats: a standard two-CD edition, a deluxe three-CD edition, a standard two-LP version, a deluxe three-LP version, a super deluxe three-CD plus three-LP version with a hardback book, and as high resolution 24-bit/96k digital downloads. The deluxe and super deluxe editions feature bonus material containing alternative takes and arrangements of songs. The reissue was released with an altered colour version of the original album's artwork as its bonus disc's cover.

Personnel
Led Zeppelin
 * Robert Plant – vocals, harmonica, occasional bass
 * Jimmy Page – electric, acoustic, lap steel and slide guitars, production
 * John Paul Jones – bass guitar, mandolin, acoustic guitar, keyboards, Mellotron
 * John Bonham – drums, percussion

Additional musicians
 * Ian Stewart – piano on "Boogie with Stu"
 * Uncredited session musicians – strings and horns on "Kashmir"

Production
 * George Chkiantz – engineering at Olympic (1972)
 * Keith Harwood – engineering at Olympic (1974)
 * Andy Johns – engineering at Island (1970 & 1971) and Headley Grange (1971)
 * Eddie Kramer – engineering at Stargroves (1972)
 * Ron Nevison – engineering at Headley Grange (1974)
 * Peter Grant – executive producer
 * George Marino and Jimmy Page – remastered CD release

Artwork
 * Peter Corriston – artwork, design, cover design
 * Mike Doud – artwork, design, cover design
 * Elliot Erwitt – photography
 * B. P. Fallon – photography
 * Roy Harper – photography
 * Dave Heffernan – illustrations

title: Physical Graffiti


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Presence (album)

Presence is the seventh studio album by the English rock band Led Zeppelin. It was released by the band's own label Swan Song Records on 31 March 1976 in the United States and on 2 April 1976 in the United Kingdom. While the record was commercially successful, reaching the top of both the British and American album charts, and achieving a triple-platinum certification in the United States by the RIAA, it received mixed reviews from critics and is the lowest-selling album by the band.

The album was written and recorded in the last months of 1975, during a difficult time in the band's history. Singer Robert Plant was recovering from serious injuries he had sustained earlier that year in a car accident; this led to tours being cancelled and the band booking studio time to record Presence instead. The entire album was completed in a few weeks, with guitarist Jimmy Page putting in several long shifts to complete recording and mixing. The title came from the strong presence the group felt as they worked together. The LP's artwork from Hipgnosis featured several photographs focused on a mysterious black object, called "The Object".

Presence is dominated by compositions by Page and Plant, with only one track credited to the entire group; unlike other Zeppelin albums, it features no keyboards and little acoustic guitar. Because Plant was still ill, the band could not tour to promote the release, and only two tracks, including the ten-minute opener "Achilles Last Stand", were performed live. However, the album has been re-appraised in retrospective reviews for its hard rock dynamics and simplicity compared to the group's other work.

Background
After touring in support of their previous album, Physical Graffiti, released in early 1975, Led Zeppelin took a brief break from touring that summer, intending to start a major US tour on 23 August. Critics had said they were at the height of their popularity at this time. However, singer Robert Plant sustained serious injuries from a car accident on the Greek island of Rhodes on 4 August, which forced the band to cancel the tour and reschedule their activities.

Because of their status as tax exiles, Plant was forced to recuperate abroad, initially in Jersey in the Channel Islands, then in Malibu, California, and wrote several sets of lyrics that reflected on his personal situation and wondering about the future. Guitarist Jimmy Page joined him in Malibu in September and the pair began to think about plans to make an album instead. The two prepared enough material to be able to present to the rest of the band. The other two members, drummer John Bonham and bassist John Paul Jones, joined them at Hollywood's SIR Studio where they rehearsed the material throughout October 1975.

