|Medium:||330g Somerset Satin Enhanced|
|Signed By:||Peter Corriston In Pencil|
|Edition:||500 World Wide|
|Condition:||New - mint condition|
Image size 19.5 x 19.5"
Paper size 26" x 33"
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‘the biggest album Led Zeppelin ever created’
Although Physical Graffiti was originally designed to be the debut release on the Swan Song label, the album’s elaborate cover art, which features a New York City tenement with interchangeable images visible through the building’s die-cut windows, forced a delay. The release of Bad Company thus took the Swan Song debut honour all the way to the top of the Billboard album chart. Within six months Physical Graffiti also hit that peak, giving Led Zeppelin another number one album, in the week of March 22, 1975. The centrepiece of the album is a song called Kashmir. Despite the fact that Stairway To Heaven is the band’s best-known song, Kashmir is generally considered to be the ultimate Led Zeppelin track.
“I’m inclined to agree with that. It was definitely one of my favourites”. John Paul Jones, Billboard.
Artist Peter Corriston worked with designer Mike Doud to convince Led Zeppelin manager, Peter Grant, that the cover art idea was a good one. Unlikely as it may seem, the concept was itself heavily influenced by the design for Jose Feliciano’s album, Compartments. The new version was created by using a photograph of a New York apartment block, situated at 97 St. Marks Place. The building is still standing today. In the basement is a second-hand clothes shop. The name of the shop is, naturally, Physical Graffiti.
An eclectic gallery of celebrities and icons inhabit the building and they can be spied through the windows. Amongst the tenants therein are Lee Harvey Oswald, Neil Armstrong, Elizabeth Taylor, King Kong, Charles Atlas, Queen Elizabeth, Dante Gabriel Rossetti’s portrait of Proserpine, the Virgin Mary and Laurel & Hardy.
Nowadays, Peter Corriston lives and works in the heart of Greenwich Village and any conclusion made that he has worked with Andy Warhol and has also been responsible for landmark covers by The Rolling Stones is both perceptive and accurate.
“This was the biggest album that Led Zeppelin ever created in terms of length, album art, range of styles, number of songs, commercial expectations, marketing muscle, and maybe even sonic thump”. Charles R. Cross, Q, 2003.
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