Physical Graffiti Sessions
October 1973 - November 1974

OCTOBER 17, 1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Possibly the tapes are in the hands of the group if were not wiped.

Recording Includes: Baby I Don't Care (take 1), Baby I Don't Care (take 2), Jailhouse Rock (take 1), Jailhouse Rock (take 2), One Night, Don't Be Cruel (take 1), Don't Be Cruel (take 2), The Girl Of My Best Friend, Jailhouse Rock (take 3), Jailhouse Rock (take 4), Jailhouse Rock (take 5), Money Honey (take 1), Money Honey (take 2), Summertime Blues.
Source: Incomplete superb soundboard recording. The length is not known.

      It has been said many times that the band liked to warm up before their shows by playing old 50's classics, but this is the only time this type of rehearsal was documented in the studio. What a pity that this tape never saw the light of day. Based on existing similar recordings, we can only guess how great these songs would sound in professional quality.

OCTOBER 25, 1973 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM

Recording Includes: Sick Again (early version).
Recording: Complete superb soundboard recording. 2 minutes.

Official LP Reference(s): Physical Graffiti "deluxe" and " super deluxe" editions (Atlnatic)

Official CD Reference(s): Physical Graffiti "deluxe" and "super deluxe" editions (Atlnatic)

      Sick Again is a great insight into the embryonic stages of one of the most recognized songs from the latter period. It might evolve from The Rover, as it gives the similarities of the introduction of this take. Whatever the case is, this is a really interesting piece. There are a few overdubs and a phasered guitar, giving it a distinctly different and more raw feel than the album version. It sounds also closer to live performances that were to follow later on. The drumming is different on certain parts and matches that which we heard on the rehearsal bootleg tapes. It fades away with Page's power chord sequence and Bonham's exemplary drumming and impressive bass lines, played also by Jimmy.

OCTOBER/NOVEMBER 1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Initial rehearsals on new compositions. Recording sessions are cut short on account of Jones becoming disillusioned with his role as a bassist of constant rigours of touring and started to think to leave the band. Page starts working on Swan Song and Lucifer Rising solo projects.

NOVEMBER 1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Jimmy Page solo rehearsal. Due to arrangements, sometimes this session was attributed to late 1970 or early 1971. It is possible that some of these takes were initially recorded around that time and then were overdubbed during this session.

Recording Includes: Untitled Instrumental (several takes, some with overdubs) [ cut throughout ].
Source: Incomplete excellent cassette demo recordings. Almost 43 minutes.

Bootleg CD Reference(s): Evolution Is Timing 2 (Empress Valley Supreme Disc box), Physical Graffiti Sessions (Wendy Records), Sessions (Antrabata Reference Masters box), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      This is a real mystery. It consists of Page working out melodies on the acoustic guitar. Some of the melodies introduced on the guitar are then sometimes played on piano. The piano playing is very good and causes questions whether it is Page playing or someone else. There is no further evidence on tape that he even plays the instrument. Nevertheless, some of the melodies are recognizable, including the fast break found in Hots On For Nowhere and an embryonic version of The Rain Song.

NOVEMBER 1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Jimmy Page solo rehearsal. The date of this session is still speculative. Some of these takes are supposed to be recorded somewhere between late 1970 and early 1971 and overdubbed during this session.

Recording Includes: Untitled Instrumental, Ten Years Gone (takes 1-12, without and with guitar overdubs) [ cut throughout ].
Source: Incomplete excellent cassette demo recordings. 11 minutes.

Bootleg CD Reference(s): All That Glitters Is Gold (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch), The Complete Bombay 1972 Sessions (Tecumseh Recording Co.), Evolution Is Timing 2 (Empress Valley Supreme Disc box), Physical Graffiti Sessions (Wendy Records), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      The first track is another unidentified composition Page rehearsed during that time. The tune is in the form of a mellow ballad and is built around a repeating riff. The twelve takes of Ten Years Gone takes are just very short attempts to perfect the complicated guitar solo and trying to match it in the right key. It is said that Jimmy used some fourteen guitar tracks to overdub the harmony section on this piece, which was originally intended to be an instrumental number. Thus, some of these could be used later on the finished album version.

NOVEMBER 1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Jimmy Page solo rehearsal. The date of this sessions is still speculative. Some sources says it might have been recorded between November 1973 and May 1974. Some of these takes are supposed to be recorded on late 1970 or early 1971 and overdubbed during this session.