Recording
Once they had worked out arrangements, the group were eager to record. Page favoured going to Musicland Studios in Munich, Germany, which he felt had state-of-the-art recording facilities. Plant was still recovering from the accident during recording and sang his vocals in a wheelchair, which led to Page assuming most of the responsibilities at the sessions. The album was recorded and mixed with longtime group associate and engineer Keith Harwood, and completed in eighteen days, with the final mixes finished on 27 November. 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 (released, like Presence, in the spring of 1976). Page negotiated with the Stones to borrow two days from their recording session time, during which he completed all the guitar overdubs in one lengthy session. Page and Harwood then worked on the mixes virtually non-stop until they fell asleep; whoever woke up first went back to the desk to carry on. Page later stated he worked around 18–20 hours every day during the sessions.

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 said he was upset about Page and manager Peter Grant booking the Presence sessions and began to re-evaluate the priorities in his life.

Because the album was completed one day before the American holiday of Thanksgiving, Plant suggested to the record company the album should be called 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.

Songs
Six of the seven songs on the album are Page and Plant compositions; the remaining song, "Royal Orleans", is credited to all four band members. This is because 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 no keyboards, and with the exception of a rhythm track on "Candy Store Rock", no acoustic guitar. 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. Page later said the music came from this spontaneity. Plant later described it as "a cry of survival" and speculated the group would not make another album like it.

The ten-minute opening song, "Achilles Last Stand", was first recorded on 12 November, when the basic backing track was laid down. Jones played an Alembic 8 string bass on the track, giving it a distinctive tone. Plant wrote the lyrics based on travelling across Africa in mid-1975 with Page. Page added six guitars in the marathon overdubbing session at the end of the recording period.

"For Your Life" was developed mostly in the studio. For the recording, Page used a Fender Stratocaster, provided by former Byrds guitarist Gene Parsons. "Royal Orleans" was written about an incident involving Jones at the Royal Orleans Hotel in New Orleans and includes a reference to soul singer Barry White. It was the only track on the album credited to the entire band.

"Nobody's Fault but Mine", was inspired by the Blind Willie Johnson song "It's Nobody's Fault but Mine", first recorded in 1928 and later covered by Nina Simone in 1969. The influence of the old blues song are noticeable in both Page's guitar work in the track, and also in the melody and lyrics. "Candy Store Rock" was inspired by 1950s rock 'n' roll. "Hots On For Nowhere" was written about Plant's time in Malibu, while Page played the Stratocaster on the track. The closing number, "Tea For One", was a slow blues written by Plant about the problems he faced being separated from his family, and was an attempt to update their earlier "Since I've Been Loving You" from Led Zeppelin III.

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 on it through the band's final concerts in 1980. "Tea For One" was performed live on the Page and Plant tour of Japan in 1996, where the main group was backed by an orchestra. "For Your Life" was played in full by Led Zeppelin for the first (and only) time at the Ahmet Ertegün Tribute Concert on 10 December 2007.

Packaging and artwork
The cover and inside sleeve, created by Hipgnosis with George Hardie, features images of people interacting with a black obelisk-shaped object. Inside the sleeve, the item is referred to simply as "The Object". It was intended to represent Zeppelin's "force and presence". Hipgnosis co-founder Storm Thorgerson wrote that the obelisk represented the power of Led Zeppelin, saying they were "so powerful, they didn't need to be there". Both Page and Plant have said that the presence of the object in the photographs made people stop and think about what is real, which reflected the music.

The background in the cover photograph is an artificial marina, installed in London's Earl's Court arena for the annual Boat Show, in the winter of 1974–75. The band played a series of concerts at this venue in May 1975, a few months after the boat show. The inner sleeve photographs came from various archive stock pictures, and was designed to resemble a feature in National Geographic. The girl on the back cover photo was Samantha Gates, and she had also appeared (with her brother Stefan) on the cover of Houses of the Holy. Hipgnosis and Hardie were nominated for a Grammy Award for Best Album Package in 1977.

Release and reception
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 entered at and peaked the following week at  on the US Billboard Pop Albums chart. However, this album is the lowest selling of their careers as it was overshadowed by the release of the band's movie and soundtrack The Song Remains the Same. "Candy Store Rock" was released as a single in the US, but it failed to chart.

