LED ZEPPELIN Same Atlantic UK 1969 Original Standard Pressing Of Legendary Debut
£
130
$
172
£ 130
Sold For
May 30, 2013
Sold Date
May 7, 2013
Start Date
1
Number Of Bids
Italy
Country Of Seller
eBay
Sold at
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Description
We are a well established web records shop since 1995 specialised in original vinyl lps from sixties and seventies with special care for UK and worldwide progressive music. We assure a professional and competent service with more than 35 years of experience in the record collecting market. Be confident on our service! Please come in our site clicking the above link, you're Welcome!
PLEASE CONSIDER THAT IN THESE EBAY AUCTIONS I USE A STRICT RECORD COLLECTOR MAGAZINE GRADING SYSTEM THAT CAN'T DISAPPOINT ANYONE BUT THIS DOESN'T MEAN THAT ,FOR EXAMPLE, A VG+ COVER OR A VG+ VINYL IT'S EQUIVALENT TO "BAD CONDITIONS" BUT SIMPLY THAT MY GRADE IT'S STRICT AND PROBABLY EQUIVALENT TO AN EX OF SOMEONE ELSE WITH NOT A SO STRICT GRADE. I HAVE SOLD IN THESE AUCTIONS EX- RECORDS THAT WERE SURELLY M- COPIES BUT I PREFERE TO BE STRICT TO AVOID ANY DISAPPOINTEMENT BECAUSE I TAKE GREAT CARE OF MY REPUTATION.
Record Collector Magazine Grading System MINT The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.
EXCELLENT The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.
VERY GOOD The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.
GOOD The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc.
FAIR The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and/or defaced.
POOR The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.
BAD The record is unplayable or might even be broken, and is only of use as a collection-filler.
graded VG++/EX- for a strict Record Collector magazine grading system
label: The Original Atlantic UK Plum/Red pressed label it's in nice conditions with a couple of spindle marks and nothing else. It does have A1/B1 ending vinyl matrices around the label so vinyl it's an early press but the label does have the Warner Bros credits at the bottom and not Superhype so the labels are slightly lately (some weeks) but the vinyl it's from the bunch of the first press so rare and with superior sound.
cover: the original full laminated cover does have a nice shine really with sharp corners, nice spine and seams but some minor creases and one longer in the back right corner but still superficial. This cover it's nicely keeped and totally enjoyable. It have the grey lower edge border as must be in the first presses.
vinyl: the vinyl does not have marks except a couple of superficial scuffs on the first side one that does not sound so EX- vinyl.
review: After tinkering with a new version of The Yardbirds, legendary session ace and band leader Jimmy Page and another session veteran John Paul Jones teamed together with a couple of younger unknowns who knew each other from previous (unsuccessful) bands, Robert Plant and John ("Bonzo") Bonham. The band’s chemistry was immediately and spectacularly apparent, and the rest, as they say, is history, as the mighty Led Zeppelin (allegedly named because The Who drummer Keith Moon suggested that they would go over with audiences “like a lead zeppelin”) was born. And yeah, they did rip off old blues artists, sometimes without according the proper credit, but they did so brilliantly. Besides, that was just a small part of their recorded legacy, and I’ve yet to hear any of the old bluesmen sound half as majestic or as powerful as Led Zeppelin does on “Babe I’m Gonna Leave You” or “Dazed And Confused,” to name but two of this album's classic songs. Recorded over a sweat soaked 30 hours and featuring nine songs that basically comprised their set list at the time, Led Zeppelin I is the band’s rawest and most blues-based studio recording. Page’s guitar is on fire throughout, Bonham’s drums thunder away in awe-inspiring fashion, Jones plays some terrific bass guitar and keyboards, and Plant’s high-pitched vocal wail, with many a “baby baby” lyric, became the template for all future hard rock singers (though it should be noted that some find his vocals to be an acquired taste and Plant himself has been critical of his somewhat hyper and over-the-top theatrics on this album; I can see where everybody is coming from but on the whole I still think he's magnificent). Yet for all of their individual excellence, and they do all take spectacular solo turns here (particularly Page), it is the band’s ensemble playing that remains most mind-blowing all these years later. As for the songs, the