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Led ZeppelinPhysical Graffiti

Label:Swan Song – SSK 89400, Swan Song – SS2-200
Format:
2 x Vinyl, LP, Album, Stereo
Country:UK
Released:
Genre:Rock
Style:Classic Rock, Hard Rock

Tracklist

A1Custard Pie
Written-ByJimmy Page, Robert Plant
4:20
A2The Rover
Written-ByJimmy Page, Robert Plant
5:54
A3In My Time Of Dying11:08
B1Houses Of The Holy
Tracking ByGeorge Chkiantz
Written-ByJimmy Page, Robert Plant
4:01
B2Trampled Under Foot5:38
B3Kashmir9:41
C1In The Light8:46
C2Bron-Yr-Aur
Written-ByJimmy Page
2:07
C3Down By The Seaside
Written-ByJimmy Page, Robert Plant
5:15
C4Ten Years Gone
Written-ByJimmy Page, Robert Plant
6:55
D1Night Flight3:37
D2The Wanton Song
Written-ByJimmy Page, Robert Plant
4:10
D3Boogie With Stu3:45
D4Black Country Woman
Written-ByJimmy Page, Robert Plant
4:30
D5Sick Again
Written-ByJimmy Page, Robert Plant
4:40
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Notes

First pressing has labels without Warner logo (W) on rim text and vinyl matrix ending with 1/4/1/1.

A very few copies comes with a top rounded black sticker with titles track and "TWO RECORD SET SSK 89400"

The original die-cut "windows" cover has "SWAN SONG/484 KINGS ROAD, LONDON SW10" address at the top on back.
The set contains two custom inners with code "SSK 89400/A" for disc 1 and "SSK 89400/B" for disc 2 on bottom right back corner, plus a 2-page folded insert that has songs titles, credits, and text "Sleeve printed and made in England by Gothic Print Finishers Ltd., London SE9 2EQ".

Original cover & inners are smooth on the outside and textured/rough on the inside.

However, the Insert has 3 different types - all used throughout the 1st Pressing run:-

1) First Insert - Satin finish to front and back, thick in quality, with a SINGLE fold to the bottom as in the detailed photo (not to be confused with the later re-issue inserts from the late 70s which are shiny, very thin, and have 2 folds). This is the rarest insert type, and existed on the first few copies only - as identified by the different shines to the colours under light (current to the printing processes available in 1975), satin finish and SINGLE fold. Found on the 1st Press 1/4/1/1 copies, and in some 2nd Press 1/5/1/1 copies.

2) This was then changed to the insert with the cardboard back (to match the cover & inners), but again has a SINGLE fold. Again like the above this quite rare. Only found on the 1st Press 1/4/1/1 copies.

3) Lastly the most common insert found in most 1st Press copies - is the insert with the white front and cardboard back with TWO folds at the bottom. The above two rarest inserts with a single fold, did not fit properly around the inners & records inside the cover, and so TWO folds (like a cover spine) were made on each insert at the bottom. This therefore solved the problem, and therefore wrapped around the records & inners inside the cover properly.