In a contemporary review for Rolling Stone, Stephen Davis said Presence established Led Zeppelin as the premier heavy metal act and featured some exceptional rock music, highlighting the "clean and purifying" guitar riffs. In spite of a few dull blues rock songs, the album was "another monster in what by now is a continuing tradition of battles won by this band of survivors", in Davis' opinion. Robert Christgau was less enthusiastic in The Village Voice, citing "Hots on for Nowhere" as a "commanding cut" while finding much of the rest consistent but unnecessary in comparison with earlier recordings.

Neil McCormick of The Daily Telegraph claimed it was "Zeppelin at their most blunted", awarding it two stars out of five. In a retrospective review, a Q critic who gave the album three out of five stars wrote, "Presence sounds as rushed as it was."

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 ... [I]t's not an easy album for a lot of people to listen to." Lewis nonetheless believed that Presence was underrated, as its music "packs a considerable punch", highlighting Page's playing and the production on the album. Fellow journalist Mick Wall said it "pulled Led Zeppelin back from the brink of crisis".

2015 reissue
A remastered version of Presence, along with In Through the Out Door and Coda were reissued on 31 July 2015. The reissue comes in six formats, including CD, vinyl and digital download. The deluxe and super deluxe editions feature bonus material containing alternative takes and one previously unreleased instrumental, "10 Ribs & All/Carrot Pod Pod". The reissue was released with an altered colour version of the original album's artwork as the bonus disc's cover.

The reissue received generally positive reviews. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 77, based on eight reviews. Pitchfork wrote, "It might be their weakest album, but Presence is among the most special; none of these songs sound like they could have come from another record." Uncut said the original album is grand "in lyric form and musical scale", while "the discs of 'companion audio,' often short on revelation, here reveal a moment of sheer anomaly. '10 Ribs & All/Carrot Pod Pod (Pod)' is whatever that title may mean, everything the LP is not: a tender piano piece." PopMatters was less impressed, saying "like the rest of the re-releases, the bonus material leaves too much to be desired", but concluded, "despite its weak second half, Presence is too good of an album to be dismissed."

Original release
Details are taken from the original UK and US Swan Song albums; all tracks are credited to Jimmy Page and Robert Plant, except where noted.

Deluxe edition bonus disc (2015)
Includes five tracks identified as "Reference mixes of works in progress".

Personnel
Led Zeppelin
 * John Bonham – drums
 * John Paul Jones – bass
 * Jimmy Page – guitars, production
 * Robert Plant – vocals, harmonica

Production
 * Peter Grant – executive producer
 * Keith Harwood – engineering, mixing
 * Reinhold Mack – assistant engineer (uncredited)
 * Jeremy Gee – tape engineering
 * George Hardie – sleeve design
 * Hipgnosis – sleeve design
 * George Marino – remastered CD release

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Presence (album)


text:
Wikipedia:Parser bug reports

'''This is an archive only of bug reports from Phase II of the Wikipedia software (used before June 20, 2002). Please see Bug reports for instructions on adding bug reports for the current system.'''

=== el error, imagino de poca importancia, es que he notado una pequeña singularidad ; si usted va a una página especial tal como [ [ special:NewPages ] ] directamente, los menús del borde de la página son celestes, como deben ser, pero si usted va allí directamente,redirigiendo por ejemplo [ [ los nuevos asuntos ] ] los menús del bode siguen siendo blancos como si fuera una página normal [ [ user:Bryan Derksen|Bryan Derksen ] ]

Case-insensitive wiki's
(2002/5/30) I note that the [[ sytax for internal links requires proper capitalization. I like my capitalization to be "proper" and thus use the | syntax all the time to allow the link to work. This is all the more frustrating because many of the entries have incorrect capitalization.

This could all be fixed if the wiki's were case-insensitive in the same way the search is. Or am I missing something obvious?

