Led Zeppelin ‎– Physical Graffiti

Label:
Swan Song ‎– SSK 89400
Format:
2 × Vinyl, LP, Album
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 Custard Pie
Written-By – Jimmy Page, Robert Plant
4:20
A2 The Rover
Written-By – Jimmy Page, Robert Plant
5:54
A3 In My Time Of Dying
Written-By – Jimmy Page, John Bonham, John Paul Jones, Robert Plant
11:08
B1 Houses Of The Holy
Tracking By – George ChkiantzWritten-By – Jimmy Page, Robert Plant
4:01
B2 Trampled Under Foot
Written-By – Jimmy Page, John Paul Jones, Robert Plant
5:38
B3 Kashmir
Written-By – Jimmy Page, John Bonham, Robert Plant
9:41
C1 In The Light
Written-By – Jimmy Page, John Paul Jones, Robert Plant
8:46
C2 Bron-Yr-Aur
Written-By – Jimmy Page
2:07
C3 Down By The Seaside
Written-By – Jimmy Page, Robert Plant
5:15
C4 Ten Years Gone
Written-By – Jimmy Page, Robert Plant
6:55
D1 Night Flight
Written-By – Jimmy Page, John Paul Jones, Robert Plant
3:37
D2 The Wanton Song
Written-By – Jimmy Page, Robert Plant
4:10
D3 Boogie With Stu
Written-By – Ian Stewart, Jimmy Page, John Bonham, John Paul Jones, Mrs. Valens, Robert Plant
3:45
D4 Black Country Woman
Written-By – Jimmy Page, Robert Plant
4:30
D5 Sick Again
Written-By – Jimmy Page, Robert Plant
4:40

Companies, etc.

Credits

Notes

1st Press - 484 Kings Road Address On Rear Sleeve - No Warner Logo On Labels

Barcode and Other Identifiers

  • Matrix / Runout (Runout A, Stamped): A: SSK-89400-A1
  • Matrix / Runout (Runout B, Stamped): B: SSK-89400-B4
  • Matrix / Runout (Runout C, Stamped): C: SSK-89400-C1
  • Matrix / Runout (Runout D, Stamped): D: SSK-89400-D1
  • Matrix / Runout (Variation Runout A, Stamped): A: SSK-89400-A3
  • Matrix / Runout (Variation Runout B, Stamped): B: SSK-89400-B5
  • Matrix / Runout (Variation side B): SSK-89400-B5

Other Versions (5 of 296) View All

Cat# Artist Title (Format) Label Cat# Country Year
R1-544659 Led Zeppelin Physical Graffiti(2xLP, Album, RE + LP + Dlx, RM, 180) Swan Song R1-544659 USA & Canada 2015 Sell This Version
756792442-2 Led Zeppelin Physical Graffiti(2xCD, Album, RE, RM, RP) Swan Song 756792442-2 Brazil Unknown Sell This Version
SSK 89400-O, SSK 89 400, SS 2-200 Led Zeppelin Physical Graffiti(2xLP, Album) Swan Song, Swan Song, Swan Song SSK 89400-O, SSK 89 400, SS 2-200 France 1978 Sell This Version
CS2 200 Led Zeppelin Physical Graffiti(Cass, Album, Club) Swan Song CS2 200 Canada Unknown Sell This Version
WPCR-11616~7 Led Zeppelin Physical Graffiti(2xCD, Album, RE, RM, Car) Swan Song WPCR-11616~7 Japan 2003 Sell This Version

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Reviews Show All 18 Reviews

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streetmouse

streetmouse

January 16, 2017

By February of 1975 I was barely getting my feet used to being on American soil again, though Vietnam was still echoing in the back of my head, and Led Zeppelin, they were one of those transitional groups who existed before I left, were huge while in the Nam, and now with the release of Physical Graffiti, I was feeling that a circle was being completed. Most people had become jaded and tired of what the Rolling Stones were delivering, but Zep, they still had new things to offer, fresh ways of presenting deeply rooted attitudes, and music that was still larger than life … so needless to say, there were many who were ready for this outing.

Physical Graffiti was an odd bag that seemed to grow on listeners the more it was played, consisting of recordings from the years 1970 through 1974, along with eight new songs and seven that were deemed worthy of recovering from previous sessions. All of this made the album sort of impossible to categorize. Was it a new body of work, a compilation, or something more? Within the 82 minutes of running time this grouping of songs are arranged in a manner that makes even the older and deeply bluesy numbers sound bouncy, vibrant, and transcendent. And of course, again there was the ever lingering mysterious weirdness that always seemed to have surrounded Led Zeppelin, but it was the new music mixed with those unreleased gems that managed to tie things together, filling in timeline gaps, creating a more holistic and complete picture of the band and times from which they rose. Much of this new material sounded definitive, sincere, and filled with musically emotional climaxes that kept listeners teetering on the edge, where the band guides you to a conclusion without petering out, bringing listeners down from an intense journey comfortably.

