Led Zeppelin – Physical Graffiti
Tracklist
| A1 | Custard Pie | 4:20 | |
| A2 | The Rover | 5:44 | |
| A3 | In My Time Of Dying | 11:08 | |
| B1 | Houses Of The Holy | 4:01 | |
| B2 | Trampled Under Foot | 5:38 | |
| B3 | Kashmir | 9:41 | |
| C1 | In The Light | 8:46 | |
| C2 | Bron-Yr-Aur | 2:07 | |
| C3 | Down By The Sea Side | 5:15 | |
| C4 | Ten Years Gone | 6:55 | |
| D1 | Night Flight | 3:37 | |
| D2 | The Wanton Song | 4:10 | |
| D3 | Boogie With Stu | 3:45 | |
| D4 | Black Country Woman | 4:30 | |
| D5 | Sick Again | 4:40 |
Companies, etc.
- Manufactured By – Classic Records, Inc.
- Distributed By – Classic Records, Inc.
- Licensed To – Classic Records, Inc.
- Phonographic Copyright ℗ – Atlantic Recording Corporation
- Copyright © – Atlantic Recording Corporation
- Record Company – Swan Song Inc.
- Published By – Joaneline Music, Inc.
- Recorded At – Headley Grange
- Recorded At – Stargroves
- Recorded At – Island Studios
- Recorded At – Olympic Studios
- Overdubbed At – Olympic Studios
- Overdubbed At – Island Studios
- Mixed At – Electric Lady Studios
- Mixed At – Olympic Studios
- Recorded By – Ronnie Lane's Mobile Studio
- Recorded By – Rolling Stones Mobile
Credits
- Artwork [Tinting Extraordinaire] – Maurice Tate
- Design Concept [Package Concept], Design – Peter Corriston
- Executive-Producer – Peter Grant
- Illustration [Windows] – David Heffernan
- Lacquer Cut By – BG*
- Mixed By – Keith Harwood (tracks: A1 to A3, B2 to D5)
- Photography By – Roy Harper
- Producer – Jimmy Page
Notes
200 Gram Classic Records QUIEX SV-P Super Vinyl Profile
A, B, C & D runouts are etched.
A, B, C & D runouts are etched.
Barcode and Other Identifiers
- Rights Society: ASCAP
- Matrix / Runout (Side 1 label): ST-SS-753309 - SP
- Matrix / Runout (Side 2 label): ST-SS-7533010 - SP
- Matrix / Runout (Side 3 label): ST-SS-753311 - SP
- Matrix / Runout (Side 4 label): ST-SS-753312 - SP
- Matrix / Runout (Side 1 runout): SS 2-200A BG
- Matrix / Runout (Side 2 runout): SS 2-200-B BG
- Matrix / Runout (Side 3 runout): SS 2-200-C BG
- Matrix / Runout (Side 4 runout): SS 2-200-D
Other Versions (5 of 476)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
| Physical Graffiti (2×LP, Album, Stereo) | Swan Song | SSK 89400 | UK | 1975 | |||
| Physical Graffiti (2×LP, Album) | Swan Song | HSWS 681-01/02 | Spain | 1975 | |||
| Physical Graffiti (2×LP, Album, Stereo) | Swan Song | SSK 89 400-O, SSK 89 400 (O), SSK 89 400 | 1975 | ||||
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New Submission
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Physical Graffiti (Cassette, Album) | Swan Song | SK 489400 | UK | 1975 | ||
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Recently Edited
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Physical Graffiti (2×LP, Album, Reissue) | Swan Song | W 89400 | Italy | 1975 |
Recommendations
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2019 USVinyl —12", 45 RPM, Album, Numbered, Reissue, Remastered, Special Edition, Stereo -
2002 USVinyl —LP, Album, Reissue, Remastered, Stereo
Reviews
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Managed to find one of these copies for a reasonable price. Gotta say, I am impressed. Very odd thing I noticed as I compare to my only other copy (Canadian first press) is that the channels seem to be reversed on custard pie. The guitar is panned on the Right speaker in the Classic and comes out of the left on the Canadian pressing. I'll have to listen again to confirm. In any case, this is an improvement--though my Canadian pressing was no slouch, even with all the clicks and pops I've grown to live with. -
Finally got a copy of this pressing, and I have to say - the only improvement is the drums. I dont think there’s a massive difference between this and a 77 US pressing, but the drums on here actually do sound punchier. If I was blindfolded, I definitely wouldn’t have been able to tell the original vs the Classic - down to the jacket being identical to the original. -
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Owning UK original (B4), US 1987 version and recent 2014 remaster, I assure you that this is by far the best sounding.
This pressing is so much fatter, warmer, fuller and more detailed compared to versions above.
UK 1st pressing also fantastic, but will be much harder to find in NM condition rather than this one.
Soundstage on this pressing is unbelievable, can't even stress enough how impressed I am.
Sincerely recommend each LZ fan to save money to grab it when there's a chance !
And agreed with tom807 comment. -
This is a fantastic pressing and my go-to copy. I've always said that Classic Records folded too soon, as the record resurgence happend JUST after.
Think of the work they would have issued for us. -
Edited 6 years agoIt amazes me that there are some that do not agree with me that the Classic Records version of Physical Graffiti is the best there is. Perhaps some are upset they could not buy one when it was released? They were too young, or couldn’t otherwise afford to buy a copy? Or perhaps there is some other reason. I could imagine that there are some who don’t have a turntable set-up or stereo that’s good enough to hear a difference? I don’t want to sound like a snob, I’m just trying to imagine why one doesn’t realize something that is so obvious to me. Bonham’s drums sound massive, acoustic instruments sound more realistic, and most importantly the surface noise is non-existent. I heard a Japanese pressing that was almost as good, but not quite. The tonality of the Classic Records pressing has it beat. It’s just so loud and clear. So good. So good! -
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Edited 8 years agoClassic Records did a killer job on mastering and pressing on this release.
I have a 1975 Australian pressing Physical Graffiti and the Classic Records version leaves it in the dust.
On the 1975 pressing you can hardly hear Bonhams drums, but on the Classic Records version the drums can be heard and with power and air in them. The overall sound is big solid rock. Just great!
Turn up "In My Time Of Dying" and you will hear what I mean.
Release
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