MSM

 * I copied this to bug reports, because I'm pretty sure it's new behaviour. -- Marj Tiefert, Thursday, May 30, 2002

 * No, it's always worked like that so far as I know. Some of the non-English wikis have been on a really ugly system whereby Every Word In A Title Had Its First Letter Capitalized Like This Which Is Really Fricking Annoying And I Am Really Glad That We're Getting Rid Of It There Because Oh-Man-Oh-Man It's Ugly Isn't It? But we haven't had that here on the English wiki, thank goodness; it's case-sensitive except for the very first letter of a title, which is always capitalized in the title and can be either way in a link (ie, Asteroid and asteroid are the same article). Certainly it's been that way at least since mid-January when I got here. If you want your capitalization proper, please fix the articles that have inproper capitalization. Brion VIBBER

-

Backslashes don't display, Wednesday, May 29, 2002

See Blackboard_bold for two examples. This is a new bug, since they used to work. --Zundark, Wednesday, May 29, 2002

 * This is an instance of the cache bug: the displayed page was not the current page, but an old cached version. Re-saving the page fixed the problem. AxelBoldt, Wednesday, May 29, 2002

 * ASCII, on the other hand, is an actual instance of backslashes not displaying. I've fixed it twice now. Each time, the backslash displays immediately after saving the page, but if I then reload the page the backslash goes away again. Bryan Derksen, Wednesday, May 29, 2002

 * I can't find a description of the cache bug at the moment, but your (Axel's) description appears to be wrong. Re-saving the page had no effect, it only made it look as if the problem was fixed because you were no longer seeing a cached version. Reload/refresh the page and the backslashes will disappear again. See Eigenvector and Matrix for some particularly obvious examples. --Zundark, Sunday, June 9, 2002

 * Correct, saving a page in cache stripped backslashes. It's now fixed in CVS. AxelBoldt, Sunday, June 9, 2002

Several asterisks in a row will prevent linewraps (or increase the linewrap length considerably?) Koyaanis Qatsi, Monday, April 8, 2002

See the history of Talk:Terrists for an example. I doubt this is a common issue, though, since most of us use four dashes. :-)

 * This is not a bug, so I'm going to move this to the "fixed" site. Asterisks at the start of a line are used by the wiki software to make bullet lists, which can be nested.  A row of, say, 20 asterisks is asking the software to make 20 nested bullet lists, and it does so correctly.  It fails to wrap lines because bullet lists are indented, and when you ask for 20 indents, that line becomes very long to accommodate them, and it takes the rest of the page with it.  In short, DON'T DO THAT, because it's not ever going to change. -- Lee Daniel Crocker

Table positioned between two paragraphs displays at bottom of page (possibly related to above bug??) Wednesday, April 10, 2002

If you look at the table in Talk:High_German, you'll see that instead of appearing between the two paragraphs of my note, it leaves a "close table" tag where the table belongs and puts the table at the end of the page. I've double-checked my table code for errors, and can't find any. I've also tried just making one big table, with the first and last paragraphs in their own table rows, but the problem persists. Is this a bug, or am I having a Stupid Attack™? pgdudda
 * You're missing a  tag; it looks okay after I added that in. But that did trigger a bug in the parser that caused it to eat the table instead of the center tag... I'll try to fix that, but in the meantime, uh, don't do that. :) Brion VIBBER, Wednesday, April 10, 2002

 * Oh, so I *was* having a Stupid Attack™, but at least my Stupid Attack helped uncover another bug. Thanks!  :-)  pgdudda Thursday, April 11, 2002

Linking error 2/25/02

Oregon consititution had several articles with multiple spaces in them - so the link was Article II (two spaces before this) title here instead of Article II title here and the link resolves to different locations. Rob Salzman
 * Hmm, I think this is semi-fixed. Anyone still seeing these kinds of errors? Brion VIBBER, Friday, April 19, 2002

STATUS: UNKNOWN

Parser
Last line link in list

(2002/1/29) If the last lines of an article looks like this: * [http://www.yahoo.com/ Yahoo] then the bottom part of the page ("Main Page | Recent Changes...") will be indented to the left and screwed up. See SandBox for an example. This only happens if all of the following are true: AxelBoldt
 * 1) we are in a list
 * 2) we have an URL link
 * 3) The last letter of the URL is /
 * 4) The name of the link occurs on the next line
 * 5) You are using IE 5.5 on Windows. Netscape 4.76 on Linux does not show the effect.