Never more so are we presented with the fact that Jimmy Page was a guitarist extraordinaire whose passion was sound, and in presenting it fully and emotionally. When it came to blues, and blues’ foundations, he would often come off as something between Eric Clapton for lyrics, Jimi Hendrix and Pete Townshend when it came to rhythmic flair … though hands down, when it comes to those who’ve expanded the guitar’s sonic vocabulary, there was no one better than Hendrix and Page, where standing them back to back, no sunlight could shine through. Page never overplayed anything, and in so doing he set the platform for the rest of the band to build on, carrying forth a vision of form meets function. I fully realize that I’m implying that Led Zeppelin and Physical Graffiti were all about Jimmy Page, and while I’m not one to discredit other members of the band, without Jimmy Page, Led Zeppelin would have been nothing more than one of so many other bands of the day. I say this easily, because Plant had a limited vocal range, made up for by a dynamic stage presence, and as good as the other members were, in all honesty, they were background players, certainly of the first magnitude, yet background players nonetheless. [You are invited to my home to yell at me privately for that last remark.] Though if you consider, it was all Page’s production and ideas of craftsmanship that outpaced his predecessors, bands such as the Yardbirds and Cream, allowing Led Zeppelin to sound expansive, coherent, and completely cognitive as a whole.

Of course it would be easy to point to the monotony some find the songs “In My Time Of Dying,” and “Kashmir,” yet all and all, those tracks showed versatility and were ambitious enough to be defining … hardly fragmentary or laced with tedium. And yes, there are those who like their music laced with significant lyrical importance, and to those I would point to Cream’s 1966 release of “I Feel Free,” an amazingly wonderful song that bounces around the room repeating the same line over and over, with no one ever seeking to criticize the holy trinity.

With today’s eyes and ears, one might certainly suggest that Led Zeppelin were not the cultural spokesmen of their generation, though their standing as no doubt the most notable rock band of all time can not be denied.
As to the remastering of 2015: The album was remastered by Page, who I’m sure feels that he finally got it right this time out, with an album that’s most suited for the turntable, as each track was designed for the warmth of vinyl, with a fat bass that presents the band’s sense of heaviness without coming off as labored, or holding you in place, but rather unfettered and divinely inspirational. And of course, with the deluxe edition, you get even more than you ever bargained for.

The Fun Facts: The album's intricate die-cut sleeve design depicts a photograph of a New York City brownstone tenement. The two five story buildings photographed for the album cover are located at 96 and 98 on St. Mark's Place in New York City. The original photograph underwent a number of tweaks to arrive at the final image. The fifth floor of the building had to be cropped out to fit the square album cover format. The buildings to the left and right were also changed to match the style of the double front. Tiles were added on the roof section along with more faces. Part of the top right railing balcony was left out for a whole window frame to be visible. The front cover is a daytime shot, while the back cover was taken at night.

The Rolling Stones used the same apartment block for the 1981 video “Waiting On A Friend.”

When Physical Graffiti was released, all five of Zeppelin’s previous albums re-entered the Billboard charts, making them the first band to have six albums chart at one time.

John Paul Jones’ clavinet line on ‘Trampled Under Foot’ was inspired by Stevie Wonder’s ‘Superstition’.

“In My Time of Dying” is a reworking of Blind Willie Johnson’s ‘Jesus, Make Up My Dying Bed’ from 1927. Another variation of the song was recorded by Bob Dylan.

John Paul Jones almost quit Zeppelin prior to recording the album as he’d been offered the position of choirmaster at Winchester Cathedral.

John Bonham arrived for the recording session with 1,500 Mandrax pills [the sedative Quaalude] taped to the inside of his drum kit.

Review by Jenell Kesler
carlos1882

carlos1882

December 9, 2016

The runouts on mine are A4 / B4 & C2 / D1 Does this make mine a later press?
JM92

JM92

November 5, 2016

A lot of Zeppelin's contemporaries such as Jeff Beck, Rod Stewart, Jack Bruce, Keith Richards and Pete Townsend dismiss them, if you listen to this record it would suggest the reason is jealousy. Zeppelin owned the 70s and this album is them at their peak.
iquegf

iquegf

July 24, 2016
The price this record commands is kind of silly - eventually there will be hundreds of first pressings that no dealer can shift because they price them at £75 or above. I just bought a UK first pressing (yes, it really is one) in NM condition from a record fair for £15, priced at £35 but the guy was selling everything off half price at the end of the day. If you can't physically leave the house, by all means buy this on line, but making a bit of an effort means you don't have to pay silly money for what is essentially quite an easily obtained LP. Inflation in the second hand record market has been absurd over the last 20 years or so. The 'holy grail' approach to record buyng and selling is on the way out, especially since the advent of cheaper means of producing and obtaining good quality issues of older classic records. I like the real thing as much as the next guy, but realistically my collection consists of an eclectic combination of as nice as I can afford original vinyl, good CD issues, tapes (nice!), and a very few dreaded 'audiophile' items (mostly these are horrid and I'd rather have a wonky old copy than a £50 tarted up version made last year, but sometimes they are worth the price).
finders_vinyl

finders_vinyl

April 12, 2016
I'm sure I found it on google if you look up the label and the suffix csm for the matrix.
Vince_plumber

Vince_plumber

February 4, 2016
HELP!!!!!!!
I have a copy of Physical Graffiti ss 2-200 where the label on all four sides says ST-SS- 753311 CSM. Cant find it in here, either does any of the matrix number match any in here.
Vince_plumber

Vince_plumber

February 3, 2016
HELP!!!!!!!
I have a copy of Physical Graffiti ss 2-200 where the label on all four sides says ST-SS- 753311 CSM. Cant find it in here, either does any of the matrix number match any in here.
the_groover

the_groover

April 28, 2015

Regarding B4 OR B5 Matrix, thought Id add this link to clear up any doubts about first pressings
http://en.allexperts.com/q/Led-Zeppelin-501/2012/4/physical-graffiti-vinyl.htm
zionsgate

zionsgate

January 7, 2015
can't find us SS 2-200 (ST-ss-753312FT)
any clues?