Led Zeppelin (2/Cd) Physical Graffiti Sessions

Led Zeppelin (2/Cd) Physical Graffiti Sessions
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Led Zeppelin (2/Cd) Physical Graffiti Sessions
Led Zeppelin / Physical Graffiti Sessions / 2CD With OBI Strip / Wendy Label Released February 24,1975. Recorded July And December 1970 January To March 1971, May 1972 & January To February 1974. Digitally Remastered

The sixth original album as Zeppelin became the first two-piece set. The release was in February 1975, and the tour accompanying this album was held in 1975. Recording itself has been performed intermittently from an early period, especially in 1974 when the tour did not take place for the first time since the debut, so we were able to concentrate on recording. Usually, any artist prepares many songs for the first time and condenses it to make a single album. Even the White Album of the Beatles recalls that George Martin should “sort out good songs and put them out as a single album.” However, contrary to such a method, Zeppelin at this time prepared the material for one sheet at the beginning, and added two unpublished songs so far to make it a two-piece set. At this time there were only 8 new songs and the other songs added songs that leaked out in the past album production. In that respect, even though it is the same album, those whose recording times are far apart are recorded at the same time.

The image of Zeppelin impressed by the first two albums will be destroyed greatly by the band himself in the third album. Even Shibuya Yoichi, known as Zeppelin Mania, was writing dissatisfaction with the sound of the third acoustic chief. And in “PHISICAL GRAFFITI” released in 1975, I was hoping that Shibuya Yoichi was excited about listening to the sounds that followed the IV with unprecedented text that I write a liner before album listening. Although the era of recording is exactly the time that is exactly the time of recording, the group of music recorded in this album has a sense of unity as all the fans expect as a Zeppelin sound. The plant recalls that “After all albums were completed, all were blending in a stark eye.” In Rolling Stone magazine, we are giving maximum tribute to “a masterpiece like Surgent and Tommy and Beggars banquet together.” This work contains the recording session sound source of “PHYSICAL GRAFFITI”. Details of the recording are not clarified, but it seems that at least six divisions can be made from the contents. This work is recorded in the division of the recording time, not for each song.

【ACOUSTIC SESSION】 “TEN YEARS GONE” is different from the final version of the brilliant sound, and the take 1 recorded here is a quiet performance by acoustic guitar. It is interesting that the melody is the same but the impression is completely different. I have not got the lyrics yet. Take 2 and 3 are confirmation of the riff after changing arrangement from acoustic to electric. The part of the guitar solo is also quite close to completion. “THE ROVER” is also played by Akogi. While it is only Akogi’s performance, the unique groove feeling is overflowing, and the plant sings unfinished lyrics with humming. It was in 1974 that he launched his own label with the expiration of the contract with Atlantic Records belonging since his debut. I named the label “Swan Song.” It is said that Jimmy comes from the title of the instruments plucked in play. That song is “SWAN SONG” recorded here.

【RECORDING SESSIONS 1】 “CUSTARD PIE” is a hard number adorning the beginning of the album. The guitar stacked on an irregular drum, and its effect sound are sounds that do not feel uncomfortable even if it is recorded in the very same IV. The take recorded here is nearly complete. The release version was a mix that made vocals conspicuously put the musical instruments on the front, but here it is a well-balanced one. The ending has not been decided yet, it is abrupt. “IN MY TIME OF DYING” starts from the count, and it seems that trial and error is taking place to solidify the performance while performing the discussion in the band on the way. Although arranging is confirmed, the details are incomplete, and it is understood that it made close to completion while repeatedly playing like this. The song of the plant has stayed at the provisional guide level to the last. “TRAMPLED UNDERFOOT” is a relaxed tempo while vocals are double tracks, and it is quite a full-fledged recording and take. A considerable amount of time is spent on John Paul Jones’ keyboard solo, and that solo is also different from the released version.

【RECORDING SESSION 2】 “KASHIMIR” is a representative song of a grand album also called Zeppelin Pride. The tempo is considerably faster than the release version, and vocals are not included. Ending is also different. “TEN YEARS GONE” is a studio here so it is an electric version. And the most time spent in session 2 is “NIGHT FLIGHT” and “BOOGIE WITH STU”.

【RECORDING SESSION 3】 The main part of recording session 3 is “TRAMPLED UNDERFOOT”. The plant plays vocals on an impressive keyboard riff. Melody is purely left to vocals, but you can see that the lyrics are still incomplete. The break part is also properly inserted, and the tempo is somewhat relaxed and the performance is not bad, but I can hear that the main points are completed at this point. Take 4 is a pretty relaxing tempo and a strange guitar omitted from the original is superimposed. The plant sings to whisper and it is like a jazzy arrangement. Ultimately it turned out that such an up-tempo was probably since the recording was considerably later. “IN THE MORNING” is the working title of “IN THE LIGHT”.

【RECORDING SESSION 4】 “SICK AGAIN” is something you will not be used to listening to from the intro. The vocal is off, but the vocal of the plant is completely different from the original, and when you listen to this take it makes me think that you developed “BOOGIE WITH STU” or is a song made from the same derivation. “Take me store” will be the original piece of “CUSTARD PIE”. The phrase “CUSTARD PIE” appears everywhere though it is a completely different song.

【RECORDING SESSION 5】 The four songs recorded here are nearly completed, and there is no atmosphere of a studio room where the sound is also closed.

【PHYSICAL GRAFFITI SESSIONS】 This work contains all the session sound sources whose survival is confirmed with respect to the 6th album of Zeppelin. It is Zeppelin showing various approaches at the live stage, but supporting the performance at the stage is a studio recording that was made with contemplation like this in this way. It is a valuable sound source that catches glimpses of the process of making songs that is still known as Rock ‘s Classics.

DISC ONE RECORDING SESSION 1 01. abc song 02. Ten Years Gone #1 03. Ten Years Gone #2 04. Ten Years Gone #3 05. The Rover 06. Swan Song

RECORDING SESSION 2 07. Custard Pie 08. In My Time Of Dying #1 09. In My Time Of Dying #2 10. In My Time Of Dying #3 11. In My Time Of Dying #4 12. In My Time Of Dying #5 13. In My Time Of Dying #6 14. In My Time Of Dying #7 15. Trampled Underfoot

RECORDING SESSION 3 16. Kashimir 17. Ten Years Gone #1 18. Ten Years Gone #2 19. Ten Years Gone #3 20. Night Flight #1 21. Night Flight #2 22. Night Flight #3 23. Night Flight #4 24. Night Flight #5 25. Night Flight #6 26. Night Flight #7 27. Night Flight #8 28. Boogie With Stu #1 29. Boogie With Stu #2 30. Boogie With Stu #3 31. Boogie With Stu #4 32. Boogie With Stu #5 33. Boogie With Stu #6 34. Boogie With Stu #7 35. Boogie With Stu #8 36. Boogie With Stu #9

DISC TWO RECORDING SESSION 4 01. Trampled Underfoot #1 02. Trampled Underfoot #2 03. Trampled Underfoot #3 04. Trampled Underfoot #4 05. Trampled Underfoot #5 06. Trampled Underfoot #6 07. Trampled Underfoot #7 08. Trampled Underfoot #8 09. Trampled Underfoot #9 10. In The Morning #1 11. In The Morning #2 12. The Wanton Song #1 13. The Wanton Song #2

RECORDING SESSION 5 14. Sick Again 15. Take Me Home #1 16. Take Me Home #2 17. Instrumental

RECORDING SESSION 6 18. Trampled Underfoot 19. In The Light 20. The Wanton Song 21. Swan Song