(2002/3/2) Right now, I see the bug also in Netscape. An example is at the bottom of Duverger's Law. AxelBoldt

 * That page renders correctly for me on Mozilla 0.9.8 & Netscape 4.78 (Linux). The example in Sandbox still leaves an indent on the following page contents (which is due to a bug in the wiki-to-html rendering code), but not in the link bar at the bottom (which is now separated by a div tag, so there shouldn't be any interference). Brion VIBBER 2002/03/02

Another linking error - My user page had some external links that were just the usual raw html://yaddayadda.com/etcetera and they used to work, but today they didn't. I wasn't because there was an asterisk or a parenthesis immediately before or after the URL. It doesn't seem to be because the URL ends in a / - I looked at other user pages to compare, and I cannot figure out why it wasn't working - gremlins? (Look back one or two levels in the history of my user page to see the formats - I've since forced it to work, by hiding the URL from the displayed page.) -- Marj Tiefert, Wednesday, May 15, 2002

 * I believe that the current software is actively unlinking URLs like that. I edited a page that had an external link in it of the form you describe above, just a bare URL, and even though I didn't touch the external URL in question it came up unlinked after the edit. Try it out; find a page with an existing external link, edit it, and the link will be gone in the new version. This doesn't apply to links using the syntax name of link here, however. Those remain intact through an edit. Bryan Derksen, Monday, May 20, 2002

 * This only seems to happen under some circumstances; I've seen it in some articles, but I can't for the life of me reproduce it in Sandbox. I think it may be already fixed under the current development version (where I can't reproduce it even by exactly copying Marj's user page). Brion VIBBER, Monday, May 20, 2002

 * If you only have a naked URL on a page, it won't turn into a link. If there are other URL's on the page, it sometimes turns into a link. This is fixed in CVS. AxelBoldt

 * 2002-6-10 Seems to still be a problem; see the links at the end of daylight saving time for an example. Rootbeer

 * 2002-6-16 I fixed daylight saving time by opening it for editing and saving it again with no changes. I don't know enough about the internals (caching?) to say why it worked. But if this problem has been fixed in the software now, I suppose that any other pages with non-working links will eventually be edited, and thereby start working again. Rootbeer

STATUS: FIXED IN CVS?

Parser generates extra whitespace

The Bipolar disorder page is full of extra whitespace - looking at the article reveals lots of
 </p;gt; and

 spans generated.

Similarly, if an otherwise employ line contains some white space, the previous parser took that as a paragraph break, while the new parser treats it as a block of indented nothing, resulting in too much space between the paragraphs.

If whitespace precedes a #, then it is taken to be a numbered list, while before it was taken as a literal # (which is the correct behavior, especially useful for programs). AxelBoldt STATUS : Solved in CVS

Bad table code can screw up layout

(2002/1/28) In the Quaternions article, the first part of the article appears at the bottom of the page, as do all the QuickBar links. --Zundark

 * This was caused by Bad Table Code in the article. There was no closing TR tag for the last row in the table, and an extra open TR tag after the end of the table. I've fixed the article... The parser could probably be made to be able to normalize these things, though (ie, remove table-ish tags not inside &amp;amp;lt;TABLE&amp;amp;gt;...&amp;amp;lt;/TABLE&amp;amp;gt;) --Brion Vibber

Parser issues with header lines

The display of Eight queens puzzle is... less than optimal. The problem is that the leading space on a line used to disable the processing of '#': now the Python program example is damaged.