Barcode and Other Identifiers

  • Other (Inner sleeve, record one): SSK 89400/A
  • Other (Inner sleeve, record two): SSK 89400/B
  • Matrix / Runout (Side A label): SSK 89400 A
  • Matrix / Runout (Side B label): SSK 89400 B
  • Matrix / Runout (Side C label): SSK 89400 C
  • Matrix / Runout (Side D label): SSK 89400 D
  • Matrix / Runout (Runout A, stamped, variant 1): SSK-89400-A1
  • Matrix / Runout (Runout B, stamped, variant 1): SSK-89400-B4
  • Matrix / Runout (Runout C, stamped, variant 1): SSK-89400-C1
  • Matrix / Runout (Runout D, stamped, variant 1): SSK-89400-D1
  • Matrix / Runout (Runout A, stamped, variant 2): SSK-89400-A1
  • Matrix / Runout (Runout B, stamped, variant 2): SSK-89400-B5
  • Matrix / Runout (Runout C, stamped, variant 2): SSK-89400-C1
  • Matrix / Runout (Runout D, stamped, variant 2): SSK-89400-D1
  • Matrix / Runout (Runout A, stamped, variant 3): SSK-89400-A3
  • Matrix / Runout (Runout B, stamped, variant 3): SSK-89400-B5
  • Matrix / Runout (Runout C, stamped, variant 3): SSK-89400-C1
  • Matrix / Runout (Runout D, stamped, variant 3): SSK-89400-D1
  • Matrix / Runout (Runout A, stamped, variant 4): SSK-89400-A5
  • Matrix / Runout (Runout B, stamped, variant 4): SSK-89400-B4
  • Matrix / Runout (Runout C, stamped, variant 4): SSK-89400-C2
  • Matrix / Runout (Runout D, stamped, variant 4): SSK-89400-D1
  • Matrix / Runout (Runout A, stamped, variant 5): SSK-89400-A1 2 7 D
  • Matrix / Runout (Runout B, stamped, variant 5): SSK-89400-B4 3 4 B
  • Matrix / Runout (Runout C, stamped, variant 5): SSK-89400-C1 1 0 B
  • Matrix / Runout (Runout D, stamped, variant 5): SSK-89400-D1 1 4 A
  • Matrix / Runout (Runout A, stamped, variant 6): SSK-89400-A1 1 0 B
  • Matrix / Runout (Runout B, stamped, variant 6): SSK-89400-B4 2 A
  • Matrix / Runout (Runout C, stamped, variant 6): SSK-89400-C1 4 B
  • Matrix / Runout (Runout D, stamped, variant 6): SSK-89400-D1 5 B

Other Versions (5 of 412)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Physical Graffiti (2×LP, Album)Swan SongHSWS 681-01/02Spain1975
Physical Graffiti (2×LP, Album, Stereo)Swan Song, Swan Song, Swan SongSSK 89 400-O, SSK 89 400 (O), SSK 89 400Germany1975
New Submission
Physical Graffiti (Cassette, Album)Swan SongSK 489400UK1975
Recently Edited
Physical Graffiti (2×LP, Album, Reissue)Swan SongW 89400Italy1975
Recently Edited
Physical Graffiti (2×LP, Album, Gatefold Sleeve)Atlantic, SuzyATL 89400, 89400Yugoslavia1975
  • LuisFelipp's avatar
    LuisFelipp
    Edited 28 days ago
    Just bought a new Physical Graffiti CD, but i haven't found the version of it here in discogs, the label is different from the others, the sound quality isn't the best, the sleeves looks original, but the CD's and the plastic box doesn't. I bought it here in Brazil, but all the info in the cd's and sleeves says that it was manufactured in the US, idk where i can upload pictures from it, i need help just to know if it is original...
    • mixipixilit's avatar
      mixipixilit
      My copy is from 1976 and has 2 disc 1s. Is this a thing that happened?
      • Shanefrank8's avatar
        Shanefrank8
        Physical Graffitti German Press 89 400-1. Cant seem to find the press i have? Does anyone know why that would be? Thanks Shanefrank8
        • flowerbed's avatar
          flowerbed
          Edited one year ago
          I can vouch for the fact that a 1/5/1/1 copy ALSO has the thick insert with satin finish both sides and a single fold along with all the other fiddly features that a 1/4/1/1 has. It's not "only on 1/4/1/1 copies" as claimed in the main entry.
          • gmcclure1031976's avatar
            I found an Irish pressing of this recently which doesnt seem to be listed in the database. One record is translucent and has the Carlton Productions 'CP' matrix etching, other record is not translucent and has an Alsdorf matrix stamp, so probably 1980s. Im subject to Discogs 'Contributor Improvement Program' nonsense so cant add it, and even if I get off their rubbish reeducation scheme I wont be contributing anything else anyway. But just to say for anyone interested, an Irish pressing of this exists.
            • kirke.benusi's avatar
              kirke.benusi
              The duration of Kashmir is wrong. The song is just 8:31.
              • devito.mark's avatar
                devito.mark
                I had the 2015 remastered and picked up a first pressing as well.
                Maybe it's me, but I think this pressing blows the new one out of the water.
                • streetmouse's avatar
                  streetmouse
                  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's avatar
                    carlos1882
                    The runouts on mine are A4 / B4 & C2 / D1 Does this make mine a later press?
                    • iquegf's avatar
                      iquegf
                      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).