LED ZEPPELIN PHYSICAL GRAFFITI Ist UK PRESS A1 B4 C1 D1

	£		172
	$		228

LED ZEPPELIN

PHYSICAL GRAFITTI

A1 B4 C1 D1

1ST UK PRESS

SSK 89400

Near MINT Condition

Lettering on Spine is in Red &

NO ‘W’ Warner logo on label

PLEASE CLICK ON THE SONG TITLE TO LISTEN;

Black Country Woman

Down By the Seaside

Custard Pie

Houses of the Holy

Please look at all the photos down the listing

PHOTO SCROL

Notes:

 This is a stunning example of Led Zeppelin’s Physical Graffiti album. A first press with the A1 B4 C1 D1 matrix, also NO "W" Warner logo on label credits, Plus a thick brown cardboard first press inlay card with a spine, containing the song titles, (later ones were a thinner white card and no spine), plus the record sleeves are also a thicker card, this is a first press and it is in an amazing condition.

Description:

Vinyl:

 The vinyl has a jet black look and in everyday light looks mint. I have played it all the way through and apart from the slightest bit of static noise in the quiet parts and run offs plays faultlessly (please click on the song titles above to listen). There are no visible marks to it at all, it LOOKS UNPLAYED It has clearly been well cared for and it’s only when angled against a strong light that you can see some feint wispy traces and the odd hairline mark. It has a great lustre to it, absolutely superb.

 GRADED MINT-

Sleeve:

 This die cut sleeve is overall in excellent condition, it does have general wear around the edges and corners but every one of the 41 windows is still intact and still has sharp edges. All three spines are in good order slight fade with the text spine and slight rubbing on the others, look at the pictures. The opening end does have some handling use with the top two corners slightly worn.

 GRADED EXCELLENT

Inner sleeves;

  The inner sleeves are excellent and DO NOT have the usual side splits, they have been kept separate as the vinyl are kept in brand new poly lined sleeves.

 GRADED EXCELLENT+

Inlay Card

  The inlay card has all the song credits and the letters that appear through the windows of the main cover, and it is made from a thick cardboard with a spine, (only first press) and it is complete with NO unwanted graffiti anywhere.

 GRADED EXCELLENT

Labels:

 The labels are very strong in colour and very little evidence of any use as I can’t really see any spindle trails. They are the first press issue labels that DO NOT include the Warner credits. They really are stunning see the photos.

 GRADED MINT-

Inscribed in the dead wax:

Matrix Number

Side 1; SSK 89400 A1

Side 2; SSK 89400 B4

Side 3; SSK 89400 C1

Side 4; SSK 89400 D1

Biography

 Physical Graffiti is the sixth studio album by the English rock band Led Zeppelin, released on 24 February 1975 as a double album. This is a 1st UK Press and has the A1 B5 C1 D1 matrixes. 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,(Continued below)

Because the eight tracks extended beyond the length of a conventional album, it was decided to include several unreleased songs which had been recorded during the sessions for previous Led Zeppelin albums. The instrumental "Bron-Yr-Aur" was recorded in July 1970 at Island Studios, London, for Led Zeppelin III. It was named after Bron-Yr-Aur, a cottage in Gwynedd, Wales where the members of Led Zeppelin spent time during the recording of Led Zeppelin III. "Night Flight" and "Boogie with Stu" were recorded at Headley Grange and "Down by the Seaside" at Island Studios, all for Led Zeppelin IV. "The Rover" and "Black Country Woman" were recorded at the same sessions as "D'yer Mak'er" at Stargroves using the Rolling Stones Mobile Studio in May 1972. "Houses of the Holy" was also recorded in May 1972, but at Olympic Studios. The group's fifth album, Houses of the Holy, took its title from this song despite the decision not to include the song on that album.

Page explained:

 We had more material than the required 40-odd minutes for one album. We had enough material for one and a half LPs, so we figured let's put out a double and use some of the material we had done previously but never released. It seemed like a good time to do that sort of thing, release tracks like "Boogie With Stu" which we normally wouldn't be able to do... This time we figured it was better to stretch out than to leave off.

 According to engineer Nevison, the decision to expand the album to include songs from previous sessions was not part of the original planning:

 I never knew that Physical Graffiti was going to be a double album. When we started out we were just cutting tracks for a new record. I left the project before they started pulling in songs from Houses of the Holy and getting them up to scratch. So I didn't know it was a double [album] until it came out.

 Additional overdubs were laid down and the final mixing of the album was performed in October 1974 by Keith Harwood at Olympic Studios, London. The title "Physical Graffiti" was coined by Page to illustrate the whole physical and written energy that had gone into producing the set.