Recording Includes: Swan Song (several takes) [ cut throughout ].
Source: Incomplete excellent cassette demo recordings. 64 minutes.

Bootleg CD Reference(s): Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Sessions Volume 10 (Empress Valley Supreme Disc), Physical Graffiti Sessions (Wendy Records), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      The famous lost Zeppelin epic song. It occupied Page's attention for many years and was considered for a proposed suite about the four seasons and gave the band the name of their record label in 1974. Abandoned by them shortly after, it later surfaced on the ARMS tour in 1983 as Bird On A Wing and was recorded by The Firm as Midnight Moonlight. It is an important piece of their history. This recording has Jimmy playing acoustic and sometimes electric guitar over splashes of the Mellotron and bass by the occassion. He works on themes that have been heard onstage for years in his White Summer improvisations, and over the hour or so he runs these themes through many different textures and variations. Some takes are several minutes long variations of the old Yardbirds tracks.

JANUARY/FEBRUARY 1974 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
The Wanton Song is yet still under its initial title, Desire. In The Light is yet still under its initial title, Everybody Makes It Through. Trampled Underfoot is yet still under its initial title, Brandy And Coke. It is possible that this rehearsal might have occurred somewhere between October and November 1973, as Sick Again sounds less maturated than the version from October 25, 1973 released on the companion disc.

Recording Includes: The Wanton Song (take 1, with count-in), The Wanton Song (take 2), Take Me Home (take 1), Take Me Home (take 2), In The Light (take 1, with count-in), Trampled Underfoot (takes 1-9, with and without count-ins), In The Light (take 2, with count-in), Sick Again, drum clip, The Rover (acoustic and with vocals), Hots On For Nowhere (instrumental), ABC Song, In My Time Of Dying (takes 1-7, with and without count-ins) [ cuts throughout ].
Source: Incomplete excellent cassette demo recordings. 64 minutes.

Bootleg LP Reference(s): Hiawatha Express (Stash Records), In Through The Outtakes (Widget Recordworks & White Box), Tangible Vandalism (Tangible Song Records & White Box), & White Summer (Marc & Rock Solid)

Bootleg CD Reference(s): Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme Disc box), Headley Grange (Immigrant), The Lost Sessions EP Volume 10 (Empress Valley Supreme Disc), Physical Graffiti Sessions (Wendy Records), Physically Present (House Of Elrond), Sessions (Antrabata Reference Master box), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      Here we have a crucial document for seeing the development of songs and the album and the songwriting talents of Led Zeppelin. The Wanton Song is much more complete than in the 1973 soundcheck tape, with lyrics close to the final album version and plenty of missed time signatures. Take Me Home has a country picking beginning before landing on a groove very similar to The Wanton Song with Plant singing about someone wanting to leave or some such. In The Light is a very early version, with its original diatonic arrangement and lyrics about singing a song of salvation. The next tracks are the band working out Trampled Underfoot. None of the takes is longer than three and a half minutes, and they try different tempo over Jones' clavinet melody. Sick Again is an early rehearsal of the closing track of the album. It has primitive lyrics already assembled, unfortunately only marginally audible in the mix. A short acoustic version of The Rover follows with lyrics sounding quite similar to the album version. The next is an amazing attempt to groovy jam baed on the structure , which was later slightly re-arranged and evolved into Hots On For Nowhere. The ABC Song is nothing more than Robert teaching his daughter Carmen the alphabet. In My Time Of Dying rehearsals consist mostly of Page working with Bonham to get the correct rhythm down. The one version of In My Time Of Dying is an almost complete take lasting eight minutes and breaks down by the end. The last couple of tracks reveal some tensions with Bonham, who has trouble matching his parts to the song. Sadly, the tape cuts out abruptly, but this is still a very important gem!

JANUARY/FEBRUARY 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Boogie With Stu was originally recorded between December 1970 and January 1971 at Headley Grange Studios, Hampshire, United Kingdom with Ian Stewart accompaning on piano. Night Flight was originally recorded at Page's home studio and later mixed at Headley Grange Studios somewhere between January and February 1971. Some sources reports that this session might have been mixed on November 1974.

Recording Includes: Ten Years Gone (take 1) Ten Years Gone (take 2), Ten Years Gone (take 3) Ten Years Gone (take 4) Boogie With Stu (take 1), Boogie With Stu (take 2), Boogie With Stu (take 3), Boogie With Stu (take 4), Boogie With Stu (take 5), Boogie With Stu (take 6), Boogie With Stu (take 7), Boogie With Stu (take 8), Boogie With Stu (take 9), Night Flight (take 1), Night Flight (take 2), Night Flight (take 3), Night Flight (take 4), Night Flight (take 5), Night Flight (take 6), Night Flight (take 7), Night Flight (take 8), Night Flight (take 9), Night Flight (take 10), Night Flight (take 11) [ cut throughout ].
Source: Incomplete excellent soundboard recording. 40 minutes.

