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From my personal collection!  This album is in near perfect condition in every way.  The cover would be graded as "Near Mint" if not for a slight amount of wear on the top opening.  I'm confident grading this as EX or EX+.  Both inserts are perfect and included.
The vinyls are both in "Near Mint" condition, BARELY showing any signs of use.  I have another copy of this album that I would normally use to play, this one has mostly been stored to stay in the condition it's in.  You'll be hard pressed to find another original copy as good as this!
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Physical Graffiti by Released24 February 1975RecordedJuly and December 1970, January–March 1971, May 1972, January–February 1974 at multiple locations     Length82:45 chronology
(1973)Physical Graffiti
(1975)
(1976) from Physical Graffiti ""/""
Released: 2 April 1975

Physical Graffiti is the sixth studio album by the English rock band , released as a double album on 24 February 1975. The band wrote and recorded eight new songs for the album at . These eight songs stretched the total time of the record beyond the typical length of a single , so the band decided to make Physical Graffiti a double album by including unreleased tracks from earlier recording sessions: one  from , three from , and three from , including the unused .

Physical Graffiti was commercially and critically successful; the album went 16x platinum in the US in 2006, signifying shipments of eight million copies, and was a number one album in both the US and UK.

Recording session

The first attempt to record songs for Physical Graffiti took place in November 1973 at Headley Grange in , England. The recording equipment consisted of . However, these sessions came to a halt quickly and the studio time was turned over to the band , who used it to record songs for their eponymous . In an interview he gave in 1975, guitarist and album producer  explained the reason for this abrupt cessation of recording:

"It took a long time for this album mainly because when we originally went in to record it,  wasn't well and we had to cancel the time... everything got messed up. It took three months to sort the situation out."

However, according to Led Zeppelin archivist Dave Lewis:

"It later emerged that Jones had wanted to quit the band and take up a position as choirmaster at . [Manager]  urged caution, suggesting that Jones was overwrought from the incessant touring and should take a rest from Zeppelin for a few weeks. Jones changed his mind and sessions resumed at Headley Grange after the Christmas holidays."

Once they had reconvened, the band recorded eight tracks at Headley Grange in January and February 1974, which were engineered by . Lead singer  later referred to these eight tracks as "the belters":

"We got eight tracks off... and a lot of them were really raunchy. We did some real belters with live vocals, off-the-wall stuff that turned out really nice."

Similar to the sessions for the previous two albums, the decision to record at the informal surroundings of Headley Grange provided a welcome opportunity for the band to improvise and develop material along the way. As Plant commented:

"Some of the tracks we assembled in our own fashioned way of running through a track and realising before we knew it that we had stumbled on something completely different."

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.

"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... [T]his 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  at , London. The title "Physical Graffiti" was coined by Page to illustrate the whole physical and written energy that had gone into producing the set.

Music

In the opinion of Dave Lewis, Physical Graffiti:

"was a massive outpouring of [Led] Zeppelin music that proved to be the definitive summary of their studio work... Given the luxury of a double format, Physical Graffiti mirrors every facet of the Zeppelin repertoire. The end result is a finely balanced embarrassment of riches."

 cottage was the birthplace of "", "", and "".

Spanning several years of recording, the album featured forays into a range of musical styles, including hard rock ("", "", "", "", ""), eastern-influenced orchestral rock (""), progressive rock (""), driving funk (""), acoustic rock and roll ("", ""), love ballad (""), blues rock (""), soft rock (""), country rock romp (""), and acoustic guitar instrumental (""). The wide range of Physical Graffiti is also underlined by the fact that it contains both the longest and shortest studio recordings by Led Zeppelin. "In My Time of Dying" clocks in at eleven minutes and five seconds, and "Bron-Yr-Aur" is two minutes and six seconds. With the exception of "" on their fourth album, it is the only other Led Zeppelin album to feature John Paul Jones playing additional guitar on some tracks.

Several tracks off the album became live staples at . In particular, "In My Time of Dying", "Trampled Under Foot", "Kashmir", "Ten Years Gone", "Black Country Woman", and "Sick Again" became regular components of the band's live concert  following the release of the album.

According to Robert Plant, of all the albums Led Zeppelin released, Physical Graffiti represented the band at its most creative and most expressive. He has commented that it is his favourite Led Zeppelin album. Similarly, guitarist Jimmy Page considers this album to be a "high-water mark" for Led Zeppelin.

“It’s always a case of getting together and feeling out the moods of each of us when we meet with instruments for the first time in six months. We began as always, playing around and fooling about for two days, playing anything we want, like standards, our own material or anything that comes to us, and slowly but surely we develop a feel that takes us on to the new material."