The album's sleeve design features a photograph of a New York City tenement block, with interchanging window illustrations. The album designer, Peter Corriston, was looking for a building that was symmetrical with interesting details, that was not obstructed by other objects and would fit the square album cover. He said:

We walked around the city for a few weeks looking for the right building. I had come up [with] a concept for the band based on the tenement, people living there and moving in and out. The original album featured the building with the windows cut out on the cover and various sleeves that could be placed under the cover, filling the windows with the album title, track information or liner notes.

 The two five-story buildings photographed for the album cover are located at 96 and 98 St. Mark's Place in New York City. To enable the image to fit properly with the square format of the album cover, the fourth floor (of five) had to be cropped out, making them appear as four-story buildings in the image. The whole image underwent a number of small tweaks to arrive at the final image. 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 image, while the back cover (above) is the same image but at night-time.

Mike Doud is listed as the cover artist on the inner sleeve, and either the concept or design or both were his. He passed away in the early 1990s, and this album design was one of his crowning achievements in a lifetime of design. In 1976 the album was nominated for a Grammy Award in the category of best album package. (Doud would later win a Grammy for best album cover of the year in 1978).

 The buildings on the album cover were the same ones that Keith Richards and Mick Jagger were filmed in front of in The Rolling Stones music video "Waiting on a Friend".[14] There was a used clothing store in the basement of 96 St. Mark's Place called Physical Graffiti. There is currently a shop called Physical Graffitea. The building has been profiled on the television show, Rock Junket.

The original album jacket for the LP album included four covers made up of two inners (for each disc), a middle insert cover and an outer cover. The inner covers depict various objects and people (including photos of Plant and Richard Cole in drag) on each window. The middle insert cover is white and details all the album track listings and recording information. The outer cover has die-cut windows on the building, so when the middle cover is wrapped around the inner covers and slid into the outer cover, the title of the album is shown on the front cover, spelling out the name "Physical Graffiti

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(As some countries are cheaper than others + this album maybe a lot lighter)

SEE POSTAGE DETAILS BELOW

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POSTAGE DETAILS

The cost of postage is set out below, however if you require any special requirements please ask. Some countries are cheaper than others, plus records differ in weight so it could be less than below. I will only charge what it cost me so;

PLEASE WAIT FOR AN INVOICE from me otherwise you will pay the highest amount.

The cost below is for a single album weighing 750g.(this one could be lighter)

The price for ‘value over £46’ includes insurance of anything between £47 and £500.

(note Royal Mail price increase as of 01/05/12)

WITHIN THE UK

Value up to £46

Value over £46

Royal Mail 1st Class Recorded

N/A

Special Delivery

£7.55

Europe / Rest Of the World

Value up to £46

Value over £46

International Signed For

N/A

International Signed For

£17.50

HOW IT WILL BE SENT

I always send out records very secure. The vinyl is taken out of the sleeve and then the cover and vinyl are placed in a plastic sleeve. It is then wrapped in bubble wrap and placed in a strong album mailer (DEFENDA MUSIC MAX or CRUCIFORM TYPE) plus an extra cardboard stiffener. It will be secured with parcel and fragile tape.

RETURNS

I will take returns in the unlikely event I have missed something or the description is wrong in anyway and you’re not happy with your purchase please contact me first (before you leave feedback) I WILL sort it out and I WILL of course make a REFUND. The item has to be returned within 7 days of you receiving it in the same condition it was sent out. I will refund the cost of the item plus your original postage, but the buyer pays for the return postage. I do try my best to be as accurate as possible and would never miss-lead you in anyway.  

(Please read all of my description) I will not make any refunds if you simply just changed your mind, I will always be fair and honest.

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About me & policies;

I am an enthusiast in vinyl and have been collecting since the early 70’s; it is one of my hobbies and not my living. I always try my hardest to get my description correct and always put on as many photos as I can, the good and bad bits so you can see everything in detail. I also try and put on any Biography’s I can as sometimes they can be very useful information. I always play through the entire album before I list it and often record it to a blog so you can listen before you bid. Nearly all of the records I put onto eBay are at least excellent, but sometimes I will put ones that are a lower grade if they are rare or collectable. I use the Record Collectors Grading Guide to grade my vinyl. I always offer a refund if I have missed something you’re not happy with. I normally post on Monday’s and Wednesday’s so it could be posted next day or at the most 3 days from when I receive payment. As for payment I think that 4 to 5 days after you have won should be long enough, but if you need longer please contact me before you bid. I always post ‘To be signed for’ as this stops any confusion. I will always leave you 5 star feedback and hope that you will do the same, if for any reason you’re not happy then please contact me first.

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All my records are graded using the

Record Collector Magazine's Grading Guide Below

MINT:
The record itself is in brand new condition with no surface marks
or deterioration in sound quality.
The cover and any extra items are in perfect condition.
Records advertised as sealed or un-played 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, discoloration, etc.

FAIR:
The record is still just playable but it 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.