Definition lists produce invalid HTML, could use some improvement as well

(2002/4/16) Lee Daniel Crocker The line ; term : definition is rendered as

 term

 definition

Note that neither the "dt" nor "dd" elements are properly closed. Further,

(2002/1/25) Definition lists like: each get put in separate &amp;amp;lt;dl&amp;amp;gt; tags, resulting in too much spacing between them. Carey Evans
 * Term 1:Definition 1.
 * Term 2:Definition 2.

While we're at it, it would be nice if the DD/DL elements were only closed off on a full blank line (or end of article), and not just a single newline. That would make them more consistent with regular paragraph text, and make articles with long definitions easier to write and edit.

Specifically,

; term : long definition blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah

should be rendered identically to

; term : long definition blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah

This should also be the case for the ULs and OLs created by * and #. Of course, if the first character of a new line within a DD is ";", then close the DD and open a DT; if it is ":", insert an empty DT and open a new DD. When a full blank line is encountered, close both

the open DD and the DL. I'll take a look at the parser code to see if that's possible. STATUS : Solved in CVS

Character entities in links

Sat Feb 2 00:23:40 UTC 2002: On list of food additives, I have additives like &amp;amp;beta;-cyclodextrine. When I click on the question mark to create an article about it, I get the Main Page displayed for edit instead. Note that since &amp;amp; is a safe character in URI path segments, escaping it as %26 has no effect.
 * This is due to a bug in the code putting too many HTML escapes into the title; if it were working correctly, the %26 escape would indeed have an effect. My recommendation until this is resolved: use β-cyclodextrine ( &beta;-cyclodextrine ). --Brion Vibber

 * There's probably good arguments for actually writing "beta-cyclodextrine" in the article. However, my point about the % escape is that according to RFC 2396, there is no difference between %26 and just & in the path of the URL. --Carey

 * Well, there's the RFC and then there's the actual behavior of the software... PHP does not seem to consider %26 to be an ampersand for the purposes of extracting variables from the URL's *query* bit. At least my reading of the RFC agrees with it: ?3.4 Query Component ... Within a query component, the characters ..."@", "&", "="... are reserved.? It's not a problem in the path, only in the query when you're e.g. editing the page. --BV

 * The URL rewriting to give nice URLs like http://www.wikipedia.com/wiki/MainPage rather than .../wiki.phtml?MainPage makes this a bit more complicated. There's no question mark in the URL for this edit page, so Apache is probably justified in converting %26 to & internally, before processing the Alias or RewriteRule directive, or http://www.wikipedia.com/%77%69%6B%69/ wouldn't work. --Carey

(Ideally the URL would be encoded as %CE%B2-cyclodextrine, the UTF-8 encoding of GREEK SMALL LETTER BETA.)
 * Impossible until the database is converted from ISO-8859-1 to UTF-8. --BV

 * I would just write &lt;? echo urlencode(recode("h..utf8", $title)) ?&gt;. --Carey

 * Yeah, that could probably work as long as titles are normalized internally. I'll try banging the code into place... --BV

References: RFC 2396, W3C on i18n of URIs

--Carey Evans

Problem in "printable version" page?

Please go to Category theory and try the "printable version" link; you will probably see that the word functors remains as a blue link instead of becoming simple italics text. I was unable to spot any sort of difference from other links that would cause this strange behaviour, and I suppose it can be considered a bug, since the printable version should not contain any link in the text part. Daniel M

 * Yup, it's a bug, caused by the fact that the link looks like functors . It's fixed in the development version of the code. AxelBoldt

STATUS : Solved in CVS

It's always a positive sign that somebody is working hard to improve a system when brand goofy new bugs start to appear. I just put together a new preliminary subject outline for philately with a certain amount of bulleted text. Now, when I enter a new first level bullet after a line with a second level bullet, that first level bullet doesn't appear in the article. Eclecticology, Thursday, May 9, 2002

 * I've noted this problem in numbered lists too, or something like it. Also, it used to be possible to create a mixed list with a structure something like:

 * One header
 * 1) A sub-item
 * 2) Another sub-item
 * 3) Yet another sub-item
 * A new header
 * 1) A sub-item for the second header
 * 2) And so forth

(see Montgomery County, Maryland for an example!) All of a sudden, this has stopped giving reasonable results. -- BRG (Friday, May 10, 2002, but first noticed earlier)

--

Again with philately: When I linked to this from the "recent changes" page, I was aghast that the work that I had done was gone without explanation. I checked the history and the (diff)'s, but that showed that my input was all still there, and that apparently no human had touched it. From this I made a couple of minor edits (just to have something different) and saved it again. That was last night. Now again if I try to link from "recent changes" I still get an older version of the page. At this point I am beginning to wonder to what extent a link reliably gives the most recent version of a page. Eclecticology, Friday, May 10, 2002
 * This morning I'd noticed a similar problem with the article on Maryland, which I've worked on a lot; only it had apparently gone back many versions. While trying to restore my edits, however, I found the correct version suddenly appeared! -- BRG

When I try to access a redirected article, it appears with the "Redirect from foo_bar" header, but the article itself appears as:
 * 1) REDIRECT appears to be broken;

 * 1) REDIRECT foo_bar

Any idea what's happening? Refreshing the page has no effect. I'm using IE6.0 on WinXP. (2002.05.15 pgdudda)

 * Got an article you can give as an example? This is expected behavior in the case of redirect chains: if article A redirects to B, and B redirects to C, going to A gets you to B but no further (thus preventing endless loops of redirects where A redirects to B to C to A to B to C to A to B to C to...) I've you've got one of these, please edit the articles in question and fix it so that all the redirect pages redirect to the actual page, rather than to other redirects. Brion VIBBER, Wednesday, May 15, 2002

 * I was running into this problem with the article "prefix__morpheme", attempting to redirect it to the article prefix by typing in "#REDIRECT prefix". That generated an error, but changing it so that there were double square brackets around the word "prefix" makes it work fine.  I had thought the square brackets were unnecessary, but apparently not.  (FYI, Prefix  morpheme now points to Prefix morpheme, though I may consolidate that with the Prefix article, since the former is a one-line stub.  Thanks for helping me get that sorted out!  (2002.05.15 pgdudda)

 * Ahh, I see what you mean. Yes, the brackets are required, at least at present; if they're not supposed to be required, somebody better let me know so I can fix it. (Though that would break some other things, pending some discussed changes to the database structure.) Brion VIBBER, Wednesday, May 15, 2002

-

Another redirect oddity

I came across a page (Giant Impact theory) which had a messed-up redirect. The redirect was coded thusly:

#redirectgiant impact theory

And redirected to an empty page whose name was, character-for-character, #redirectgiant impact theory. I put in a space and upper-cased the word redirect, and that fixed it. Bryan Derksen, Thursday, May 16, 2002

 * The missing space was triggering the problem; I've fixed it to handle that case a bit more gracefully... Brion VIBBER, Thursday, May 16, 2002 STATUS: FIXED IN CVS.

Foreign ISBN
The ISBN link on Tintin is bad, but the ISBN 2203017104 is correct, tested on www.fnac.com. Could this be because the book isn't in English? -- Tarquin

 * That book doesn't appear to be in Pricescan's database (yeah, probably because it's not in English and thus not in the mainly English-language online shops they search). Try linking to a specific site, such as ISBN 2203017104 (amazon.fr) or ISBN 220301704 (fnac.com). Or, if there's a generic price-comparison site en français that can search by ISBN, use that. (If you find one, let me know about it!)

 * By the way; there's a bug in the parser that will mess with links that are given the name of ISBN X, that's why I added in the "no."s. --Brion VIBBER

I don't know if this is a bug, but this is annoying. When we have an external link to something, anything placed right next to it will have a space in between. It seems to only affect Wikibooks.

title: Wikipedia:Parser bug reports