Led Zeppelin - Physical Graffiti - Rare MINT 1975 UK FIRST PRESS

	£		101
	$		134

Artist & Title: Led Zeppelin – Physical Graffiti

Physical Graffiti: Mint 1975 UK first pressing 15 track double LP. One of the bands most diverse and challenging records, featuring household classics like Kashmir and lesser played gems such as The Wanton Song. Housed in a great die-cut picture sleeve with thick card inners. This copy is in a fantastic almost shop bought condition, doubt you will ever see another copy like this again. With first issue stampers and immaculate picture sleeve complete with original picture inner sleeves, which are designed to show through the windows in the outer sleeve. Both the sleeves and discs are in beautiful condition.
The discs have First Pressing matrix numbers in the run-out grooves and are in MINT condition. Hard enough to find in good condition, this copy is in MINT CONDITION and the picture sleeves are also in MINT CONDITION. And as these UK 1st pressings come up so infrequently in this condition this could be a once in a lifetime opportunity to add this extreme rarity to your collection at an extremely advantageous price.

Catalogue Number: Swan Song SSK 89400

Release date: 24 February 1975 (UK)

Overall Grade: MINT/MINT (LP/Cover)

Matrix/Runout: Side1: SSK-89400-A3  Side2: SSK-89400-B4  Side3: SSK-89400-C1  Side4: SSK-89400-D1 

No Warner Bros credits on labels or sleeve.
Swan Song/484 Kings Road, LondonSW10

This rare MINT FIRST PRESSING LP is hardly ever offered for sale in this condition.

This is the very rare real thing: a GENUINE first UK issue in MINT CONDITION. The sleeves are also in MINT CONDITION, with no creases, scratches, tears, writing, stickers, dog-ears or other damage. See pics. All items are the genuine originals bought together by me in 1975. The LPs are the original first issue stereo LPs, which were only played on top-end audiophile equipment and lovingly cared for.

THIS HAS TO BE ONE OF THE BEST EXAMPLES OF THIS SEMINAL ALBUM EVER OFFERED FOR SALE IN RECENT TIMES

Physical Graffiti is the sixth studio album by the British rock band Led Zeppelin, released on 24 February 1975 as a double album. Recording sessions for the album were initially disrupted when bassist/keyboardist John Paul Jones considered leaving the band. After reuniting at Headley Grange, the band wrote and recorded eight songs, the combined length of which stretched the album beyond the typical length of an LP. This prompted the band to make Physical Graffiti a double album by including previously unreleased tracks from earlier recording sessions.
Physical Graffiti was a massive outpouring of Led Zeppelin music that proved to be the definitive summary of their studio work. Given the luxury of a double format, Physical Graffiti mirrors every facet of the Zeppelin repertoire. The end result is a finely balanced embarrassment of riches.
Physical Graffiti was commercially and critically successful; the album went 16x platinum (though this signifies shipping of eight million copies, as it is a double album) in the US alone.

This may be your only ONCE IN A LIFETIME chance to own this piece of rock history in MINT condition, which is considered one of the landmark albums in the history of rock.

Physical Graffiti is Led Zeppelin's bid for artistic respectability. This two-record set, the product of almost two years' labour, is the band's Tommy, Beggar's Banquet and Sgt. Pepper rolled into one.
In a virtual recapitulation of the group's career, Physical Graffiti touches all the bases. There's blues ("In My Time of Dying") and a cosmic-cum-heavy ballad ("In the Light"); there's an acoustic interlude ("Bron-Y-Aur") and lots of bludgeoning hard rock, still the band's forte ("Houses of the Holy," "The Wanton Song"); there are also hints of Bo Diddley ("Custard Pie"), Burt Bacharach ("Down by the Seaside") and Kool and the Gang ("Trampled under Foot"). If nothing else, Physical Graffiti is a tour de force.
The album's - and the band's - mainspring is Jimmy Page, guitarist extraordinaire. His primary concern, both as producer and guitarist, is sound. His playing lacks the lyricism of Eric Clapton, the funk of Jimi Hendrix, the rhythmic flair of Peter Townshend; but of all the virtuoso guitarists of the Sixties, Page, along with Hendrix, has most expanded the instrument's sonic vocabulary.
He has always exhibited a studio musician's knack for functionalism. Unlike many of his peers, he rarely overplays, especially on record. A facile soloist, Page excels at fills, obbligatos and tags. Playing off stock riffs, he modulates sonorities, developing momentum by modifying instrumental colours. To this end, he uses a wide array of effects, including on Physical Graffiti some echoed slide ("Time of Dying"), a countryish vibrato ("Seaside"), even a swimming, clear tone reminiscent of Lonnie Mack (the solo on "The Rover"). But his signature remains distortion. Avoiding "clean" timbres, Page usually pits fuzzed out overtones against a hugely recorded bottom, weaving his guitar in and out of the total mix, sometimes echoing Robert Plant's contorted screams, sometimes tunnelling behind a dryly thudding drum.
Physical Graffiti only confirms Led Zeppelin's pre-eminence among hard rockers. Although it contains no startling breakthroughs, it does afford an impressive overview of the band's skill. On "Houses of the Holy," Robert Plant's lyrics mesh perfectly with Page's stuttering licks. On "Ten Years Gone," a progression recalling the Beatles' "Dear Prudence" resolves in a beautifully waddling refrain, Page scooping broad and fuzzy chords behind Plant, who sounds a lot like Rod Stewart. Elsewhere, the band trundles out the Marrakech Symphony Orchestra (for "Kashmir"), Ian Stewart's piano and even a mandolin (both for "Boogie with Stu").

A fantastic time warp example of this rarity in amazing condition, a true investment grade item - get it while you can!

AND IT MUST SELL IN THIS ONCE ONLY AUCTION

I pack my records professionally in stiff corrugated cruciform record mailers leaving the Vinyl (housed in anti-static bags) outside the Sleeve.

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