Album sleeve design

The album's intricate die-cut sleeve design depicts a photograph of a New York City brownestone  block, through whose windows various cultural iconographs could be interchangeably viewed. The album designer,, 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."

96 and 98 East 

The two five-storey buildings photographed for the album cover are located at 96 and 98  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.

Eschewing the usual  design in favour of a special die-cut cover, the original album jacket for the  included four covers made up of two inners (for each disc), a middle insert cover and an outer cover. 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". Images in the windows touched upon a set of American icons and a range of Hollywood ephemera. Pictures of  and  alternated with the snapshots of Led Zeppelin.

Mike Doud is listed as the cover artist on the inner sleeve, and either the concept or design or both were his. He died 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  in the category of .

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 Graffiti. The building has been profiled on the television show, Rock Junket.

Release and critical reception Professional ratingsAggregate scoresSourceRating97/100Review scoresSourceRatingB+4.5/510/108/10

The album was released on 24 February 1975, at a time when Led Zeppelin were undertaking their  of North America. Delays in the production of the album's sleeve design prevented its release prior to the commencement of the tour.

Physical Graffiti was the band's first release on their own  label, which had been launched in May 1974. Until this point, all of Led Zeppelin's albums had been released on . The album was a commercial and critical success, having built up a huge advance order, and when eventually released it reached No. 1 on 's Pop Albums chart. It has since proven to be one of the most popular releases by the group, shipping 8 million copies in the United States alone (which has made it 16 times platinum as it is a double album). Physical Graffiti was the first album to go platinum on advance orders alone. Shortly after its release, all previous Led Zeppelin albums simultaneously re-entered the top-200 album chart.

In March 1975, Billboard magazine's reviewer wrote: "[Physical Graffiti] is a tour de force through a number of musical styles, from straight rock to blues to folky acoustic to orchestral sounds." Similarly, Jim Miller stated in  that the double album was "the band's ,  and  rolled into one: Physical Graffiti is Led Zeppelin's bid for artistic respectability." Reviewing the album for  in 2007, Chris Jones described it as "a towering monument to the glory of Zeppelin in their high-flying heyday".

In 1998  readers voted Physical Graffiti the 28th-greatest album of all time; in 2000 Q placed it at number 32 in its list of the 100 Greatest British Albums Ever; and in 2001 the same magazine named it as one of the 50 Heaviest Albums of All Time. In 2003, the TV network  named it the 71st-greatest album ever. In 2003, the album was ranked number 70 on  magazine's list of "". The album is also listed in Robert Dimery and Stevie Chick's 1001 Albums You Must Hear Before You Die(2005).

Accolades PublicationCountryAccoladeYearRankUSA""1976NomineeUSA""200370USA"Top 100 Albums of the 1970s"200495USA"Top Digital Albums"201220AllMusicUSA"Top Pop Catalog"20123AllMusicUSA"The Billboard 200"201243UK"100 Greatest Rock Album Ever"20015UK"The 100 Greatest Albums Ever Made"199647UK"100 Greatest Albums Ever"200341UK"Classic Albums from 21 Genres for the 21st century"2005*Robert DimeryUSA2005*QUK"100 Best Albums Ever"200657Classic RockUK"100 Greatest British Rock Album Ever"20067USA"The Definitive 200: Top 200 Albums of All-Time"200793USA"Reader's Poll: 100 Greatest Guitar Albums"20069

(*) designates unordered lists.

Track listing

All songs written and composed by  and , except where noted. 

Side oneNo.TitleDate recordedLength1.""  January–February 19744:152.""  May 1972 ( outtake)5:393."" (, , Page, and Plant)January–February 197411:08Side twoNo.TitleDate recordedLength4.""  May 1972 (Houses of the Holy outtake)4:045."" (Jones, Page, and Plant)January–February 19745:366."" (Bonham, Page, and Plant)January–February 19748:37Side threeNo.TitleDate recordedLength7."" (Jones, Page, and Plant)January–February 19748:478."" (Page)July 1970 ( outtake)2:069.""  February 1971 ( outtake)5:1510.""  January–February 19746:34Side fourNo.TitleDate recordedLength11."" (Jones, Page, and Plant)December 1970 – January 1971 (Led Zeppelin IV outtake)3:3812.""  January–February 19744:0813."" (Bonham, Jones, Page, Plant, )December 1970 – January 1971 (Led Zeppelin IV outtake)3:5214.""  May 1972 (Houses of the Holy outtake)4:2415.""  January–February 19744:42