Bootleg CD Reference(s): Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry II (Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme Disc box), Physical Graffiti Sessions (Wendy Records), Studio Magik - Sessions 1968-1980 (Godfatherecords box), Studio Sessions Ultimate (Scorpio box), & Ultra Rare Trax Part 2 (Savage Beast Music)

      This is a fragment of tape that came out from one of the mixing sessions that were later used to create the Physical Graffiti album. All three songs are full mixes and sounds almost the same as officially released versions. Ten Years Gone has all overdubs and complicated melodic lines already assembled in the mix. The same applies to Boogie With Stu, where we can listen to several takes. Some of them are just very short attempts to work on individual instruments, such as drum tracks. The last take is the fully polished version, sounding very similar to the official release. Night Flight is also a several take attempt to establish the best sounding mix. Similar to the previous tune, some takes are just repeated portions of the song and the final one sounds just like the album version.

JANUARY/FEBRUARY 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
The Wanton Song is yet still under its initial title, Desire. Trampled Underfoot is yet still under its initial title, Brandy And Coke. These two takes might have been mixed during this period of time, as they sounds much similar to the below session.

Recording Includes: The Wanton Song (rough mix with count-in), Trampled Underfoot (rough mix with fade ending).
Source: Incomplete superb soundboard recording. 9 minutes.

Bootleg CD Reference(s): Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Bonzo's Last Stand (Empress Valley Supreme Disc), Eternal Magic (Empress Valley Supreme Disc 3CD), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), Physical Graffiti Sessions (Wendy Records), Salt Lake City 1973: Control Monitor Mixes (Watch Tower), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      Both songs are the rough mixdowns done possibly at Olympic Studios that appear later on the Physical Graffiti album but with minor variations in the mix. The Wanton Song has a count-in and is perhaps a bit more raw in the vocals than the final mix. Plant sounds hoarse, and the guitar has a bit less of Leslie effects that on the album. The ending cry is slightly longer. Trampled Underfoot sounds much close to the mix from companion disc but differs in details. The vocals are already double tracked here, but there are additional guitar overdubs not included on initial rough mix from the session below. This version also fades out, whereas the album one ends with a sustained chord.

FEBRUARY 15, 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Trampled Underfoot is yet still under its initial title, Brandy And Coke and The Wanton Song is still Desire.

Recording Includes: Trampled Underfoot (initial rough mix), In My Time Of Dying (initial rough mix), The Wanton Song (rough mix).
Source: Complete superb soundboard recording. 20 minutes.

Official LP Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song) & Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song) & Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic)

      The initial mix of Trampled Underfoot is much similar to the version from above session. The vocals are double tracked too, and the clavinet and bass probably lead the way here more than the guitar. The guitar overdubs are almost inaudible in this version, except for basic rhythm lines. The end is not faded, just like on the album. In My Time Of Dying begins with a cleaner intro and the vocals are a little clearer. Robert's voice is double tracked on here also to note at times. Jones' bass seems higher in this mix, and sits comfortably behind a crisper slide guitar line. When Bonham speeds the thing up, Plant's vocals are very much clearer than on the final version from the album. You can hear even more on this mix, a real essence of the room this was recorded in. It ends with the final chord and doesn't show Bonzo's famous verbal exchange with engineer at the end. The Wanton Song is another mix that sounds similar to the previous session. It has the same hoarse alternate vocals, but Leslie effects on the guitar solo are completely absent here. Playful and less rigid in structure, mainly guitar driven, although the clavinet can be heard rumbling in there. The last vocal end cry is again slightly extended.

FEBRUARY 28, 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Trampled Underfoot is yet still under its initial title, Brandy And Coke. Custard Pie is yet still under its initial title, Drop Down Mama. In The Light is yet still under its initial title, Evereybody Makes It Through. Some sources reports that Trampled Underfoot and Ten Years Gone from bootleg tape were recorded on February 20, 1974 and Custard Pie, In The Light and Swan Song were recorded on February 27, 1974.

