Led Zeppelin Physical Graffiti Vinyl Record LP Swan Song ORIGINAL

$

25

   Up   for auction is an original used 1975 SWAN SONG Led Zepplin Physical Graffiti DOUBLE Album it is in good used shape for its age. The album comes complete with everything you see in the pictures. Both albums play like they should from that time period. Please remember these are 40 years old so they both will have normal handling and marcs on them. They are not warped, cracked and all labeling is intact. THEY DO NOT SKIP AND THE TRACKING WHILE PLAYED IS GOOD. Each LP is serial numbered also. THESE ARE NOT MINT BUT IN GOOD USED ORIGINAL SHAPE. These ARE NOT COPIES, REMIXED OR DIGITIZED. THESE ARE CORRECT DATE TIME PERIOD LP's. Being sold as is used. More information on ONE OF THE GREATEST DOULBLE RECORDING OF ALL TIME IS BELOW: THANKS NO INTERNATIONAL SALES SHIPPING TO THE LOWER 48 STATES ONLY. SHIPPED VERY SECURE WITH WINNING AMOUNT OF INSURANCE AND TRACKING. Released 24 February 1975 (1975-02-24) Recorded July and December 1970, January–March 1971, May 1972, January–February 1974 at multiple locations[1] Genre Length 82:45 Label Swan Song Producer Jimmy Page 

Led Zeppelin’s sixth album, 1975’s Physical Graffiti, is the greatest double-LP in rock history—a sprawling, ambitious masterwork that showcases all of the band’s obvious (and not so obvious) strengths.

But it could have easily been a trainwreck. Exhausted from their expansive Houses of the Holy tour, the hard rock legends nearly imploded during the album’s initial November 1973 sessions, with bassist/keyboardist John Paul Jones on the verge of quitting. The quartet—Jones, guitarist-producer Jimmy Page, frontman Robert Plant, drummer John Bonham—eventually regrouped the following year at their infamous Headley Grange rehearsal space, whipping up 55 minutes of music in the form of eight explosive new epics. Stuck with more material for one album but not enough to flesh out two, they decided to pilfer their vaults, padding out the tracklist by reworking a series of fascinating—and occasionally bizarre—leftovers from the previous four years.

Physical Graffiti is an exhausting, whirlwind 82 minutes. And it’s shocking how much territory Zeppelin covered even during the Headley Grange sessions: mystical, progressive hard-rock (“In My Time of Dying,” “In the Light”), metallic funk (the clavinet-tinged “Trampled Under Foot,” “Custard Pie”), Eastern-symphonic bombast (“Kashmir”). No doubt, Graffiti would have made a killer single LP—but it’s infinitely more fascinating in its scattershot final form. The country-rock of “Down By the Seaside” would have never fit stylistically on Led Zeppelin IV, but its soulful tremolo twang makes perfect sense within Graffiti’s hodgepodge; ditto Page’s shimmering acoustic instrumental “Bron-Yr-Aur” (tracked for the third album in 1970) and the tossed-off 1972 blues jam “Black Country Woman,” during which Page tosses off a tasty harmonica solo and Bonham’s bass drum thumps like a goddamn marching band.  keeping with the previous reissues, Page’s remastering is subtle but detectable—particularly in the low-end. But without an audio-engineering degree, it’s hard to identify what’s punched up and what simply still sounds fantastic. And the lovable blemishes remain: Plant’s vocal on “The Rover” still scrapes like sandpaper; Bonham’s infamous “Squeak King” kick pedal still pesters in “Houses of the Holy.”

This album already kicks an incalculable amount of ass. Why re-invest when the original hasn’t soured? As usual, the biggest selling point is the unearthed bonus material. But Graffiti’s rough and alternate mixes are of especially limited interest, even to diehards. An “initial” version of “Trampled Under Foot” (re-titled “Brandy and Coke”) gives more presence to Plant’s stereo-panned vocals, though it also downgrades Page’s main riff to a whimper. The big reveal of the “rough” take on “Houses of the Holy”? Some added tambourine on the chorus. Thankfully, the set has one silver lining: “Everybody Makes It Through,” an early take on “In the Light” featuring completely different lyrics and a descending clavinet pattern reminiscent of the main “Stairway to Heaven.”

No amount of reissue padding will ever tarnish the mesmerizing mess of Physical Graffiti. It’s funny—only now, 40 years later, has the true filler finally emerged.