album starts strongly with the short, catchy "Good Times Bad Times," which is notable for Page's savage soloing and Plant's charismatic vocal as he uses his lower register. "Babe I'm Gonna Leave You," a radical folk-blues-rock reworking of a Joan Baez cover (though unbeknownst to the band it was originally written by one Anne Bredon, who got belated credit and financial restitution for her efforts), is even more impressive. Years before the Pixies were given credit for creating the soft-to-loud dynamics that came to define alternative rock in the '90s, Led Zeppelin were doing just that right here, and once again all band members shine, particularly Plant who is nothing short of spectacular. Even better is "Dazed and Confused," the band's first (of many) epic-scale tracks, which took hard rock to a whole new level of heaviness. The song, which was actually an uncredited cover (albeit with different lyrics) of a psychedelic folk song originally done by the largely unknown Jake Holmes, is almost unbelievably powerful at times, especially during its frenetic jam-packed mid-section and dramatic symphonic ending. The song is also notable for being their first on which Page unleashed the eerie sonic possibilities of taking a violin bow to an electric guitar; though the Creation's Eddie Phillips was the first to do so, Page is most synonymous with this technique, and this song is probably his signature piece with it. Showing the versatility and subtlety that so many of their subsequent followers would lack, “Your Time Is Gonna Come” is a beautiful sing along country-gospel-pop ballad led by Page’s acoustic guitar, Jones’ Hammond organ, and another inspired vocal from Plant (his phrasing is impeccable), while “Black Mountain Side” is a short Page-led acoustic instrumental that nods to Bert Jansch and shows the influence of Eastern music while offering a lighter respite from the draining intensity elsewhere. Another classic comes in the form of the short but ultra-adrenalized “Communication Breakdown,” which features yet another great Page guitar solo and flies along at a breakneck speed. Most future punk rockers would cower in the face of such a relentless assault, making their snobbish comments a decade hence about Zep being outdated "dinosaur rockers" all the more laughable. But I digress; this album ends with another epic in the multi-sectioned “How Many More Times,” another exceptionally strong take on the blues, and one of several songs here ("Dazed and Confused," "Black Mountain Side") that had its roots from back in Page's Yardbirds days. Loosely based on Howlin' Wolf's "How Many More Years" and featuring vocal ad-libs from Plant, who also "steals" from Albert King's "The Hunter," again the song may borrow too liberally from old blues sources, but again to reiterate it does so brilliantly, and the end result is 100% pure Led Zeppelin. For one thing, Plant's vocal ad-libs, borrowed or not, are inspired, and the song's pulverizing riffs, violin bow treatments, and wah wah effects are all Page, whose sparring with Bonham is breathtaking. Ironically, the two Willie Dixon covers, “You Shook Me,” and “I Can’t Quit You Baby,” are arguably the album’s weakest songs (least great songs is more like it; these are fine performances but slow blues simply isn't my favorite Zep style), proving that Led Zeppelin were at their best when unleashing a fury (or a beauty) all their own. ... don't miss this opportunity!!!
ALL THE RECORDS ARE SHIPPED FROM ITALY AND I CAN'T SHIP FOR 4$ TO USA ... SO PLS READ THE FOLLOWS POSTAGE RATES AND
PLEASE AWAIT FOR MY INVOICE BEFORE TO PAY!
POST & PACKING:
ITALY: € 9 (Raccomandata 1)
UK: € 13 for 1/2 lps - from 3 to 6 € 19 (registered air mail)
EUROPE (including ISRAEL - RUSSIA + EASTERN EUROPE COUNTRIES ): € 13 for 1/2 lps - from 3 to 6 lps € 19 (registered air mail)
USA/CANADA/SOUTH AMERICA/JAPAN/SINGAPORE: € 18 for 1/2 lps - from 3 to 6 lps € 29(registered air mail)
AUSTRALIA/NEW ZELAND: 1/2 lps € 24 from 3 to 6 lps € 34 (registered air mail)
PAYMENT: PayPal or just ask.
Guarantee: I try to be as accurate and honest as possible when describing the condition of any LP but of course if you feel that I am mistaken and the description is inaccurate I will offer a complete, no quibble refund (through Paypal) upon return of the item
ALL RECORDS ARE PROFESSIONALLY CLEANED BEFORE DISPATCH AND PACKAGED INSIDE CRUCIFORM MAILER WITH 2/3 STIFFENERS WITH THE VINYL OUTSIDE OF THE SLEEVE TO PREVENT ANY 'KNIFING' DURING TRANSIT.
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