LED ZEPPELIN - PHYSICAL GRAFFITI-SWANSONG SS2.200 AUSTRALIAN PRESS 1975
£
22
$
29
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Description
LED ZEPPELIN - PHYSICAL GRAFFITI TYPE DOUBLE LP - STEREO LABEL/PRESSING INFO
SWANSONG
CATALOGUE NUMBER SS 2-200 YEAR OF RELEASE 1975 COUNTRY OF RELEASE AUSTRALIA SLEEVE TYPE SINGLE WITH DIECUT WINDOWS INSERTS/EXTRAS CARD PICTURE INNERS plus FOLDOUT CARD INFO SHEET GRADING/CONDITION DISC(s) EXCELLENT ( CLEAN records with VERY LIGHT playwear and the occasional LIGHT surface mark - PLAY WELL WITH A GOOD SOUND) LABELSEXCELLENT+ (CLEAN LABELS with - NO writing rips tears stickers or removal marks with LIGHT spindleusage, and VERY LIGHT handling and storage marking)
SLEEVEFront board.Inner gatefold EX
CLEAN SLEEVE with NO writing rips or tears stickers or remains. The front board is clean with just light overall storage and handling wear
minimal EX Rear is as the front clean with just light wear Flipbacks N/A N/A Spine EX+ Spine is complete with very light wear and clear lettering Top & bottom edges EX Bottom and side edges have just light storage wear Opening EX Opening has LIGHT wear and usage Corners EX corners have LIGHT wear heavier on the top 2 corners. INNER /EXTRASCARD INNERS: EX+ (BOTH inner sleeves are in great shape with NO rips tears edge splitting/repairs and VERY LIGHT storage and handling wear)
INFO CARD: EX+ (CLEAN wit NO writing creasing wear along the fold etc, and a bit of light ageing)
DETAILSLed Zeppelin returned from a nearly two-year hiatus in 1975 with Physical Graffiti, a sprawling, ambitious double album. Zeppelin treat many of the songs on Physical Graffiti as forays into individual styles, only occasionally synthesizing sounds, notably on the tense, Eastern-influenced "Kashmir." With John Paul Jones' galloping keyboard, "Trampled Underfoot" ranks as their funkiest metallic grind, while "Houses of the Holy" is as effervescent as pre-Beatles pop and "Down by the Seaside" is the closest they've come to country.
Even the heavier blues -- the 11-minute "In My Time of Dying," the tightly wound "Custard Pie," and the monstrous epic "The Rover" -- are subtly shaded, even if they're thunderously loud. Most of these heavy rockers are isolated on the first album, with the second half of Physical Graffiti sounding a little like a scrap heap of experiments, jams, acoustic workouts, and neo-covers.
This may not be as consistent as the first platter, but its quirks are entirely welcome, not just because they encompass the mean, decadent "Sick Again," but the heartbreaking "Ten Years Gone" and the utterly charming acoustic rock & roll of "Boogie With Stu" and "Black Country Woman."
Yes, some of this could be labeled as filler, but like any great double album, its appeal lies in its great sprawl, since it captures elements of the band's personality rarely showcased elsewhere -- and even at its worst, Physical Graffiti towers above its hard rock peers of the mid-'70s.
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