Recording Includes: Trampled Underfoot (rough mix normal ending), Kashmir (instrumental rough mix with count-in and no fade), Custard Pie (rough mix without fade), In The Light (rought mix), Swan Song (rough mix, take 1), Swan Song (rough mix, take 2).
Source: Incomplete excellent soundboard recording. 32 minutes.

Recording: In The Light (early version in transit), In The Light (rough mix).
Source: Complete superb soundboard recording. 15 minutes.

Official LP Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song) & Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song) & Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic)

Bootleg CD Reference(s): Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch), Brutal Artistry II (Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Sessions Volume 12 Empress Valley Supreme Disc), Physical Graffiti Alternate Trax (Tarantura), Physical Graffiti Sessions (Wendy Records), Physically Present (House Of Elrond), Studio Magik - Sessions 1968-1980 (Godfatherecords box), Studio Sessions Ultimate (Scorpio box), & Swan Songs (Tarantura)

      Trampled Underfoot is another mix of the version that stands close to the album with its structure, but again without guitar overdubs. Kashmir is the instrumental rhythm track used fort latter overdubs that sounds still kinda rough here. Custard Pie is a rough mix that is close to the official one. In The Light is a perfectly polished version of the mix heard on the Headley Grange rehearsal tape. Distinctly different arrangement from the original and Jones' harpsichord keyboard sequence opening up. This was later replaced by softer drone links. Robert brings in different lyrics here as well. In this version, you can really hear the live feel in the drumming. Very spacious and roomy, a real listening treat. The following two tracks are perfectly mixed versions of Swan Song, the song that was heavily rehearsed by Page at that time, but with no vocals. The second take is a full attempt. Since the band spent the time to record and mix this composition in the studio, it begs the question of why it was never completed. This tape got released because Plant himself gave it to someone who passed it around, and we are all fortunate to have it available to listen to and enjoy. The companion disc of Physical Graffiti and Coda reveals two more versions of In The Light. The first take is identical to the one from the bootleg tape, but in superior quality. The second take is much longer and much more advanced rendition. It opens with the familiar drone of the original. Jonesy applies an additional keyboard motif, exactly at the same time when Plant enters with vocals. This section was later re-arranged. Guitar overdubs differs slightly, and there are no overdubs on the close.

SPRING 1974 - STARGROVES, NEWBURY, BERKSHIRE, UNITED KINGDOM
OCTOBER/NOVEMBER 1974 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM
Overdubing and mixing tracks for Physical Graffiti album.

NOVEMBER 13, 1974 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM
The song is yet still under its initial title, Driving Through Kashmir. Guitar and drums are recorded on Ronnie Lane's Mobile at Headley Grange Studios, Hampshire, United Kingdom on October 25, 1973. Vocals, drum phasing, 12-string etc. are recorded on Ronnie Lane's Mobile at Headley Grange Studios, Hampshire, United Kingdom on February 21, 1974. Strings, brass and mellotron are recorded on Ronnie Lane's Mobile at Headley Grange Studios, Hampshire, United Kingdom on November 10, 1974.

Recording Includes: Kashmir (rough orchestra mix).
Recording: Complete superb soundboard recording. 8 minutes.

Official LP Reference(s): Physical Graffiti "deluxe" and " super deluxe" editions (Atlantic)

Official CD Reference(s): Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic)

      This is a different look at Zeppelin's eastern anthem, Kashmir. The guitar and strings are more prominent here. At times, it sounds clearer and bigger than the original, and the closing orchestral overdubs are generally clearer. A true demonstration of the power of one of the most definitive progressive rock tunes ever to have been put to tape. However, it is a shame that the finished instrumental version didn't leak, as it could show a much different perspective on this fabulous tune.

JANUARY 1975 - RADIO BROADCAST, NEW YORK CITY (NY), UNITED STATES
Possibly leaked from one of the final mixdowns of Physical Graffiti album. The date is still speculative.

Recording Includes: The Wanton Song (alternate take).
Source: Complete excellent professional FM broadcast recording. Almost 4 minutes.

Bootleg CD Reference(s): All Is Safe For Rock And Roll (Eelgrass), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch & Scoepio UK), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Sessions Volume 12 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master box), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      It was never confirmed how this take found its way to the public transmission. Definitely this is an outtake from which official version was made, possibly leaked out from Eddie Kramer studio reels. It sounds almost identical to the album release, but the drums sound much more panoramic, and the rest of the instruments are pushed more inside except for the occasional guitar overdubs. Two different radio broadcast have been recorded. The first version has DJ comments, on which we can hear the speaker saying that this song is an alternate take, while the second is cut and is of much worse quality.